New Orleans Week<> Shaun Smith Home - decor that respects the client's sensibility and exhibits our unmistakable polished Style.
Shaun Smith Home is a full service design firm, lifestyle brand and shopping destination on historic Magazine Street in New Orleans, LA. Shaun, a 2015 Next Wave designer for House Beautiful magazine is known for a look that appears more collected than decorated, clean yet classic. His shop is an ever changing amalgamation of styles, objects, antiques, vintage finds and rare curiosities.
Visit the Website: http://shaunsmithhome.com
New Orleans Week<> Kathy Slater - furniture inspired by the rich culture and history of New Orleans.
Handcrafted and hand finished furniture designs inspired by the rich culture and history of New Orleans.
Visit our website for exciting classic and contemporary furniture designed by Kathy Slater. We offer custom sizing and finishes in most of the designs. Call or email with any questions, quotes, or additional photos.
“Kathy Slater's tables are beautifully crafted with iron bases and stone, mirror, or soft natural wood table tops. They evoke a classic New Orleans style that is graceful and timeless.”
Visit the Website: https://www.kathyslater.com
New Orleans Week<> Tara Shaw - Creating timeless design with European antiques and modern accessories.
Tara Shaw is an elegant and fearless designer. Her design principles stem from her firm belief that the interior design should be a reflection of the soul. Simple beauty can create an atmosphere of creativity which can shape the direction of our lives. Surrounding yourself with pieces you love and which hold artistic and historical meaning can be uniquely powerful. In her early life this New Orleans-based designer found her love for antiques through her maternal grandmother. Their special relationship forged a Tara’s discernible eye for fine European furnishings .
Known for her luxury European antiques and impressive interior stylings, Tara has experienced 20 years of success as an antique wholesaler. Her design philosophy has inspired countless exquisite interiors for members of the trade and fans alike. Her distinctive vision paired with her entrepreneurial spirit, challenged her to create her own line of antique reproduction and custom furniture, Maison, in 2007. Spending many years in Asia producing her line, Tara chose to return to the city she admires so much and continue her line of modern bespoke design using local artisans. New Orleans has always offer Tara inspiration. Influenced by the city’s historic architecture and European like sensibility, it has set the backdrop for her now famous portfolio.
Shaw’s signature style of anchoring a room with timeless Old World pieces mixed with her reproduction line, contemporary art and luxurious finishes opened the door for her to take on multiple celebrity design projects. Shaw has been featured on design television programs with HGTV and frequents the covers of international shelter magazines. Licensing with Restoration Hardware in 2013, Shaw maintains a prosperous career in product design and interior decorating. She continues to reside in Uptown New Orleans with her loving husband Robert Walsh and darling whippet child Brother Lucca.
Visit the Website: https://tarashaw.com
<>GERMANY WEEK<> FOLDART - FORMING AESTHETICALLY STUNNING FOLDINGS WITH THE USE OF COPPER, ALU, GOLD AND PAPER.
EVERY FOLDART IS A MASTERPIECE. DUE TO A TEAM OF PERFECTIONISTS AND CREATIVE MINDS WITH LIFEBLOOD AND PASSION. MAINLY MANUFACTURED BY HAND IN A UNIQUE WAY WITHOUT A SINGLE CUT AND WITHOUT BONDING. SUPPORTED BY THE FOLDART BASE, WHERE THE FOLDING IS ELABORATELY EMBEDDED BY HAND. WITH AN ENGRAVED NUMBER EACH DESIGN IS LIMITED TO ONLY 888 WORKS WORLDWIDE. TO FULLFIL THE HIGHEST DEMANDS OF THE MATERIAL AND TO ENTHUSE YOU, FOLDART OBJECTS ARE EXCLUSIVELY “MADE IN GERMANY”. EVEN THE SUPPLIERS ARE CAREFULLY CHOSEN DUE TO THE CLOSE ENVIRONMENT OF FOLDART.
Vies the Website: www.foldart.de
<> GERMANY WEEK<> FAVIUS - Naturalness and quality are combined to visual, technical and haptic perfection.
favius stands for pure materials, aesthetics and workmanship – made in Germany. The passion for timeless design beyond fast-moving fashions is mirrored in every piece of furniture and accessory. Christian Stoffel’s zeal for workmanlike manufacture and his sense of beauty led to the formation of his company favius in 2017. Its portfolio not only offers his own creations but is completed, with stylistic command, by objects of carefully selected designers.
