Studio-Melli is an art direction, multi-disciplinary graphic design studio based in Tehran with a bold focus on visual concepts, typography, Identity & interactive design.
Visit the Website: http://studio-melli.com
The Mission of the Wende Museum: Preserve, Inspire, Explore
The mission of the Wende Museum is to preserve Cold War art, culture, and history from the Soviet Bloc countries, inspire a broad understanding of the period, and explore its enduring legacy.
Named for the Wende (pronounced “venda”), a German word meaning “turning point” or “change” that has come to describe the transformative period leading up to and following the fall of the Berlin Wall in 1989, the Wende Museum:
The Vision of the Wende Museum 2016-2018: TransformationRecognizing the Wende Museum’s growing stature since its foundation in 2002, the City of Culver City has provided the 1949 National Guard Armory building and grounds to the Museum for 75 years.
The Museum’s vision is to seize the opportunity provided by the move into the Armory in 2017 to fully implement its experimental approach to making the history of this period relevant to today’s audiences, and to achieve financial sustainability.
The Armory building is where the two industries that powered the economy of Los Angeles in the post-World War II period – defense and movies – converged. The defense industry was moved into high gear by the Cold War; the movie industry promoted, shaped, and later also criticized Cold War politics and culture. A building once designed to prepare for World War III will now be reimagined as a cultural center for preserving and interpreting Cold War art and history.
Examining the history of Eastern Europe and the Soviet Union can be fraught with political and personal bias, and the complex, often contradictory stories that underlie the Museum’s artifacts may provoke uncomfortable questions. The Museum’s location in Los Angeles provides independence and critical distance from current political debates in Europe, and also facilitates the questioning of preconceived ideas about our past and present. Moreover, the Museum’s physical remoteness from Central and Eastern Europe has enabled it to attract significant artifacts and collections that might otherwise have been destroyed as a result of emotional and political reactions.
Visit the Website: https://www.wendemuseum.org
A work of art need not be monumental, brightly colored, or placed for all eternity in the middle of a traffic circle in order to be public. It may find its place on the cover of an album, on television, or on a little island at the heart of a verdant park in Burgundy. It can give rise to derivations on another scale and in some other material, or be massively reproduced and appear at the click of a web page, the way a sculpture takes us by surprise on a street corner. It can become a place of high traffic pilgrimage, generating tens of thousands of digital images that anonymously swell the banks of information held in data centers, or it may fall into oblivion in some rarely visited spot.
We may, today, define a work as public insofar as it occupies the world, whether materially or as information. The classical opposition between private and public space thus no longer suffices to account for the way in which works offer themselves to the beholder. It is now necessary to distinguish the duration and mode of appearance, degrees of publicness and circulation. And this is a game at which Xavier Veilhan has shown himself particularly adept. He masterfully titrates the visibility of his works, either pushing their stealth to the point of disappearance (The Horse is entirely dissolved in its environment, Shadow Moonvisible from a single position) ⎯ or else fully embraces the constraints of the hyper-touristic sites that major museums have become, and of which the Chateau de Versailles is merely the most spectacular avatar. In this particular context, the assertive simplicity of his sculptural language, combined with a vocabulary straight out of classical statuary (human and equestrian portraits, funereal gisants, figurines...) acts as a promise of accessibility.
The photogenic quality of Xavier Veilhan's work has already been amply commented on. Today, however, it informs us of something that transcends the modern phenomena of mass tourism and the increasing mediatization of art or its incorporation within the industry of culture: it indicates the appearance of a new mode of existence for sculpture, and still further, a revolution in what we mean by the term "matter."
To put it differently, when we say that his sculpture is photogenic, this is perhaps no longer merely because it generates two-dimensional visual manifestations that are simultaneously numerous and faithful, but also perhaps, due to a capacity of images to circulate much more freely than matter. Veilhan's works get around. Sometimes literally, like the Carosse or Rhinocéros, which are, you might say, on tour. Sometimes this movement takes place through documentary manifestations of a photographic sort. But even Le Lion, Les Habitants, Le Monstre, or Jean-Marcseem to suggest to the viewer who stands before their unmoving matter that they might well escape the singularity of their localities.
