Wallpaper* News Feed http://www.wallpaper.com Design Interiors Fashion Art Lifestyle - Wallpaper* News feed EN Copyright (c) 2015 Wallpaper* <![CDATA[A new show at the Vancouver Art Gallery hints at Herzog and de Meuron's plans for the museum's future]]> http://www.wallpaper.com/architecture/a-new-show-at-the-vancouver-art-gallery-hints-at-herzog-and-de-meurons-plans-for-the-museums-future/8650 Herzog and De Meuron have a knack for designing art museums that act as catalysts for neighbourhood change. The Tate Modern and its transformation of a moribund area into the dynamic Southbank is perhaps the most famous example, but others abound. The Caixa, in Madrid for example, built on the bones of an abandoned electrical station, redynamised a street that had been previously punctuated by a petrol station, connecting it to the neighbouring Museo del Prado and creating a plaza framed by a green wall.

It's the Basel-based firm's ability to fuse the indoor and outdoor, and to approach the art museum as a public space that makes them seem an excellent fit for the design of the long awaited new Vancouver Art Gallery. Now, a new exhibition at the existing VAG called 'Material Future' is offering visitors food for thought on how the architects might transform not just the city's premiere art museum, but Vancouver itself.

For what's at stake with the new VAG, is not just a gallery with more space for the rapidly expanding collection that spans Emily Carr classics to 'Vancouver school' photoconceptualism, but the fate of a burgeoning new arts district six blocks east of its current Arthur Erickson-designed Robson Square location, in a neo-classical former courthouse.


Tentatively called the Cambie Street Grounds, the area is home to the Queen Elizabeth Theatre, the CBC HQ, a midcentury central post office as well as a new arts building housing theatre and music festival offices.

This new gallery site, which borders a bus station, an old armoury, trendy Yaletown and a drug addled Downtown Eastside, is currently being master planned by Herzog and de Meuron and so no actual design plans can be revealed until June.


On until October, the current exhibition is a bit of a tease, albeit one that is as rigorous and meticulous as the architects' design process it hopes to convey. The first room offers a history of the VAG and its previous two buildings as well as the long two-decade process leading up to the current plans. The second room features maquettes, drawings, documents and publications highlighting the firm's better known works - including the Tate, but also an intriguing design for a (currently stalled) crystalline pyramidal tower in Paris inspired by Haussmann's grid system, and a concrete and glass library in the former East Germany with a giant scarab imprinted on its back.


The last room is a dark contemplative space highlighted by a loop of slides that show a variety of the firm's public spaces that engage enthusiastically with their users. A tiny punched out window looks out onto Georgia Street, inviting the viewer to gaze out at the streetscape, and until June's big reveal, delight in imagining future design possibilities.

Vancouver Art Gallery
750 Hornby Street
Vancouver, British Columbia
Canada V6Z 2H7 

<![CDATA[Ken Okuyama makes train travel a true pleasure with Hokuriku Shinkansen]]> http://www.wallpaper.com/lifestyle/ken-okuyama-makes-train-travel-a-true-pleasure-with-hokuriku-shinkansen/8652 Access to one of Japan's most beautiful and cultural rich areas - the Hokuriku Region, which is made up of Toyama, Ishikawa and Fukui prefectures, all bordering the Sea of Japan on North-West Honshu - just got a lot better. With the Hokuriku Shinkansen having made its virgin run on 14 March 2015, the region's cultural capital of Kanazawa is now only a 2 hours and 28 minutes train ride away from Tokyo. With the addition of a luxury Gran Class above the usual business class, Green Car, travelling on the Shinkansen is now more pleasure than business.

A Gran Class ticket from Tokyo to Kanazawa (starting at 26,970JPY) comes with a spacious 45 degree reclining leather seat, reading lamp and foot rest. There are also helpful attendants ready to supply you with complimentary seasonal bento box lunches, drinks (including premium sake and sparkling umeshu plumwine) and snacks. Standard unreserved seats start at 13,600JPY.

The design of the new 7-series trains that will be running on the new tracks has been in the hands of Ken Okuyama who has designed previous Shinkansen trains for Japan Rail and also cars for Ferrari, Maserati and lately his own bespoke kode7, 8 and 9 range of cars. The exterior colour scheme is loosely Japanese in theme, with a sky blue roof and ivory white body (from traditional Japanese plaster walls) and accent copper lines along the side of the train. The Gran Class interior is kept simple but luxurious with ivory white leather seats, and wine red carpet, while the Green Car is kept in a blue two-tone more formal colour scheme.

