We have developed our signature Bokja language with our materials and we start a conversation with the way we use them. We mix the old with the new, the pretty with the ugly, the brocade with the jute. We are constantly gathering bits and pieces, making more bits and pieces and gathering them again and again and again...
We react to events happening around us and the world and interpret the stories in our own voice.
Nestled in the heart of downtown Beirut, our Bokja Showroom is located in Saifi Village's Quartier Des Arts, a recently restored historic neighborhood which has become a destination for art galleries and designers. We occupy the ground floor of a 1950's structure off a street historically known for its carpenters' workshops.
The conversation and humor we introduce in each of our designs has also been used to build the environment of our showroom. In true Bokja spirit, it is a story with many layers: it is our gallery, it is our garden, it is where our minds meet. Over the years, we have pioneered for many social and environmental related events, and they all take place here.
Visit the Website: http://www.bokjadesign.com
The conjunction of the being able to describe forms precisely thanks to the assistance of computers and having access to information driven machine tools has empowered a new kind of creatives.
Bridging between designers and craftsmen, a new generation who is more in control of their creation, as they have to organize informations to pilot the machines, and who are conscious of the manufacturing process and requirements are born: the makers. The maker movement is rising in the middleeast and this exhibition is the acknowledgment of this phenomenon.
In research of a fulfilling lifestyle more designers wannabees emerge and rely on the skill and experience of expensive craftsmen to complete and realize their designs. Their one-off limited editions of hardly producible; and therefore expensive designs find an output only in expensive galleries dedicated to a very wealthy audience and focus on gaining media’s attention. On the contrary, makers live deep in workshops in contact with the materials. They aim to reveal the true nature of materials and they know that the process from tools, steps and techniques is the way to do it.
If the association designer + craftsman produces interesting designs despite a few hick ups, it is interesting to follow what the makers will output. It’s way too easy to describe the maker by opposing it to the couple: designer + craftsman. In reality, the limits are more blurred. A good designer should have practiced all crafts if he/she wants to design properly. At a certain level of complexity like an architect, a designer has to be the one which orchestrates and watches over the concept. He cannot build by himself every part from every trade.
If the designer’s lack of know-how creates often unwanted difficulties to the craftsmen that pointlessly increases the production cost, it also sometimes creates interesting new objects. The continuity of presence and control of makers over the creation and manufacturing processes is giving to their design a greater integrity. Taking into account manufacturing processes from early stages of design allows for control over the production cost and the repeatability of the parts. That same way, the intimate relationship with the making as most makers own their computer driven machine tools, gives the makers another relationship to the process such as the ability to share the process and propose, on some designs, to have the user make the final assembly.
The journey of a maker from bits to atoms within one design is long. Matter and tools will sanction his/her errors harshly. But to have mastered, on his own, from idea to completion, with an awareness gained by the process, is a well deserved reward.
Would the integrated knowledge of manufacturing limit the maker’s imagination (because he early integrates fabrication constraints in his design process), or would he invent at both stages of concept and fabrication by creating new machines and processes? In this exhibition, representing the avantgarde maker movement in Lebanon, confirmed makers such as Karim Chaya, Guillaume Crédoz and Ahmad Khouja are joined by the younger scene: Kamal Aoun, Charbel Jreijini and Hadil Ankouny.
Visit the Website: http://www.beirutmakers.com
BERNHARD HOPFENGÄRTNER - Art and Design can contribute to a broader discourse in a way that is not accessible by purely analytical means.
I observe scientific concepts and ideas, current technical developments and cultural phenomena. My interest lies in the interdependencies of these fields and the spaces of possibility spanning between them.
My work is about designing in these spaces by creating tangible and more or less concrete artifacts: stories, videos and objects. By imagining the possible, the speculative, the non-existent (to quote an old industrial band: what is, is, what is not, is possible), Art and Design can contribute to a broader discourse in a way that is not accessible by purely analytical means.
I'm interested in Design as an interdisciplinary intermediary, placed in-between natural science, engineering, cultural and media theory and everyday-life. My work has been exhibited, among others, at the Wellcome Trust in London, the MoMA in New York and the National Museum of China in Beijing. Parallel to my own artistic and design practise, I have worked as a lecturer at the Bauhaus-University Weimar, at F-A-S-T, an interdisciplinary Art, Science and Technology Program, a cooperation of the Academy of Fine Arts in Dresden with the Technical University Dresden and the Dresden University of Technology and Economics. Currently I teach at the Academy of Media Arts Cologne. I live in Bonn.