Of all the artist's oeuvre, it may be Le Gisant, exhibited at Versailles in 2009, that most brilliantly allegorizes this veritable ontological revolution. The sculpture, which represents the famous astronaut Youri Gagarine, creates a historical bridge between the thousand year old Christian tradition of the gisant (recumbent tomb sculpture), or more specifically, the entrails gisant (the entrails, after removal from the body of a monarch, were buried in a separate tomb), and one of the greatest scientific and technical accomplishments of the modern era: space travel. In Le Gisant, not only does the surface of the sculpture bear witness to computer modeling, but the flesh itself. Violet and faceted, this flesh is of a new kind and an era to come: that of a fusion of bits and atoms, thinking objects and printers able to produce living, organic matter (remember that the gisant figure, as opposed to the transi, is alive). Everything comes together: the touristic quality of the site and the mass reproduction of Versailles by its thick crowds of visitors evoke an ideal of circulation that is echoed by the materiality of a body already constituted by coded information, programmed to be circulated in space, or online, unendingly; and, like an image, to appear on demand, everywhere simultaneously.
Perhaps this is why, as I tried to recall the different places where I had encountered public sculpture by Xavier Veilhan, I was haunted by nagging memories of Zone, a poem by Apollinaire in which an accumulation of spatial indications across the synthetic progression of the poem structures an illusion of the poetic figure's ubiquity.
"Now you walk in Paris all alone amidst the crowd [...]
Now you are on the shores of the Mediterranean [...]
You are in the garden of an inn not far from Prague [...]
Here you are in Marseille surrounded by watermelons [...]
Here you are in Coblence, at the hôtel du Géant [...]
Here you are in Rome, under a Japanese medlar [...]
Here you are in Amsterdam with a girl you find beautiful and who is ugly [...]
You are in Paris before the examining magistrate [...]
You are at night in a great restaurant [...]
You are walking towards Auteuil you want to go home on foot. [...]"
In the same manner, I might write: now you are on the fourth floor of the Centre Pompidou. You are on the island at Pougues-les-Eaux. You are in Paris in front of the Hôtel de Ville, but you cannot enter. It is Nuit Blanche; the crowd blocks your way. You are at la Bastide on the right bank of the Garonne River. You are in Lyon, at the Cité Internationale, wandering amongst the Habitants. You are at the market square in Tours. Now you've arrived in Strasbourg. You are at home, listening to Air. Years have passed. You are in the courtyard of the château de Versailles. Here you are at the Place de la République, in Metz. Now you are walking towards the Northeast corner of 53rd Street in New York.
Apollinaire, the high priest of a techno-poetic modernity whose foundations are often called upon to explain the work of Xavier Veilhan, devoted an entire novella, "Touching at a Distance," to the topic of ubiquity. In it, the baron of Ormesan invents a device that can transmit not only images, but bodily presence. This invention extends, in the arena of fiction, possibilities created by technical developments contemporary with Apollinaire, the radio broadcast in particular. It explores the technological fantasy of tele-presence, of matter that might circulate in the ether as fluidly as information, thus escaping all singularity of position. It is a dream that appeared with the dawn of modernity; today, enriched with the technological capacities of our time, it haunts the thoughts of Le Gisant, and all of Xavier Veilhan's statuary.
Visit the Website: http://www.veilhan.com
Seventy-five years ago, in Los Angeles, with a no-interest loan from Dutch philanthropist Dr CH Van Der Leeuw, Viennese-American architect Richard Neutra built a radical "glass house" with rooftop and balcony gardens on Silverlake Boulevard. He called it the VDL Research house, after his benefactor. It was designed to accommodate his office and two families on a small 60 x 70 foot lot.
Seven years later, as his family expanded, he built a garden house on the back of the lot. This compact wing had walls that slid open onto a pocket garden to be shared by the addition and main house. In 1963 after a disastrous fire, that left unscathed only the 1940 Garden house and basement of the original wing, Richard and his son and partner Dion Neutra had a chance to redesign the main house. Two floors and a penthouse solarium were built on the original prefabricated basement structure. They applied what the practice had learned in the interim about sun louvers, water roofs, "nature-near", and physiologically motivated design.