As all the Shinkansen trains, the 7-series are optimised for speed, running at a steady 260km/h on the Hokuriku track. At this pace, the scenery outside becomes a pleasant blur of rice fields, mountains and glimpses of the Japan Sea, so sit back and relax with a cold Asahi Super Dry, like your fellow Japanese salarymen travellers. And just as you drift away, your cabin attendant will inform you that you have arrived at your destination.

<![CDATA[Two new installations at St James' quarter draw on local history]]> http://www.wallpaper.com/architecture/two-new-installations-at-st-james-quarter-draw-on-local-history/8638 London's St James's quarter has a long history of tailoring and shoe-making, and now two new thought-provoking installations there draw on this heritage. Both commissions come courtesy of the Crown Estate - the property portfolio owned by the Crown - and are an attempt to bring further design delight to a pair of recently refurbished office buildings.

Acoustitch is a bold three-dimensional wall feature in the foyer of 11 Waterloo Place, home to the National Bank of Egypt. Acoustitch's creators, architecture firm RCKa, had a depth of just 150mm to play with as the piece was to sit behind the reception desk. Although it had to be shallow, it also needed to improve the foyer's acoustics. RCKa's solution was a 3-D re-think of traditional woven fabric swatches, made of foam found in sound recording studios. The acoustic foam was cut into triangular blocks and dyed different colours including gold, pin, navy blue and grey.

Architect Dieter Kleiner explains that pinpointing the positioning of the coloured blocks was 'trial and error'. Those efforts have paid off, as viewers are treated to a variety of visual effects as they pass to and fro in front of Acoustitch.

Round the corner at 11 Charles Street is Lola Lely's Cosmology of St James's, a mobile inspired by local bootmaker John Lobb. 'I was given over their archives and re-imagined how the pieces could be worked in a different material,' says Lely. So Lobb customers Oscar Wilde and Bosie are here represented as a pair of shiny love-birds, formed from curling the template of a brogue shoe.

Meanwhile local resident Isaac Newton is represented as a rotating orbit. 'The whole piece is about the cosmos and is suspended in gravity,' says Lely. All nine satellites rotate slowly as the automatic door opens and lets outside air in. If the finer details are lost on visitors, they should soon be able to refer to a written explanation that Lely is preparing for the foyer.

<![CDATA[All aboard: an insight into the extraordinary world of superyacht design]]> http://www.wallpaper.com/lifestyle/all-aboard-an-insight-into-the-extraordinary-world-of-superyacht-design/8639 The world of superyacht design needs a good shake-up now and again. This relatively young industry sometime suffers from deep-pocketed clients not used to hearing the word 'no'. As a result, even the very best naval architects and interior designers discover their boats are shaped, steered and sculpted towards excess and ostentation thanks to the desire for biggest and best in the dockside bragging contest.

It's not all gin palace and gothic insanity. This year's Superyacht Design Symposium was sponsored by Swarovski, a sign that the industry is becoming more and more aware of the rest of the design community. Panellists included Piero Lissoni and Fredrikson Stallard, talking about what was often a very different approach to high-end design, while Swarovski commissioned American architect Greg Lynn to create a vast sail-like structure for the conference hall, as well as showing some shimmering interior finishes developed by Martin Francis, a legendary figure in the industry and former collaborator with Norman Foster and Peter Rice.

But mostly the annual get-together allows the industry to talk shop, pat backs and let their hair down in the folksy surroundings of one of Austria's finest mega-chalet resorts. Panels and workshops were convened to get a snapshot of new and future directions, while a clutch of awards - the kitschily nautical 'Neptunes' - were handed out to the best designs, inside and out, of the year at the Showboats Design Awards, the industry's Oscars.

The contemporary yacht is stuffed to bursting with new materials and new technologies, although the ends are rarely questioned. Perhaps this is just as well, as many of those lucky enough to write cheques of this size do so because they want to engage with the process and not simply turn up when everything is done. That's why a project can typically take up to five years, and billionaire-specific issues like political unrest, global market turmoil and legal shenanigans can stretch the process out to well over a decade. Nevertheless, there was something slightly masochistic about inviting Piero Lissoni to tell the assembled designers that his own clients were essentially 'victims' and that yacht designers should, in essence, try a little harder to get their own way. The laughter that followed was genuine but also slightly nervous.