Visit the Website: http://berndhopfengaertner.net
After studying industrial design, communication design and book art in Halle and Florence, Amelie worked for Studio Marije Vogelzang in the Netherlands. During her studies she developed a strong interest in design fiction and critical design. She has co-organized several events concerning internet culture and surveillance. She is interested in the potential of of the unfinished and in how fiction shapes reality. Amelie is currently teaching at Burg Giebichenstein University of Art and Design in Halle, Germany.
Visit the Website: https://ameliegoldfuss.com
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
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
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
muller van SEvEREN - to just create and live, and certainly not for the sake of becoming a name to look out for.
With both Fien Muller and Hannes Van Severen being artists, it’s natural that the collection sits somewhere between design and art – it’s obviously ‘furniture’ but the emphasis is not completely concentrated on function and suggests different ways of living and use of space… an uncanny twist on universal forms. Fien Muller’s photography is suggestive of someone who considers everything in her daily life to be up for participation in the theatre of her compositions – whether choosing her characters from the woodpile, scavenging Hannes’ offcuts or realising the sculptural aspect of a skinned eel, nothing escapes the pot. It seems it’s not so much the qualities of an individual object that are important, but what happens when that object is introduced to another. Her sense of colour is extraordinary in the same way, with quite odd combinations – sometimes subtle, sometimes glaringly opposing, but always with a harmonious result.
Fien’s interest in the material is also apparent in her art works, as below with the contrast in texture of the hand chopped wood and the plastic wood effect. It’s not necessary to ask why she has selected these elements to sit together but these incongruous objects are somehow compatible and appropriate. The work of Hannes is often the other way around – with the familiar becoming absurd, in the sense that it loses it’s function and turns irrational. A staircase laid on its side goes nowhere and a closet run through the circular saw loses its balance. The everyday is turned on its head and apparent function negated. The inspiration of their art world is readily seen in the furniture collection with forms reminiscent of Donald Judd or Sol Lewitt but with the humour that comes with collaborations such as that of Fischli & Weiss, who also created from the commonplace and familiar.
There is wit in both artists’ work which follows into their furniture collection – two shelving units become entangled and inseperable, two people are forced into conversation by a double seat or the colour range might be dependent on the health and safety colour-coding of a chopping board manufacturer. Its hard to not be reminded of the self-taught, experimental and collaborative Jean Prouvé, who also didn’t work within the constraints of a particular discipline. The feeling you get is of the creators living their lives with the ‘work’ being an equal and necessary aspect of human existence alongside sitting, eating, reading, talking… The Muller Van Severen collection invites participation – the chopping boards and trivets are wall sculptures that adapt to a functional role and change in appearance with use; the double facing seat only achieves its potential with use – two people engaging and perhaps forming new ideas, flirting or just sharing a bit of banter. In this instance, the process of ‘designing’ appears to be more like a conversation and an evolution of ideas, with one finished product inspiring the next – hence the collection working so well as a whole.
Working as a duo obviates the individual ego all too prevalent in both the design and art world and allows each object to just exist. The distinction between art and design narrows when the intention of the creators is not to produce one or the other, but to just create and live, and certainly not for the sake of becoming a name to look out for… although, whether through choice or not, this has become the case for both Fien Muller and Hannes Van Severen.
Visit the Website: www.mullervanseveren.be
Superflux - work that navigates the entangled wilderness of our technology, politics, culture, and environment.
Superflux create worlds, stories, and tools that provoke and inspire us to engage with the precarity of our rapidly changing world.
Founded by Anab Jain and Jon Ardern in 2009, the Anglo-Indian studio’s early work brought speculative design approaches to new audiences, working for some of the world’s biggest like Microsoft Research, Sony, Samsung and Nokia, and exhibiting work at MoMA New York, the National Museum of China, and the V&A in London.
Over the years, the studio has gained critical acclaim for producing work that navigates the entangled wilderness of our technology, politics, culture, and environment to imagine new ways of seeing, being, and acting. The studio’s partners and clients continue to grow, and include Government of UAE, Innovate UK, Cabinet Office UK, UNDP, Future Cities Catapult, and Forum for the Future.
Visit the Website: www.superflux.in
The Nest collection is as unrestrained as most work from Swedish design studio Form Us With Love, presenting a reversed silhouette—a club chair on a slim structure. The Nest collection demonstrates an exceptional capacity from Danish design company +Halle, manifested in chairs and sofas turned into elevated—yet sheltering—seat of decency.