It is a place, which could tell many stories. Over a thirty-year period hundreds of projects on four continents were designed there. These included the country's first modern school, many distinguished residences, and important public buildings. At mid century Neutra's influence was pervasive. In 1949 a Time Magazine cover story characterized him as "second only to lordly Frank Lloyd Wright". VDL saw the beginning of the careers of architects who came as apprentices to work there from all over the world including, among others Gregory Ain, Raphael Soriano and Donald Wexler. Photographer Julius Shulman's career started with this office. VDL played host to cultural figures like Frank Lloyd Wright, László Moholy-Nagy, Jorn Utzon, Charles and Ray Eames; religious figures like Robert Schuller and J. Krishnamurti; scientists like Rene Dubos and Linus Pauling; and to political figures and activists like John Anson Ford, Frank Wilkinson and Vice President Hubert Humphrey.
In 2017 the Neutra VDL House was named a National Historic Landmark by the U.S. Department of the Interior.
VDL Today and Mission
The Neutra VDL Studio and Residences (1932, 1939, and 1965) of famed modernist architect Richard Neutra is under the stewardship of the College of Environmental Design (ENV) at Cal Poly Pomona. The primary mission of the College with respect to VDL is to use the house as an educational resource for students and faculty, to preserve and maintain the property, to make the house accessible to visitors through tours given by CPP ARC students, and to host arts and culture programs that strengthen the facility's mission as a community resource. The property and installation is open to visitors on Saturdays from 11am to 3pm.
Since 2008 Professor Sarah Lorenzen has served as its Resident Director managing programming, educating student docents, and overseeing the resoration of the house. In 2010 Sarah began an exhibition program where artists/architects are invited to spend time in residence and to create in-situ installations that respond to the architecture, the period in which the house was built, or the history of Richard Neutra. Previous installations include: Fort Da Sampler by Santiago Borja (2010), Architectones by Xavier Veilhan (2012), Inverting Neutra by Bryony Roberts (2013), Competing Utopias a collaboration between the Wende Museum and the VDL House (2014), and Wet Horizons by Luis Callejas (2015), CORNERSTONE by Les Frères Chapuisat (2017).
Visit the Website: http://neutra-vdl.org
ARCHIVO diseño y arquitectura - a space dedicated to collecting, exhibiting and rethinking design in its various forms.
Founded in 2012 by Fernando Romero and Soumaya Slim, ARCHIVO diseño y arquitectura is a space dedicated to collecting, exhibiting and rethinking design in its various forms. Through its design research collection of over 1,500 objects, as well as a rich program of exhibitions and activites, ARCHIVO has established itself a unique, pioneering institution and a referent for the architecture and design community in Mexico.
Visit the Website: http://archivonline.org
Modernica is home to the historic fiberglass presses that have been used in the production of thousands of chairs for over three generations.
For over 25 years, Modernica has proudly built each piece of furniture, one-by-one, at its five-acre campus in Los Angeles. It has been family owned and operated since it opened and is home to a world-class upholstery and woodshop.
Modernica is responsible for revitalizing the almost lost art of high-pressure fiberglass molding. The factory is home to the historic fiberglass presses and specialized machinery that has been used in the production of thousands of chairs for over three generations. Since 1999, Modernica has steadfastly produced the chairs as they were originally created, preserving the fiberglass chair legacy and craft.
Visit the Website: https://modernica.net
Barazza is not only a brand of household appliances; foremost, it is the name of a family of entrepreneurs who have created appliances which, within this sector, are now synonymous with high performance and advanced design.
The results of almost fifty years of labour, that has laid the foundations within this fertile entrepreneurial territory; from as far back as the Second World War years, the Company has been armed to satisfy an authentic, genuine household appliance culture.
Visit the Website: http://www.barazzasrl.it
LEAPELL - never compromising on craftsmanship, a fundamental aspect of the production of high quality leather.