The category winners trod the path between aesthetic overload and calm, contemporary modern, without ever really venturing too far into the unknown. The board was practically swept by Grace E, a handsome Picchiotti built 73m, which was considered the best looking inside and out, as well as the most environmentally friendly boat of the year. We also liked Ken Freivokh's SL Limousine, a sleek 9.6m tender, while the sailboat categories demonstrated a much-needed sense of style and grace, both in terms of naval architecture (the 46m Elfje, built by Royal Huisman and designed by Hoek Design), exterior design (Javier Jaudenes' beautiful Winwin, built by Baltic Yachts, which also rated highly with its chic, simple interior by Design Unlimited). The 40m and above category was owned by the classically styled Wisp, a traditional blue-hulled vessel (also by Hoek Design) with a richly crafted interior from Rhoades Young Design.

Perhaps it was the emphasis on packaging and space that set the sailboats apart. By way of illustration, an elderly Luca Brenta received a lifetime achievement award for a career that included a long-standing collaboration with Wally Yachts that took the aesthetic of the elegant sailboat to a whole new level. The shadow of the most world's high-profile superyacht client also fell across proceedings. Steve Jobs' Eve, a complex multi-layered collaboration still swathed in embargoes and gagging clauses, is perhaps the most radical boat design of the past few decades, yet very little is known about it outside the industry. We saw a tantalising glimpse of the interiors, and Jobs' go-to glass engineer, James O'Callaghan of Eckersley O'Callaghan, hinted at the great lengths the late Apple overlord would go to change the long-standing paradigms that shape the vast majority of superyachts. No doubt there are other clients of a similar calibre out there, building monuments to themselves under an impenetrable veil of secrecy. For now, the world of superyachts will always seem a little off kilter to the rest of the design industry, a place of intrigue, ostentation and, just occasionally, extraordinary things.

<![CDATA[Gaetano Pesce grabs our attention like never before at New York's Allouche Gallery]]> http://www.wallpaper.com/design/gaetano-pesce-grabs-our-attention-like-never-before-at-new-yorks-allouche-gallery/8651 At the ripe old age of 75, Italian architect and designer Gaetano Pesce shows no sign whatsoever of slowing down.  Now on his plate is a stunning exhibition devoted to his latest work as well as his design, drawings, signature maquettes and drawings harking back to the 1960s at the SoHo Allouche Gallery. 'Gaetano Pesce: One of a Kind Iconic Works 1967-2015' pays homage to his distinctive artistry.


'Gaetano's always been a living legend when it comes to art, architecture, design and sculpture,' says dealer Eric Allouche. 'But this new show will further cement his artistry on the global axis,' he says.


Talk about ahead of the curve oeuvre. Pesce blazed a trail in his use of foam, resin and urethane early on.  What else has been the driving force for Pesce, whose work crosses the figurative and abstraction?  'I've always believed that my art must frequently address critical issues of today,' says Pesce. Take his politically charged 1968 UP 5 + 6 Chair, which resembles a huge seated female figure chained to a ball. 'I wanted to demonstrate that women are political prisoners of men,' says Pesce. While the maquette is in foam, the full scale version in wood is also on view.


For him, nothing is cookie cutter. 'Repetition to me is boring and repressive so each example is unique,' he says.


Saturated color is another hallmark of Pesce and a sense of playfulness can be the norm. His 2006 Fish Table evidences that to perfection with the top in the shape of fish drenched in brilliant blue. Then his Fuoco Vase in searing orange and yellow resin approximates a candle dripping wax. 'Color is essential as it's so expressive of emotion,' says Pesce.


Even his lighting is revolutionary. Take his 2013 Kid Lamp with the shade alike a tangle of hair in resin.


Aside from his work in the hallowed halls of such noted museums as the Louvre, London's V & A Museum and the Metropolitan Museum of Art, A-list collectors who have plucked up his work include mega dealers Jeffrey Deitch and Adam Lindemann as well as fashion designers Domenico Dolce and Stefano Gabanna.


With the gallery opening set for this evening, Allouche expects a huge crowd. 'The exhibit will rein in entire new batches of collectors far beyond those who covet design,' he says.

115 Spring Street
New York, NY 10012

<![CDATA[Japanese photographer Momo Okabe wins Paul Huff Award]]> http://www.wallpaper.com/art/japanese-photographer-momo-okabe-wins-paul-huff-award/8649 Japanese photographer Momo Okabe has won this year’s Foam Paul Huf Award. Okabe’s prize-winning projects, Dildo and Bible, are a powerful but open-hearted portrait of the relationship between two of the photographer’s transgender lovers, Kaori and Yoko, both still undergoing surgery and treatments.