The series provides an unpronounced divider to the traditional lounge area, by simply creating layers of both high and low seating. The heights offers a sense of privacy, whilst maintaining the comfort of a relaxed armchair.
‘With Nest, you can create a perfect room-in-a-room feeling without having to add traditional tall room dividers or high back sofas. When first installed it was evident that people were sitting next to each other—at different levels—without being affected by their neighbors. With a minimal expression, the Nest Collection, keeps the room open in a new way,’ says Martin Halle, Brand and communication director at +Halle.
Fascinated by the typologies of pedestals, such as the Umpire’s chair on a tennis court, Form Us With Love has experimented with a lofty landscape, adding the element of dignity and softness to a seat with a view.
‘Our ideas of different height layers led, as they often do, into deeper research. We analysed the activities and behaviours of a public spaces, and the upholstered furniture vs. bar stool seating scenario. Instead of putting the two characteristics next to one another, we merged them—creating a tall vertical Nest,’ says John Löfgren, Creative Director at Form Us With Love.
‘We believe that a comfortable high seat is an interesting addition, providing the opportunity to sit longer at a tall table. The skilled craftsmen at +Halle understood the importance of very small details and soon we were deeply entwined in a brilliant design dialogue,’ says Jonas Pettersson, CEO at Form Us With Love.
‘The challenge with the Nest range was the balance between the seat and legs. The importance was adding steadiness, to an elegant, high piece of furniture. Our hard work paid off, producing a durable collection without compromising the sleekness of the reversed figure,’ says Martin Halle, Brand and communication director at +Halle.
The fluid intersection of the seat and the backrest in the Nest collection is about quality and durability, demonstrating the skills on offer in +Halle’s factory.
‘Design shouldn’t be put on a pedestal necessarily, but we thought the idea of celebrating real craft was worth lifting,’ Halle concludes.
+Halle is a Danish high quality contract furniture brand, which develops and produces furniture for institutions, airports, offices, and other public spaces. No matter the location, the job at hand remains—giving humanity a chance to take a break. During the past few years +Halle has delivered furniture to companies like BIG Architects, MoMA, Google, Facebook, Erste Bank, Microsoft, and several airports worldwide.
Visit the Website: www.plushalle.com
atelier oï - the apparition of emotions and of a contemplative mind frame are part of our creative process and approach.
atelier oï’s creations, always elegant and coherently conceived, express the desire for a harmonic and natural unity. They epitomize a “ po-ethic ” vision of creativity, to bring the individual closer to the elements, to nature, to the material and to emotions.
A rich spectrum of inspiration and different elements support the creative process: music, colours, light, scents and movement. Moreover, there is the possibility of drastically changing a perspective, of making unexpected use of a given shape, of venturing towards the thousands of facets of materials ...
The final purpose being to create a sense of pleasure and “ levitas ” by carefully addressing individual needs. Purist, minimalistic and always skilfully realised according to the most rigorous standards, atelier oï ’screations seduce by arousing emotions, memory, senses and conscience.
Visit the Website: www.atelier-oi.ch
Inspired by the glow of history, Woogmaster Studio founder Alex Woogmaster passionately designs objects and spaces meant to invoke the past. His studio work is informed by the intrigue, grandeur, and subtle magic of great historic Architecture and Design examples, often through his own personal experiences. Alex works to provide concepts that imbue the simplified needs of contemporary life with classic moments, and to bring beauty and nostalgia into modern environments.
Tradition and Play.
Alex’s designs for interior spaces and furnishings begin with traditional roots, paying homage to the uses, means, and methods of days past. His concepts are often sparked by small details in a much larger design environment, which he explores and elaborates through hand drawing. He discovers still more through freehand fantasy drawings, in which he experiments with ideas of proportion, balance, detail, and mystery. “I dissolve when I draw,” Alex says. “The most elusive, intuitive lessons of design reveal themselves when I allow myself to play, meditate, and receive what the hand, pen, and paper have to share.”
Elements of a Complete Identity.
Alex Woogmaster’s sketchbooks are full of ideas inspired by the palaces and monuments of bygone eras. He is captivated by moments of Procession and Ceremony, and seeks to reinterpret the magic of historic gardens, loggias, foyers, and grand salons into modern contexts. From large to small scale, Alex’s designs are meant to transport the viewer, and are meant to be as much singular works of art as they are to contribute to the larger environments that he envisions during the product’s design process.