Materials and manufacturing methods are chosen in a fashion to make the furniture and accessories of favius last for decades and to emphasize the sheer beauty of the materials chosen. Naturalness and quality are combined to visual, technical and haptic perfection. To buy favius furniture and accessories is a conscious decision against mass consumerism and for saving the environment. The puristic products are a daily pleasure to behold, deeply enrich one’s life and are a joy for generations.
The furniture and accessories are exclusively manufactured in small or medium sized firms in Germany, in close vicinity to Regensburg. They are produced in co-operation with hand-picked specialists of their respective crafts, whose experience in dealing with porcelain, glass and stone, in constant exchange with the designers concerning materials and their treatment, leads to unique products. The materials favius uses will raise your awareness for the finite nature of the earth’s resources. Wood, brass and leather are treated in a way to preserve their genuineness.
Visit the Website: http://favius.de
EFFI HOME COUTURE was founded by Eva Zimmerbeutel in 2015.
"In general, my development as a textile designer is based on German art education, refined by textile studies at the Dutch Maastricht Academy of Fine Arts and Design and work experience in companies located in Århus (Denmark) and Berlin. Now, I settled back in my home town, Remscheid, to work near the forest and in a creative community called ‘ins blaue’"
"The fascination for nature and landscape started very early. As a child I put leaves under the microscope and studied birds in the garden. I spent a lot of time outside and could keep myself busy in every part of nature. Today, I love running in the forest and take long walks at the sea. While sailing I enjoy the connection with natural elements. This does not only make me feel free and joyful but also gives me energy and stress relief. I figured that nature provides a basis for my physical and mental well-being. Besides, the flora and fauna always inspired me and the world’s natural environment is so rich of species, processes and functions that I never get bored of it. So I asked myself where this fascination is coming from: Why does nature have such an incredible effect on my creativity and well-being and is there proof for a positive impact on humans?
Actually there is and it’s called biophilia."
"With philosophical and scientific research on biophilia as well as own analysis, I developed a concept for biophilic textile design. This research provides a personal foundation for my design philosophy and product development, but also influences work processes and presentations."
Visit the Website: www.effi-homecouture.com
In the spirit of simplicity, we manufacture functional and industrially made products for everyday use. Our strength lies in the intelligent product development and the use of state-of-the-art materials and productiontechnologies. In the process, we synchronise our concept development with independent designers who bring in their own designs and ideas. Above all, we deliberate together on just what typifies a particular product. Through this dialogue our products truly come to life; they take on quintessential forms with clear colours and each bears the handwriting of its creator.
Authentics is a company of the Flötotto family. We are the fourth generation creating furniture and household furnishings. This means that you can count on the accustomed superior quality of our services and our products with every purchase you make.
Visit the Website: www.authentics.de
Sofia Souidi is a designer and researcher who lives and works in Berlin. She recently graduated from the Royal College of Art in London with a Master in Design Products, after completing her Bachelor in Product Design at University of applied Sciences in Potsdam, Germany.
Gradient, Pure Talents Contest 2017, Nominee
Lichtspiegel, COLED Wettbewerb 2012 - 10 best Products
2018/01 Gradient, IMM Cologne, Pure Talents, Cologne
2017/10, Malo, Warsaw Furniture Fair, Warsaw
2017/09, Malo, Maison et Objet, Paris
2017/07, Gradient/Malo, Royal College of Art, London
2016/02, Gradient, DAAD, Bonn
2014/10, Okzident&...., Applaus beste Abschlussarbeiten,Potsdam
2014/07, Okzident&Orient, Direktorenhaus, Berlin
2012/06, Juno, DMY Designfestival, Berlin
2012/05, Juno, Design Tage Brandenburg, Potsdam
Visit the Website: https://www.sofiasouidi.com
Natasha Baradaran is the founder and creative visionary behind Natasha Baradaran Interior Design.