Okabe, now based in Brooklyn, was chosen from a list of 100 nominated photographers from 26 countries. She is the ninth winner of the prize, organised by the Amsterdam photography museum and awarded to photographers under 35. Previous winners include Taryn Simon, Pieter Hugo and Alex Prager.

Foam said the five person international jury were unanimous in their choice of winner. 'We were impressed by the emotional power of her projects and the extremely personal nature of her work,' the jury said. 'Momo combines tenderness with a raw intimacy which is revealed through her use of colour, variety of subjects, and sensitive handling of an important and complex social issue like transsexualism. She operates in the lineage of Japanese photography but has created and aesthetic that is entirely her own.'

<![CDATA[Maison Miu Miu: Herzog & de Meuron create a new design gem in Tokyo]]> http://www.wallpaper.com/fashion/maison-miu-miu-herzog-de-meuron-create-a-new-design-gem-in-tokyo/8648 Since construction started early last year, the new Miu Miu Aoyama store has been a well-kept secret. In fact, it spent the months running up to its inauguration completely wrapped up with only a brief note on the façade hinting to its 'Opening in March 2015'. Today the curtain was finally lifted by Herzog & de Meuron co-founder, Jacques Herzog, and a few of his key staff.

Located diagonally across from the iconic Prada Tokyo Epicenter building, completed more than 10 years ago also by Herzog & De Meuron, the architects felt the pressure to come up with something truly remarkable right from their first meeting with Miuccia Prada two and a half year ago. Stefan Marbach, senior partner at Herzog & De Meuron explains: 'We first started out trying to do something similar to the Prada building, but quickly realised we in fact had to do something completely different.' While the owner might be the same, the brands are quite different, and the Miu Miu project's modest site restrictions were also worlds apart from the more generous Prada site.

With a footprint of just over 250 sq m and local building code limiting the height to two storeys, the Miu Miu store is a simple stainless steel box with two flaps opening up the building at the front and back - a defining element for the design. While the back one goes all the way down to the street, the front one stops at about two metres above ground, creating a canopy that allows visitors to enter the building through a large central double door. A meticulously punched copper panel covers the inner wall of both vertical elements. Depending on season, time of the day and weather, this reflects the sunlight in a different way, resulting in an ever-changing feel inside. 

Everything in the store has been custom designed and much care has been given to the details. A/C outlets are concealed within the floor with 10mm holes drilled in a decorative pattern to let out cool air. LED lighting is hidden within the copper tubes holding up the product display shelves. Copper is in fact a recurring element, appearing everywhere, from the legs of the bespoke furniture, hangers, handrails and the elegantly designed Plexiglas shelving units. The Prada building across the street may be immediately striking in its tall, pure architectural form and pattern, but the Miu Miu store has a style all its own.

Miu Miu
3-17-8, Minami Aoyama
Minato-Ku, Tokyo


<![CDATA[Modern mews: ODOS Architects create a trio of luxury homes in Ireland]]> http://www.wallpaper.com/architecture/modern-mews-odos-architects-create-a-trio-of-luxury-homes-in-ireland/8647 Slotting in a trio of luxury family homes - each equipped with garage, three bedrooms, ample living space and two distinct outdoor areas - into a site of just under 300sqm, required careful planning and intelligent design solutions by award-winning Irish architects ODOS. The stylish properties at One Percy Lane occupy what once was a car park, conveniently close to the Grand Canal in central Dublin.

Take an interactive tour of One Percy Lane

In stark contrast to the surrounding area's Georgian and Victorian properties, ODOS opted for a modern design in metal, creating a short row of terraces, which read as a robust single volume. The three-storey height is tempered slightly by a gentle roof curve and the striking black zinc clad exterior is one of the project's most defining features, capturing an aesthetic which harks back to the traditional corrugated iron barn. While the sturdy construction is made of a structural amalgamation of concrete blockwork and steel framework, the interiors are light and airy in comparison. Cool white walls and overhead openings stream light down to the middle floor with the help of a top floor setback and the reflective curved ceiling.

Extensive full height glazing to the front of the property allows further daylight to pour in. This is softened by an arrangement of powder coated metal fins on the façade, which were formed from industrial flooring planks. This external device delivers privacy to the homeowners, whilst generating visual interest to the front elevation. The striped pattern of the exterior continues inside, with evenly spaced recessed strip lighting rising vertically along corridors, and an intriguing slotted partition beside the solid concrete stair, casting a barcode of shadows onto the opposite wall. A minimalist grayscale interior supports a sophisticated living environment, featuring sleek polished worktops of Calacatta marble, and a mixture of poured concrete and Oak Fendi Herringbone hard wood flooring.