The first Woogmaster Studio products to reach the market are mirrors for master frame makers Munnworks. Other products in development include collections for lighting and furniture.
Alex Woogmaster trained as an architect at Cornell University, where he was challenged to master modern design-thinking, while nurturing his lifelong passion for historic design. Time spent in Rome, both during school and after, further fueled his desire to understand the nature of majestic architecture, and led him to Las Vegas where he now helps formulate design concepts for the award-winning Wynn Resorts. Alex is captivated by the effects that the built environment have upon the individual, and continues to devote great attention to the study of architectural and design masterpieces.
Visit the Website: www.woogmasterstudio.com
South African designer Haldane Martin founded his eponymous design studio in 2002 to create iconic furniture designs and later interior spaces with a powerful sense of identity and conceptual depth.
As a designer he has been instrumental in the emergence of a new South African design language and identity, both in his early signature furniture designs and more recent commercial interiors that contribute towards the evolution of culture.
Early works such as the iconic Songololo sofa and Zulu Mama chair were groundbreaking South African designs that seamlessly integrate indigenous craft, sustainability, cultural identity, biomimicry, geometry and digital design, becoming highly sought after by design collectors worldwide.
The studio’s more recent high-concept interior design work has garnered global attention. Haldane Martin works together with commercial brands to create extraordinary spaces. Transforming concepts that capture the essence of a brand into innovative interiors with unique character, original furniture designs and custom fittings, each interior manifests the brand’s identity in a physical, three-dimensional form.
Haldane Martin’s first large-scale commercial project, Truth Coffee’s steampunk-inspired HQ in Cape Town, was named “world’s best coffee shop” by MSN Travel in 2013 and The Telegraph UK in 2015, and won the Gold Loerie for interior design that year. This concept interior with its unique bespoke elements is exemplary of the studio’s ability to tap into the essence of the client’s brand identity and express it through objects and space in an iconic way.
Visit the Website: www.haldanemartin.co.za
In 2010 we started to create our history by designing your home experience with upholstered furniture. Our beginning leads to the manufacturing facilities near Zagreb (Croatia), where knowledge and technology meet. From there, we are grateful to join your home stories, always exploring new ways in design, inspired by everyday life.
Our vision is to create upholstered furniture that will enrich your everyday home interactions. The form of our products thus follows its function, while we treat aesthetics as an essential human need. Last but not least, we don't forget to include a reasonable price tag, so as to provide you with affordable design.
Prostoria pursues quality and long-term profitabile business growth in an ethical, financial, responsible and sustainable manner. We are dedicated to reflect these vaules in our products that are meant for long-term use. Actually, while we research, design and communicate, we have the home experience of our users in mind. At Prostoria, people are creating for people, researching, exchanging ideas and knowledge of craft, employing technology and materials – all this to express the passion and the heritage of each of us.
We are shaped by rich contrasts, by mediterranean sensuality that meets continental rationality. We endulge in sharing our stories while sitting on warm rocks by the sea, in open spaces, business lounges, mountain cottages, and especially in living rooms that turn into havens of sleep. Somehow, our urban living spaces are often small, and thus a good mirror of our constant absence of time, although we learned how to make the most of it and take the time to interact with family and friends. Besides, we all remember where we were sitting and how well we were sleeping in those moments while our personal stories were happening. Sofas are our tablets of personal history. Share it, while living and sleeping, because Sleeping is also Living.
Visit the Website: www.prostoria.eu
Established in 2004, SWDO is an international multi-disciplinary design office based in Brussels, Belgium. Focus is given to product and furniture, as well as installation and exhibition design and creative direction.
SWDO collaborates internationally with clients such as Ligne Roset (FR), Hay (DK), Menu (DK), Stattmann Neue Moebel (DE), Karimoku New Standard (JP), Hem (SE), amongst others.
The office has been granted some of the most highly considered awards including several iF Awards and Red Dot “Best of the Best” Awards in Product Design. In 2009, the TORCH light collection was nominated Best in Lighting and Overall Best Product of the Year at the UK Grand Designs Awards. Other products have been acquired by international museums, integrating their permanent collections and archives. In 2009, Sylvain was named Belgian Designer of the Year.
SWDO is a team of four, comprising of Sylvain Willenz, head of Design, one office administrator and two design assistants.