On the leather furniture market for over 40 years, the company was founded in Giussano by Learco and Alessandro Ballabio. In 1984 they are supported by their sons Giovanni and Daniele, who in 2000 they assume total management to this day.
An important moment for the company was 2008, year in which it was built the new headquarter in Street Ponchielli 34.
Thanks to a consistent growth, the company has been able to extend its commercial network beyond the national borders. During the years, we have actively done our utmost to make our products known in new countries that appreciate Italian quality and creativity, whilst aware of the challenges of internationalization, but never compromising on craftsmanship, a fundamental aspect of the production of high quality leather.
Visit the Website: http://www.lealpell.it
WHAT WE DO…
… is carry out grand, unique projects focusing on light objects, exclusive light fixtures and luxury interior decoration features. Our specialty is original architectural features, such as railings, stairways, tables, skylights, columns, and others. What characterizes them is a high proportion of manufacture with emphasis on precision and detail.
WE ENJOY THE THRILL…
… we get from crystal clear glass. Fascination by the fusion with light, and love of traditional craft are something we share. Our know-how combines many years of experience, a knowledge of traditional as well as new technologies, and an original approach to production. We are thrilled to carry out grand, unique projects focusing on light objects, exclusive light fixtures and luxury interior decoration features.
Visit the Website: http://ss-gd.com
We do metal art, we are passionate about the creativity and originality that comes from architects and interior designers. We like to discover how far the imagination of our customers can reach and that makes us improve every day to provide the best options.To do so, we actively listen to and focus on their needs, we evaluate the possibilities and it is only then that we offer a solution. We are able to do all of this thanks to the experience in innovation we have gained during 90 years and because we firmly believe in the commitment we set with our customers worldwide.
Our everyday involves a continuous improvement in production, an accurate customer service and special attention to logistics, commitment to deadlines and constant research to find new possibilities. These facts have allowed Kriskadecor to go beyond the boundaries of creativity and to participate in some of the most avant-garde designs.
Visit the Website: http://www.kriskadecor.com
Illulian, historic and prestigious brand, internationally renowned in the field of design and custom handmade rugs, has never stopped evolving in its over 50 years of activity through a process of uninterrupted growth, participating in great projects and collaborating with prestigious figures in the world of architecture, design, and fashion.
Founded in 1960, the company now headed by Shahnaz Illulian and her sons Davis and Bendis Ronchetti, is an exclusive benchmark in the field of antique as well as luxurious contemporary rugs, with collections that, besides being exclusive furnishing proposals, represent true works of art that retain their charm unaltered over time.
Illulian’s prestigious showroom is located in Milan’s fashion quadrilateral in Via Manzoni 41. It holds both, the most innovative contemporary proposals that reflect the latest design trends, as well as truly rare antique one-of-a-kind rugs and tapestries. Illulian showroom also accommodates refined contemporary style furniture, prestigious fabrics, and unique design object.
Visit the Website: http://www.illulian.com
Combining clean lines and geometric forms, Maya Luxury Bathing is a high-end sanitary and bathing brand.
Born in 1983, Sarra Hafaiedh grew up in Tunis and began to study interior design before pursuing training in France in 2010. After designing unique pieces for leading hotels in North Africa like Radisson Blu, La Cigale Qatari group, La badira and working with prestigious names in architectures, in 2015, she decided to create her own sanitary brand – Maya Luxury Bathing.
The exquisite and original pieces are all made out of Corian® whichadapts perfectly to any role from subtle elegance to the most exotic of forms. It is the seamless solution to a multitude of demands in surface design. Pure in solidity, powerful in its performance, versatile to its core, Corian® can shape itself to almost any concept with effortless style. Welcoming shape, pattern and light, this high tech surface is comfortable in all kinds of environments, interior or exterior, humid or dry, hygiene-critical or high-traffic.
Maya Luxury Bathing boasts a wide range of different collections, inspired from bright colours, iconic symbols and graphic forms which coexist and intertwine into modern and sophisticated creations made with utmost attention to detail.