Whilst asserting a strong architectural aesthetic, One Percy Lane also manages to be very environmentally conscious, combining zone controlled underfloor heating, photovoltaics, and triple glazed Reynaers windows to prevent heat loss over extensive glass surfaces.

<![CDATA[Baselworld 2015: as the battle of the smartwatches commences, here?s our connected watch update]]> http://www.wallpaper.com/watches-jewellery/baselworld-2015-as-the-battle-of-the-smartwatches-commences-heres-our-connected-watch-update/8645  


Watches & Jewellery
<![CDATA[Trauma and tranquility: Anish Kapoor and minimalist Lee Ufan take over London's Lisson Gallery]]> http://www.wallpaper.com/art/trauma-and-tranquility-anish-kapoor-and-minimalist-lee-ufan-take-over-londons-lisson-gallery/8644 An impressive double header opened at London's Lisson Gallery yesterday with new shows from Anish Kapoor and Korean minimalist Lee Ufan.

More than thirty years on from his first exhibition at the gallery, Kapoor presents new giant resin and silicon pieces - not for the squeamish - that blur the boundary between sculpture and painting and look, as much as anything, like panels of mangled, torn and charred flesh; tortured lumps of fat and sinew that lurch out of the wall at you (though recalling at once Rembrandt in their very fleshiness, Bacon in their horror-movie punch and Kapoor's own explosive red wax works). These pieces are not traumatic, they are trauma.

He has been developing these visceral shockers for the last 18 months. And as much as Kapoor has long insisted that he is a painter who is sculptor, as if in trying to do one thing he ended up doing another, they feel like the work of a different artist. Different from the Kapoor of Chicago's Cloud Gate, or the 'Bean' as it has been affectionately tagged. This was a kind of crowd-pleasing minimalism that left you feeling cleaner and calmer after viewing, but now it's as if Sigur Rós has started playing Death Metal.

The odd thing is that becalming, purifying Kapoor is also here in shiny pure shapes and a lovely, almost confectionary pink onyx ovoid. These pieces are also organic and bodily in their way, but womby. As with much of Kapoor's work, they suck you in and spin you round, but in a good way.

Ufan meanwhile is a less-is-more minimalist proper. He helped establish the Mona-Ha movement in Japan in the 1960s, where he is best known, but recent shows at Versailles and the Guggenheim mothership in New York have bolstered his international reputation.

Ufan has created what the Lisson calls a 'quasi-sacred' space to house these new works; an effort, the artist says, to 'lead people's eyes to emptiness and turn their eyes to silence'. Here he has installed four large paintings - carefully composed sweeps of a single colour. In another area a large rock talks, somehow, to a large blank canvas. He is concerned with this kind of material connection. In the gallery's interior courtyard he has set a large rock onto a sheet of glass, a reflective pond that holds steady. 'My work is interior and exterior,' Lee has said, 'interrelating objects and finding the coherences and harmonies'. They are then a pointed contrast to Kapoor's new found dissonance.

Lisson Gallery
27 & 52 Bell Street

<![CDATA[Designs of the Year 2015: what the past year of design has brought the world]]> http://www.wallpaper.com/design/designs-of-the-year-2015-what-the-past-year-of-design-has-brought-the-world/8643 They say it's not the winning, but the taking part that counts. Nowhere is this old adage more apt than at the 8th Designs of the Year exhibition at London's Design Museum - a cornucopia of the best design of the last 12 months.

Somehow, despite a leaderboard looming large on the wall and number of big hitter nominees - Frank Gehry, Tesla, Raf Simons - this exhibition, deftly curated by Gemma Curtin, is more playground than battlefield, albeit with a social conscience (think loos for communities without running water or the Waterbank campus, which harvests rainwater as well as providing a education space in Kenya).

The range of the nominees - at times overwhelming - is typical of DOTY (Curtin calls it a 'snapshot of diversity'). Where else could you find a macho machine like the BMW i8, more at home on a competition podium in Gatwick Airport, next to a kaleidoscopically-colored wooden bench by Raw Edges' Endgrain? But despite this, the reassuringly high number of young faces in the line-up serves to remind us that the award is, first and foremost, dedicated to nurturing a certain design zeitgeist - specifically that of pioneering, and often divergent, fresh talent. Marjan van Aubel, with her Current Table or Thomas Tait, with his prismatic AW13/14 collection are just two of note.