In parallel, the office runs its own online platform, SYLVAIN WILLENZ SHOP. The particularity of the store is that it houses only and most products designed by the office. The store delivers products worldwide, to individual clients and architects.
Visit the Website: www.sylvainwillenz.com
Design Objective: To realize an idea or a need in product.
Its expertise in design and production enables the project owner to obtain a product optimized for the manufacturing cost, targeted for a precise and original "market" in order to distinguish itself from the existing competition and develop the brand image of The company.
Objective: To develop a brand / brand / business through creation. Ensure and develop the brand image. Thanks to his knowledge of "markets", distributions and manufacturing, Olivier Toulouse accompanies the company to consolidate and develop the brand image. Its role is to (re) define the DNA of the company or the brand and to ensure its consistency with the collections and the different sectors of communication. The values of the brand also pass through the product.
Why use O TOULOUSE Design?
Whether it is to create or develop a brand or a company, or to design a specific product, Olivier Toulouse will accompany you in making the project a professional and efficient way. The ultimate goal is to develop the brand image and the company's turnover thanks to the work of creation and consistency between the DNA and the product.
Visit the website: www.otoulousedesign.com
Nicolas le Moigne’s designs are a celebration of juxtaposition. They show an understanding of, and capacity for, complexity and contrast: seemingly fragile yet resilient, at once artisanal yet also industrial, assuredly sophisticated yet without guile. Like a master swordsman he parries and ripostes between opposing materials, forms and conventions to produce designs that are rigorous and balanced.
This equanimity has brought the Swiss designer, a professor at ECAL/University of art and design Lausanne, to the attention of both manufacturers and design galleries alike. Working between industrial companies such as Eternit or Atelier Pfister and galleries in London, Paris, Berlin or Mexico, le Moigne’s dexterous approach is an elegant counterpoint to the chaos of a supersaturated design culture.
Visit the website: www.nicolaslemoigne.ch
Giving people a small ” ! ” moment.
There are so many small ” ! ” moments hidden in our everyday.
But we don’t recognize them.
and even when we do recognize them,we tend to unconsciously reset our
minds and forget what we’ve seen.
But we believe these small ” ! ” moments are what make our days so
interesting, so rich.
That’s why we want to reconstitute the everyday by collecting and
reshaping them into something that’s easy to understand.
We’d like the people who’ve encountered nendo’s designs to feel these
small ” ! ” moments intuitively.
That’s nendo’s job.
Visit the website: www.nendo.jp
Born in 1967. Established Tokujin Yoshioka Inc. in 2000. His works, which transcend the boundaries of product design, architecture, and exhibition installation, are highly evaluated also as art.
His representative works include the paper chair “Honey-pop”, “PANE chair”, "VENUS - Natural crystal chair”, Swarovski Crystal Palace “STARDUST” “Stellar”, YAMAGIWA’s lighting “TōFU” “Tear Drop”, and “MEDIA SKIN” "X-RAY" for au design project.
"Water Block", a representative work of optical glass projects started since 2002, is permanently exhibited in Musée d'Orsay, Paris.
As some of the other important works, he designed the SWAROVSKI’s flagship store in Ginza and a number of boutiques for ISSEY MIYAKE. He has collaborated with various leading companies such as Hermès, BMW, MOROSO, TOYOTA, LEXUS.
He also directed exhibition such as "Second Nature" at 21_21 DESIGN SIGHT in 2008, and Cartier’s special exhibition "Story of . . ." - Memories of Cartier creations (2009), and "Cartier Time Art" (2011).
Many of his works are displayed as a part of permanent collections in the world’s well-known museums including Museum of Modern Art (MoMA) in New York, Centre National d’Art et de Culture Georges Pompidou, Victoria and Albert Museum, Cooper Hewitt National Design Museum and Vitra Design Museum.
He received prizes such as “Mainichi Design Award, 2001”, “Cultural Affairs Section of Government of Japan, Encourage Prize, 2006”, “Design Miami, Designer of the Year, 2007”, “Elle Deco International Design Awards (EDIDA)/ Designer of the Year 2009”, "TOKYO Design & Art ENVIROMENTAL AWARDS / Artist of the Year 2010", "A&W Architektur & Wohnen/Designer of the Year 2011", and "Maison & Objet/ Creator of the Year 2012".