Visit the Website: https://mayaluxury.com
Bubble Baby Bed is a transparent acrylic rocking crib with a breathable mattress designed by Lana Agiyan. The designer has received the prestigious WELL-TECH technology Innovation Award for the Bubble Baby Bed in 2013. The idea came from plastic baby bassinets that are used in Hospitals: made from acrylic plastic they are safe, easy to care, hygienic and very appealingly transparent. The crib’s transparency allows parents to have a good view of their little one. Furthermore; being able to see the whole world around them, a baby is never bored.
Designed for babies from birth to five months, Bubble Baby Bed is a rocking cradle, it has the movement kinetics resembling tilting dolls: once pushed, it returns to the upright position in series of slowing tilts. When the baby moves his hands and feet in the bed, the crib gently rocks on its own, putting the child back to sleep.The Bubble Baby Bed also provides a special 3D fiber mattress. Its breathable supportive top layer lets any liquid go through immediately giving the baby ability to sleep face-down safely and preventing chances of suffocation. In addition, with the 3D fiber mattress, hygiene is maintained as it is machine wash safe and there is no possibility of mold and bacteria growth.
Visit the Website: http://bubblebabybed.com
Occhio is one of the most innovative companies in the lighting sector and the market leader in Germany in the sector of high-quality design lighting. Occhio products have a unique position in the market thanks to their comprehensive, modular luminaire systems and are among the most successful lighting products of recent years.
Axel Meise, who for more than twenty years has set very special standards in lighting design as a designer and entrepreneur, is the name behind the company. Occhio emphasizes the power of ideas and the people behind these ideas.
Visit the Website: https://www.occhio.de
Design culture is the key to our success. This is what pushes us to create new collections that give spaces a new dimension. We create dialogue between environment and form. Vondom pieces transform the simplest space into an ambiance filled with glamour, both unique and extraordinary. This is what it’s about, creating atmospheres where we can take hold of life and feel that we are here to live it, enjoy it and surround ourselves with beauty.
Visit the Website: https://www.vondom.com
Here at Skyline Designs, we have been supplying our customers with designer outdoor furniture for over 35 years. We established ourselves as one of the leading manufacturers and suppliers of luxury outdoor furniture back in 1978 and since then our luxury outdoor furniture has become synonymous with impeccable quality.
Commercial & Domestic Experts
We are incredibly grateful to have received worldwide accolades for our work and we have built an extensive client base which includes both domestic and commercial customers.From furniture to fabrics, our range of outdoor furniture is the best of its kind, and we guarantee that you will not find the same high level of quality elsewhere. Our team at Skyline Designs are highly-trained professionals and dedicated to providing you with superb craftsmanship. By using only the finest materials, we are able to supply and manufacture products which can stand the test of time.
The Highest Quality Luxury Furniture
Every piece of our luxury outdoor furniture is hand made by highly skilled artisans in our Skyline factory, enabling us to create unique products by combining the most innovative technology with traditional craftsmanship. This means that we can make sure that your home, hotel, or commercial property stands out from the rest and truly impresses. If you would like to learn more about our designer outdoor furniture, do not hesitate to contact us today. We can provide with further information and advice on how our products can improve the aesthetics of your property.
Visit the Website: http://www.sky-linedesign.com
RYNTOVT DESIGN - we are trying to create natural, laconic, environmental product with an intellect and feelings.
The beauty of the spring sprout, respecting the life for itself, spirit of the place, wisdom of the forest, love to the earth those are underlying principles of our work, our attitude to the nature and world. The major of all them sounds simply just : Got to go on the earth on the tiptoes.
Ecodesign is an - ecothought, ecolife, ecolove,and all what is united under the name “perceptual” Perceptual thinking, moral confession, the world vision in the whole…
We are all the parts of one entity, which we have to treat with honor and love. it’s all one unite system, where spirit and matters are closely interweaved. And the particular always reflects the general, where the man is united with the world to the very last molecule. According this philosophy Our creative work is based and our meaning content as well as attitude to work are formed. 20 years old experience let us to claim that such ideology has the right to exist. Willingness to live this day in conscious trim(be capable) lets to widen the borders of perception and action.
Architecting interior or subject, we are trying to create natural, laconic, environmental product with an intellect and feelings.