To Curtin, the most exciting aspect of this is the eclectic scope with which designers approach the ever-shifting relationship between craftsmanship and advancing technology. While some of the pieces on show actively embrace tech (the enchanting, Escher-like game Monument Valley, for instance), others have connected in different ways, notably through fundraising platforms like Kickstarter. More than five of the projects included began life on Kickstarter, including the Double O bike lights from Paul Cocksedge Studio. It's something Curtin is wholeheartedly behind. 'It's a great way of getting ideas out there and letting the public choose what's important,' she says. And that's it really. Design is here to answer our questions and solve our problems - here are 76 things that do just that.

Design Museum
Shad Thames
London SE1 2YD

<![CDATA[High sailing: unravelling the finer things in life with luxury goods giant Mr Loro Piana]]> http://www.wallpaper.com/fashion/high-sailing-unravelling-the-finer-things-in-life-with-luxury-goods-giant-mr-loro-piana/8642 With the azure waters of the Caribbean Sea winking behind him, Pier Luigi Loro Piana – a gracious, moustachioed man – seems to lead a pretty charmed life. As deputy chairman of the luxury goods and textile empire – now part of the LVMH group – that bears his surname, he has a string of homes worldwide, a loving family and is not only an accomplished yachtsman, but dabbles in a handful of equestrian sports, to boot. ‘I work hard to play hard,’ he explains. ‘I love nature, so anything like sailing, skiing or horse riding is something I have always been attracted to.'

Originating from humble beginnings in the northern Italian town of Trivero, the Loro Piana family were wool merchants in the early 19th century before the company, as it’s known today, was established in 1924. Slowly carving out a standing in high fashion, it wasn’t until Franco Loro Piana took over the helm that raw materials became the firm’s focus, in turn creating the framework for his sons, Pier Luigi and the now late Sergio to make their mark in the world of sustainable fine fabrics. In fact, the pair were so particular about sourcing the best raw materials, they even went as far as to purchase a natural reserve in the mountains of Peru to protect the vicuña, an endangered camelid – which was depleting through poaching – that yields the most precious fibre in the world.

Not stopping there, the Loro Pianas then went on to woo China and Mongolia, first by gaining access to the finest cashmere and then – after a decade of persuading the growers – by initiating baby cashmere, the harmless collection of the sparse underfleece of Hircus goat kids under the age of 12 months. ‘There is always something new about the same raw material,’ says Loro Piana. ‘Cashmere is our traditional fibre and there is always something to learn and to better,’ he continues. ‘The output of this new material can be a new product: softer, nicer, stronger, more functional and the quality more superior.’

Inevitably, in a bid to remain at the top of the game, Loro Piana is continually on the hunt for new and innovative forms of natural textiles. And high on the list is the Lotus flower fibre. Unused as a yarn in the western world, the stems of this aquatic plant – which only grows in the waters of Lake Inle in eastern Myanmar – are used to make a fine raw material that sees them first collected by hand and then once the filaments are rolled, worked with a wooden loom- all within 24 hours after picking. (6,500 stems are necessary to obtain the yarn to make a single cut length for a blazer.)

Pioneering projects aside, Loro Piana’s latest venture focuses on the attributes of the humble sheep, with the group gaining exclusive access to Australia and New Zealand’s finest offerings, which at a record-breaking 10.6 microns per fibre, is 29.4 microns less than a human hair.

The global luxury market, worth around €223bn, is flourishing. ‘I see the absolute luxury segment growing faster than the rest of the economy,’ says Loro Piana. In response, the company now has a growing product range and a coveted interiors collection that includes over 600 fabrics specially created for a range of homes from mountainside chalets to seaside lodges and of course, superyachts. There are 156 stores in locations as far flung as Azerbaijan and Kuwait, and with the participation in a host of sporting events from sailing to show-jumping and vintage car racing, it is apparent that Loro Piana is not just a brand, it is a lifestyle.

<![CDATA[The annual Serpentine Pavilion returns with a splash of colour courtesy of SelgasCano]]> http://www.wallpaper.com/architecture/the-annual-serpentine-pavilion-returns-with-a-splash-of-colour-courtesy-of-selgascano/8637 This is a landmark year for London's annual Serpentine Pavilion, as 2015 fittingly marks the announcement of the 15th design for the popular architectural summer staple. This year's colourful offering for Kensington Gardens' Serpentine Gallery comes courtesy of Spanish architecture practice SelgasCano.

Drawing inspiration by the materials that would be suitable for a Royal Park in London, Madrid-born co-directors José Selgas and Lucía Cano sought to provide an experience for the public 'through simple elements: structure, light, transparency, shadows, lightness, form, sensitivity, change, surprise, colour and materials'.