His books are “TOKUJIN DESIGN” (Gap Publication), “Tokujin Yoshioka Design” (Phaidon Press), “Invisible Forms” (Access Publishing), “TOKUJIN YOSHIOKA” (Rizzoli International Publications ). Appeared in television broadcaster TBS’s documentary program, “Jonetsu Tairiku” and selected by the Japanese edition of Newsweek as one of the “100 most respected Japanese by the world," and "The 100 Most Creative People in Business 2010" by Fast Company magazine in America.
Visit the website: www.tokujin.com
R255 by Zsuzsanna Horvath and Ariane Relander
material: stainless steel, plywood
dimensions: H 800 W 560 D 660 mm
R255 easy chair carries a strong graphic and minimal aesthetic which took shape in the research of a sharp geometric profile and a hypnotic identity.
The chair, made of 9 mm thick plywood molded in the most minimal yet poetic way, welcomes the body in a comfortable lay-back position. The bright, primary red elevates the chair to an abstract and mesmerizing composition, where the thin black lines of the frame finish the elegant drawing.
Sila was exhibited at the Greenhouse in Stockholm Furniture Fair 2017 and published on Trendland, Yellowtrace and Dívány.
Photography by Ville Vappula
Visit the website: http://www.zsuzsannahorvath.com
WHAT IS 24° STUDIO.
24° Studio is a multidisciplinary design practice founded in 2008 by Fumio Hirakawa and Marina Topunova. Our works range in scale from architecture, interiors, installations, lighting and furniture design with a strong implementation of computational design and digital craftsmanship. Our designs integrate multiple perspectives through interdisciplinary collaborations leading to exciting and innovative applications for clients and end-users. We believe in hands-on approach in design process to understand problems in multiple scales and test ideas immediately.
24° Studio currently operates in Kobe City of Kansai area, Japan. Kobe is a picturesque city edged between mountains and the ocean. Our partnership with nature have established gradually and naturally by us cordially accepting our present surroundings and transcribing our awe of nature into our design works. In our studio, we investigate many means to bring nature into our daily life and thus we operate under the theme of “Living with Nature”. Our design process implements a strong connection between digital and analog methodology, and haptic experience that enriches our lives.
WHAT WE DO.
Our expertise ranges in various design areas including Architecture/Interior Design, Furniture/Product Design, Manufacturing/Fabrication, Graphics, Research, and Design Consulting.
We work within Japan as well as internationally. Please feel free to contact us.
Visit the website: www.24d-studio.com
Five pieces of bent wood make up the unique profile of Post Mundus, the chair designed by Martino Gamper that plays on the iconic lines of the historic Austrian brand. Irony and lightness transform the legs and the back into symmetric elements that are in constant dialogue with tradition: toying with mirrors multiplies the forms, evoking a visual ‘echo’ that magically enhances the bent wood.
Martino Gamper (b. 1971, Merano, Italy) lives and works in London. Starting as an apprentice with a furniture maker in Merano, Gamper went on to study sculpture under Michelangelo Pistoletto at the Academy of Fine Arts, Vienna. He completed a Masters in 2000 from the Royal College of Art, London, where he studied under Ron Arad.
Working across design and art venues, Martino Gamper engages in a variety of projects from exhibition design, interior design, one-off commissions and the design of mass-produced products for the cutting edge of the international furniture industry.
Gamper has presented his works and projects internationally, selected exhibitions and commissions include: ‘design is a state of mind’, Serpentine Sackler Gallery, London (2014); ‘Period Room’, Palais De Tokyo, Paris (2014); ’Tu casa, mi casa’, The Modern Institute, Glasgow (2013); ‘Bench Years’, London Design Festival commission, V&A Museum, London (2012);ʻGesamtkunsthandwerk’ (Karl Fritsch, Martino Gamper and Francis Upritchard), Govett-Brewster Art Gallery, New Plymouth – New Zealand (2011); Project for Café Charlottenborg, Kunsthal Charlottenborg, Copenhage (2011); ‘Bench to Bench’, public street furniture in East London in collaboration with LTGDC (2011); ‘100 chairs in 100 Days’, 5 Cromwell Place, London (2007); ‘Wouldn’t it be Nice…Wishful thinking in Art & Designʼ, Centre dʼ Art Contemporain, Genève (2007). Gamper was the recipient of the Moroso Award for Contemporary Art in 2011, and the Brit Insurance Designs of the Year, Furniture Award in 2008 for his project ‘100 Chairs in 100 days’.
Visit the website: www.martinogamper.com