Recently featured in W Magazine and Town & Country as part of a new guard of emerging interior designers, Baradaran is fast on the rise and working on projects worldwide. As a designer without creative limitations, Baradaran has grown into a full service design firm providing interior design, interior architecture, and furniture design for high-end residential and commercial environments.
Visit the Website: http://www.natashabaradaran.com
Chideh designs, a series of designs to preserve Iranian art. Persian history and culture is highly rich, it's design is similarly dynamic and vibrant. Chideh provides you with authentic Iranian furniture that has the right touch of sophistication, daring and playfulness.
Visit the Website: http://chidehdesign.com
Fine craft maker Nazanin Kamali produces artisanal textiles and homedecor designs deeply rooted in her fascination with cultural mythology, with an underlying melancholia and hint of the macabre.
A postgraduate of the Royal College of Art where she had studied furniture design , Kamali established Non Specific Creativity in the early 1990s; a multi-disciplined design collective that worked on a diverse variety of design projects ranging from restaurant design to art installations. She later joined retail design company Aero as the creative director before setting up Newman + Kamali with Paul Newman in 2000 (which subsequently became iNK), designing and supplying retailers such as the Conran Shop, Heals, Crate & Barrel, SCP and John Lewis.
Kamali’s contemporary take on traditional craft techniques exemplify her belief in a sustainable approach to personalized luxury, which has been evident throughout her career. As a founding designer for Case Furniture her contemporary designs reflected the attention to precision detail found in Japanese arts, while her bespoke craft commissions are characterized by high levels of craftsmanship and intricate forms.
Following a period of personal upheaval in 2006, Kamali turned to the therapeutic craft practices of embroidery and created a vast patchwork blanket inspired by the Isabel Allende’s familial novel ‘The House of the Spirits’; seventy seven squares hand sewn in 100% wool fabric.
Galvanised by the idea that ‘all her personal documents should be embroidered’, Kamali then sought to give a sense of permanency to the notes that people routinely scribble then discard. The development of her bespoke Last Will & Testament cushion cover and Wedding Vows blanket has allowed her to further focus on the narrative aspect of craft that holds so much personal appeal.
Kamali’s debut cushion collection launching at SCP follows a similar path, drawing upon her interest in Kamons; Japanese heraldic symbols which she became enthralled with whilst designing the interior of Brighton-based restaurant Oki-Nami in 1994.
The four intricate Mon designs of Chicken, Shrimp, Hexagon and Chrysanthemum are machine embroidered on cotton, while four felt appliquéd design of Crane, Chrysanthemum plus two Snowflake designs complete the collection. Inspired by the hexagonal symmetry of the snowflake, a natural form that has intrigued scientists for millennia, Kamali has featured snowflakes in several of her designs over the years, including a panel on the original patchwork blanket that reignited her love affair with traditional craft processes.
Visit the Website: https://nazaninkamali.com
In 2008, Reza Abedini planned a non-commercial design project, a set of collaborations between a selected group of young Iranian graphic designers and Azad Art Gallery in Tehran. According to this idea, one of the designers among the group is supposed to design a poster for the bi-weekly events of the gallery. The catalog of the exhibition is printed on the backside of the poster. This poster/catalog is then folded and sent to the public as an invitation. This project has been running under the art direction of Aria Kasaei and coordination of Studio Kargah since then.
Azad Collaborative Design Project is significant in its reputation by holding various approaches and aspects:
- During the past 9 years, 45 designers have collaborated with this project and more than 300 posters have been designed, printed and distributed which is definitely an exceptional record from a private gallery.
- Azad Art Gallery possesses a bold and uncompromising view, which is its landmark. The gallery has intended to juxtapose these posters besides the exhibits to reflect gallery’s social/political point of view. So the posters are a part of the gallery’s identity in this case.
- The continuity of this project has eventually drawn the attention of many other galleries, private and public cultural organizations in Iran to the importance of visual identity and led them to start their cooperation with graphic designers in this field.
- The most notable aspect of the project is that the poster is not restricted to present only one artwork from the artist. It depicts the designer’s visual interpretation of the theme or the concept of the exhibition, which means the poster itself, becomes a form of artistic expression.
Azad Collaborative Design Project has established an enormous impact on poster design in the region and has found its place in the contemporary art and design scene in recent years.
Visit the Website: http://azadart.gallery
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