An open space sits at the heart of the pavilion. Its polygonal, fluid form is fun and inviting. Made up of translucent multi coloured fabric membrane panels, the structure is double-skinned and will allow for many different entry points for maximum flexibility of use. Visitors will duck into the structure passing through 'secret corridors' into the core of the pavilion. there, the skin's stained glass effect will create a playful environment.

The Serpentine Gallery's vibrant new pavilion will be the latest addition to a long line of exciting temporary structures by some of contemporary architecture's best names - the list includes OMA, Herzog and de Meuron, Frank Gehry and last year's architect, Chilean Smiljan Radic. 

<![CDATA[Sitting pretty: Chatsworth hosts contemporary feast of chairs inviting you to 'Make Yourself Comfortable']]> http://www.wallpaper.com/design/sitting-pretty-chatsworth-hosts-contemporary-feast-of-chairs-inviting-you-to-make-yourself-comfortable/8635 The Duke and Duchess of Devonshire are set to host yet another contemporary feast in the form of an exhibition at their stately Derbyshire home. Opening today, ‘Make yourself comfortable at Chatsworth’ presents 75 contemporary chairs, from design classics to one-off prototypes, scattered through the home’s many rooms.

Following on from Michael Craig Martin’s installation throughout the park (see W*181), this year’s temporary exhibition presents the house’s majestic rooms in a new light, creating an intriguing visual discourse throughout.

‘Through this exhibition we are trying to share with visitors our experience of the place and the reality of it,’ says Hannah Obee, who for 12 years has been working as the curator of Chatsworth. ‘It is not just a stately home, but a layered collection of contemporary arts.’ The Cavendish family has over the centuries been keen to collect contemporary art and objects, so the house’s displays range from 18th and 19th century British and French painting and frescos to a collection of paintings by Lucian Freud, site-specific installations and objects that vary from stones and quartz to contemporary ceramics.

‘This exhibition is the latest layer of this collection, and simply a continuation of what’s always happened here,’ explains Obee, noting how items that have a life in the contemporary world can also have a life inside the ancient building. Visitors will be taken through a path along the house’s rooms and encouraged to try the seating, so the exhibition’s title is a very literal invitation. The chairs are arranged to offer new perspectives on the house’s art and architecture features, an example being Thomas Heatherwick’s playful Spun chair which will allow visitors to twirl around while looking at the frescos above. 

The collections of chairs on display range from accessible furniture (Christina Halstrom’s padded stools, that you can buy from from Heal’s) to one-off prototypes (such as Marc Newson’s Lockheed Lounge, displayed alongside a state bed dating back to 1810, the most precious item of furniture belonging to the house.) It includes some personal pieces from the Duke and Duchess’ private apartment and a few chairs that were customised for the occasion.

An important element of the exhibition are the two specially-commissioned installations, which are offering a further conversation between the house and these contemporary pieces. Tom Price’s ‘Counterpart’ features two benches, one made of coal and one made of resin which has been injected with tar to create a fractured texture. The materials are direct references to the house: the coal is a tribute to the Devonshire family’s coal mines, while the resin is inspired by the vast collection of minerals and crystal that are stored at Chatsworth.

In another area of the house, designers Yael Mer and Shay Alkalay of Raw Edges took over the sculpture gallery, creating a striking installation that gives the room a new character. ‘Endgrain’ is born from the duo’s research into dying wood and veneer. ‘We thought that if water can be transferred along the grain, we can add pigment to fully paint a block of wood from within,’ they explain. They applied their colour sensibility to the recipe, creating geometric compositions of blues and reds scattered around the gallery and emerging from the parqueted floors into stools and benches. ‘We got fascinated by the idea of introducing colours to the gallery, as a background for the monochromatic qualities of the sculptures and the interior,’ they add. Their tactile showcase offers visitors new points of view to the gallery, also referencing the often overlooked pedestals made of multi-coloured stones.

‘Chatsworth needs people’ the Duke’s mother used to say – and this exhibition invites the world to come and make themselves feel right at home.

Chatsworth, Bakewell, Derbyshire DE45 1PP

<![CDATA[Perfectly imperfect: two exhibitions at Design Museum Holon celebrate the collateral damage of design]]> http://www.wallpaper.com/design/perfectly-imperfect-two-exhibitions-at-design-museum-holon-celebrate-the-collateral-damage-of-design/8636 The vermilion steel ribbons that orbit the Design Museum Holon appear to defy construction, so at odds are they to the notion of a sturdy, timeless monument. And yet today the museum is five years into its tenure as Israel's premier design showcase.

