It goes without saying that when a product as physically and visually slight as the Kartell Louis Ghost Chair manages to carry enough aesthetic weight to be declared a modern day icon, a few things had to go exactly right.
Foremost amongst which, of course, was the brilliant dovetailing of technology and imagination, namely Kartell’s ongoing experimentation with plastics and Philippe Starck’s audacious remaking of an 18th Century design. Still, only a shaman could have foreseen the rapturous 2002 reception accorded the transparent, vaguely Baroque, but decidedly 21st Century Louis Ghost Chair.
Here was a product with the distinct, ethereal form to be simultaneously barely-there and a major presence; an object with the chameleon-like ability to seamlessly adapt to any environment—be it opera house, city sidewalk, or beach—without ever losing its sense of self. It was clear, from the start, that a chair this iconoclastic had something beyond technology and imagination on its side—something that could only be described as magic.
While out on a walk in the wilderness of northern Minnesota, craftsman Kent Hering came up with the brilliant idea for the Stainless Steel Camp Stove. Instead of continuing to use gas stoves while out camping, he wanted something that was easier to use and that was American-made.
This stove is all-season, efficient, collapsible, lightweight, and easy to assemble in just a few second flat. If that wasn’t enough, it looks pretty darn good!
It’s made up of 4 laser-cut pieces of stainless steel that form a secure and durable stove. Once you’ve got it assembled, put some wood in the firebox and light it up. The stove also has an alcohol canister that can be used to light fires.
Kaufmann Mercantile sells these modern camp stoves for just 59 bucks, with 10% of the profits going to environmental initiatives. The Boy Scout in me is craving this stove bad.
From the architect. If one had to describe the relationship between Venetian designer Luca Nichetto and the Tales enterprise in only one word, it would be “emotion.” What brought these two lovers of design together is nothing short of a cocktail of right timing, trust, a twist of luck, and the mutual notion that emotion is at the core of design.
The Tales Pavilion came into being through a creative process inclusive of both design and enterprise. Nichetto developed the façade of the pavilion by converting 1,200 pieces of brass tubes into “grass leaves” that camouflage the entire structure. The “brass leaves” oxidize and change color naturally with the passing of the seasons, merging with the natural scenery of the Beijing Lido Garden and giving a sense of life to the pavilion. The architectural design is Nichetto’s depiction of the young and avant-garde Tales, which, much like grass, is free, natural, and full of life with a grand desire of growing.
For the interior design, Nichetto divided the pavilion into 6 impeccably delineated volumes, using different materials and colors to accentuate the outlines.
Organized across multiple gradients of light, all these areas create a sense of micro-urbanity, encouraging interaction between visitors and lovers of design alike. World renowned brands Foscarini, Diesel with Foscarini, Ibride, Petite Friture, Diamantini & Domeniconi and Seletti, will give life to the exhibitions and inner corridors of the pavilion with their story-telling design projects.
The goal of the Tales Pavilion is to establish itself as a design stage of international significance. The pavilion will become a dynamic and vibrant new complex for excellence in design. Tales’ philosophy of “story-telling design,” in unison with its acute attention in selecting collaborators and brands, perfectly suited Nichetto’s innovative approach to design and vice versa. In the words of Tales Co-founder and Creative Director, Terence Yeung, “It all came down to a matter of trust and good feeling,” how it all came to be was “like a natural connection.”
The New York Times has published “A Short History of the Highrise” – an interactive documentary that explores the 2,500-year global history of vertical living and issues of social equality in an increasingly urbanized world. Organized in four short films – “Mud,” “Concrete,” “Glass,” and “Home” – viewers are given the option to “dig deeper” into each subject and explore additional archival material while viewing the film. Check out the film here.
Young German Designer Meike Harde has designed a textile furniture series called London that consists of a wardrobe, a cabinet as well as a bag-like storage object and a stool.
Using textiles instead of the typical materials that storage cabinets are made of, such as wood, Harde seeks to prove that textiles can still perform the same function of wood, such as protection from sun, dust, etc except give a more lightweight and mobile feeling.
In September 2012, the Haitian Ministry of Economy and Finance called for the reconstruction of the hospital of the State University of Haiti, a medical facility located in the heart of Port-au-Prince that has been operating in ruins since the 2010 earthquake. After the Ministry received large development grants from the US and France, the challenge for designers was to create an earthquake resistant hospital within the $48 million budget, while also phasing the construction to maintain an operational capacity of 500 beds. MASS Design Group was one of the design teams to come up with such a proposal.
For the team’s project description, read on.
MASS Design Group prepared its proposal as part of a design-build collaboration with Edgewater Construction, Degenkolb Engineers, and Mazzetti. Responding directly to the prohibitive expense of seismically-resistant design, the team proposed to consolidate the 19,800 m2 hospital on a single base-isolated foundation. By building on top of base-isolators, the hospital could follow relatively simple construction practices, reducing costs while being more inclusive of local labor.
Beyond the practical benefits of base isolation, the hospital would act as a prototype for innovation in the reconstruction of Port-au-Prince. While many Haitians are still hesitant to build multi-story buildings, the hospital’s anti-seismic technology would be displayed as a combination of international and local Haitian expertise.
In addition to saving cost, the consolidated proposal would produce several urban and environmental advantages. From an urban perspective, building up presents a valuable model for strategic density in a city known for sprawl, freeing up valuable public space while giving an iconic presence to an institution of civic magnitude. From an environmental perspective, a tall building can make better use of prevailing winds for cross ventilation, while elevating recovering patients from the smog and noise of the city.
Architects: MASS Design Group
Architect In Charge: Mass Design Group
Design Team: Michael Murphy, Alan Ricks, Sierra Bainbridge, Garret Gantner, Adam Saltzman, Robin Bankert, Patricia Gruits, James Martin
Construction: Edgewater Construction
Engineers: Degenkolb Engineers, Mazzetti
Area: 0.0 sqm
Photographs: MASS Design Group
The American Society of Landscape Architects (ASLA) recently announced the list of the 2013 ASLA professional and student winners. The ASLA Awards honor the best public places, residential designs, campuses, parks and urban planning projects from the U.S. and around the globe.