At the heart of each subject there is the culture of production, nature respect, gratitude to the material which gives the possibility to implement our major projects. The product which is the result of our creativity, first of all is an ecoculture bearer and spirituality.
We are feeling gratitude for those, who understand and share our principles, attitude and respect to this incredible world, where is all closely connected and an every action leaves a trace.
Visit the Website: http://www.ryntovt.com
Ukrainian industrial designer Kateryna Sokolova was born in 1984. She is founder and creative director of SOKOLOVA design studio. Her design team works across a wide range of disciplines: furniture, lighting, hardware, electronics, environment.
Kateryna graduated from the Kharkiv State Academy of Design and Arts. She held an internship at German Design University "Burg Giebichenstein Kunsthochschule Halle"
She has a masters in Industrial Design and has been a participant and winner of a lot of European design exhibitions and competitions; the most important of them the Red Dot Design Award 2015. From 2011 she collaborated with the French company Jarre Technologies, related to developing and designing video and musical hi-tech product around the name and the experience of famous french musician Jean Michel Jarre.
Today, Kateryna is an internationally established designer based in Kiev. She has collaborations with European and Asian companies and projects in Paris, Hong Kong and Kiev.
Visit the Website: http://sokolova-design.com
Meter by meter we create new worlds. With trees growing in a living room and lamps in the size of a man. Where the bathroom can be in a glass box and tiles that repeat the form of a bird. We think that things have to amaze. We create art pleasant not only to look at, but also to live in.
Visit the Website: https://mahno.com.ua
Helmfon is a device in a form of helmet, which thanks to the system of active sound absorption allows to concentrate in open working spaces. Because of the special absorption features, this helmet fully reflects the outside sound waves and thus makes the process of working comfortable, with no outside noise. In addition to it, the helmet blocks the Helmfon noise to outside surroundings and thus people, who sit near the Helmfon user don’t experience any discomfort of hearing unimportant sounds.
Our main idea was to create a tool, which helps fully concentrate on working project, get some personal space and doesn’t allow office noise kill person’s productiveness.
Bold colors of Helmfon production line allow to make the office look fun and standing out. Moreover, we offer an option to customize Helmfon.
The main materials are: nitro paint, outside case – glass fiber, inside- membrane cloth with foamed polyethylene stuff. Helmfon is equipped with system board, microphone, speakers, accumulator, magnifier and special inside place for the smartphone. Thus it allows to watch movies and videos, organize Skype conferences, answer or make calls, watch or edit photos or add some personal functions.
Visit the Website: http://hochurayu.com
Truly Truly is a design studio operating from the Netherlands, founded by Australian designers Joel & Kate Booy. Positioned on the interface between industry and art, the studio specialises in creating artistic products for the living environment. Their work encompasses objects, furniture, lighting, textiles and spaces.
Visit the Website: www.studiotrulytruly.com
VERA PURE is a family-run high-end design company that offers a single, exclusive line of luxury glassware and silverware.
Visit the Website: www.verapu.re
The registered word mark ORGANOID is a composition of ‘organic’ – means natural, in natural condition – and the ancient Greek suffix ‘–oid’ for resembling, like. The combination ORGANOID TECHNOLOGIES indicates the various possibilities of our platform technology.
In 2012 – after three years of intensive research and development – Martin Jehart and Christoph Egger founded the company Organoid Technologies GmbH. In these start-up years first results were already achieved in furniture constructions (IOYO seating furniture), small series (MAIA trays) and 3D acoustic insulations (hemp panels).
Our patented technology was represented on many fairs and congresses worldwide and received positive feedback which is reflected in the large number of awards.
Organoid® Decorative Coatings are characterized by their naturalness and authenticity. They allow a new experience of natural raw materials through all the senses as the surface is untreated and therefore also the scenting characteristics are preserved.
We only use natural and authentic raw materials which are not used in conventional production processes. In our factory in the Tyrol – in the heart of the Alps – we pay attention to ecological and sustainable manufactoring. This begins with the use of a 100% green electricity and ends with our biological binders that are free of biocides, plasticizers and solvents.
Only in this way do we reach the unique appearance with genuine scent, natural haptics, and impressive optics. Enjoy the unique authentic scent of hand-cut alpine hay from an altitude of 1,700 m above sea level, grown on the hillsides of the Wildspitze, the highest mountain in Tirol. Handcrafted lovingly piece by piece.
Organoid surfaces can be arranged and individually executed from all natural base materials and as desired. Raw materials (plants from the construction site or byproducts from own production) also can be supplied, which then will be dried, ground, screened, and pressed as a mixture. At present, we have approximately 500 different raw materials available, from alpine rose blossoms and saffron to lemon grass. You can find an overview here.
There are no limits even for imaginative customer wishes: A perfume manufacturer needs panels with jasmine scent for the showcases of his worldwide shops. A luxury hotel in Tirol requires specially arranged surfaces from grasses and blossoms of its surroundings. A bakery chain is interested in decorative panels coated with spelt husks.
The products can be individualized not only by different raw materials and their further processing, but also by use of different carrier materials. The standard is flame-resistant HPL, so that the entire construction is flame-resistant. The surface WILDSPITZE (hand-cut alpine hay from an altitude of 1,700 m above sea level thus reaches Class B s1 d0 according to EN 13501-1.
In this way, Organoid Technologies can also coat flexible fleeces and textiles, paper, metals, and plastics in addition to all wood materials and thus can adapt the semi-finished products completely individually to the requirements. Thus it is possible to produce lamps as well as highly absorbing acoustic panels with surfaces with natural scents. Some F&E products are advanced in various fields, but already now our capabilities have received worldwide interest, which also is reflected by the quantity and quality of the received awards.
Visit the Website: www.organoids.com
Barbara Ambrosz and Karin Santorso founded design studio Lucy.D in Vienna, Austria in 2003. The two designers want their work to reflect their clear and open minded approach in their projects. True to their vision, they create various products in the fields of product, architecture as well as corporate design. Lucy.D´s vital engagement is to reveal the poetry in everyday life building a basis for developing their inspiring and at the same time practical products. Their design concepts merge form, function and technical aspects of a product in an intelligent way, constantly striving to create harmony and balance between tradition and innovation, sense and sensuality, detail and ensemble.
Ambrosz and Santorso work in an interdisciplinary fashion and are familiar with various technologies from manufactural up to robotic processes. Lucy.D concepts are planned with a high degree of sensitivity for the brand and material in question; Ambrosz and Santorso additionally offer their professional assistance throughout the whole process starting from implementation until the production of the final product.
Studio Lucy.D´s main locations are Vienna and Upper Austria where they run their workshop. Currently they are working on several new design projects and furniture and are part of the research team in an EU promoted research project for “Robotic WoodCraft in Design” in Vienna at the University of Applied Arts.
Barbara Ambrosz and Karin Santorso both studied Industrial Design at the University of Applied Art in Vienna where Ambrosz also holds lectures since 2008. Their clients include Alessi, J. & L. Lobmeyr, Wiesner-Hager and the hotel chain Wombats. International awards, sponsorships and exhibitions characterize the Lucy.D success story. Tèo, the teaspoon for Alessi is awarded the Menzione d'onore Compasso d'Oro in 2014. Liquid Skin, the drinking bowl for Lobmeyr is now a fixed part of the collection at the Museum of Modern Art in NY and their new cake design line for Vienna's Landtmann’s Fine Patisserie was honoured with the Wallpaper Design Award 2015.
Visit the Website: http://lucyd.com
CHRISTINE HECHINGER - Old forms and products undergo a continuous process of evolution to be presented in a modern-day context.
Born in 1981 in Schärding, Austria. Studied Industrial Design at the University of Art and Design Linz (Austria) and at Karlsruhe University for Arts and Design (Germany). Internships with the designer duo BLESS in Berlin and STEFAN DIEZ in Munich.
A freelance designer and company name as CHRISTINE HECHINGER since 2011. Art direction for JOHAN Natur Design Wohnen since 2015.
Visit the WEBSITE: www.christine-hechinger.com