It's with a dose of compassion, then, that the museum launches its spring programme, a tribute to trial and error in design - or, if not error exactly, then the metaphorical shoulders on which some design giants now stand. Like an evolutionary museum that lures in crowds with the remains of those unfit for survival, Holon offers a riveting show of what might have been but was, alas, not.

Jerusalem-based designer Yaacov Kaufman headlines the exhibition 'Stools', hauling in 300 experiments and also-rans created over eight years. Curator Galit Gaon likens the pieces to members of a tribe, though they illustrate not a triumph but a means to one, a creative process. Each stool is a slight mutation of the last - 'like the animation produced when flipping a flip book,' says Gaon. They demonstrate the laboriousness and multidimensionality of design - particularly of an object that's so hard to get right.

Even more extensive is 'IN-Possible', co-produced by the Alessi Museum, which highlights the flawed, untouchable, extinct proposals that never reached production - let alone the immortality achieved by so many Alessi designs. Curator Francesca Appiani presents 50 doomed proposals submitted over nine decades, by designers no less talented than Patricia Urquiola, Ettore Sottsass and Alessi luminary Philippe Starck. 'They were selected from a much bigger group of equally unborn designs,' says company president Alberto Alessi, with the purpose of emphasising the eclecticism and cultural liberality of our activity as manufacturers.'

The sketches, simulations and prototypes lay bare the dialogue between designer and manufacturer up until the inevitable veto. 'Oftentimes their execution presented insurmountable difficulties, less frequently their cost was too high, sometimes our company was too timid to introduce them on the market,' says Alessi. 'But almost no design was intrinsically too weak.' Perhaps they would have made disastrous products, but the remains make excellent viewing, like a particularly unsuccessful breed of beast. They're also an excellent reminder that nobody - not even Patricia Urquiola - is perfect.

Pinkhas Eilon Street 8

<![CDATA[Saint Laurent reinstates its Left Bank legacy]]> http://www.wallpaper.com/fashion/saint-laurent-reinstates-its-left-bank-legacy/8634 As legend has it Yves Saint Laurent founded the notion of ready-to-wear in 1966 under the label Yves Saint Laurent Rive Gauche, democratising fashion at a time when the Parisian mode scene was dominated by haughty couture houses. Yet, in spite of the Parisian brand's many tries to the city's infamous bohemian enclave, it has been many moons since its headquarters last inhabited the city's Left Bank.

However, today, creative director Hedi Slimane announced that by 2018 the house's current Rive Droite headquarters will be relocated to the 7th arrondisment's 37 Rue de Bellechasse. Shot here by Slimane, the former 17th century Penthemont Cistercian Abbey, which is currently in use by the French Ministry of Defence, will house the brand's new showroom and offices spanning 9180 sq m, while the designer's studio remains in Los Angeles.

This new Paris property with join the brand's atelier within Hôtel de Sénecterre at 24 Rue de L'Universite, which moved in January last year. The restoration of this 2100 sq m site, built in 1688 by Thomas Gobert, has been overseen by Slimane in the 18th century traditional French style and hosts the house's tailoring and flou ateliers. That said there is also a strong African influence throughout, tied to its founder's exotic sphere of influence, and represented in a collection of Bamana masks and modern furniture pieces by Pierre Legrain and Deco designer Elizabeth Eyre de Lanux.

Other modernist furnishing pieces curated by Slimane include Jean-Michel Frank and Paul Dupré-Lafon, resulting in an elegantly eclectic mix of 1930s pieces within the building's grandiose, 18th century surrounds.

<![CDATA[The great outdoors: Land Rover remind us what a 4x4 is for with the new Discovery Sport]]> http://www.wallpaper.com/lifestyle/the-great-outdoors-land-rover-remind-us-what-a-4x4-is-for-with-the-new-discovery-sport/8633 Does the world need another 4x4? Do we need another Land Rover? The builders of these stalwart off-roaders seem to think so and the new Discovery Sport is the first shot in the second salvo of new models from the Midlands-based company. The Discovery Sport replaces the old Freelander, a car that could loosely be described as a 'small' SUV. Although it shares a fair amount of design language with its more upmarket Range Rover siblings, the Discovery Sport is intended as a rougher, tougher, more utilitarian piece of kit.

The new car was debuted in the wild hinterlands of western Iceland. Global car launches are usually theatrical affairs, combining fine empty roads, dramatic landscapes and a scattering of sleek hotels and coffee stops. Manufacturers are keen to showcase their new babies at their very best, so every detail is micro-managed and the opportunity for the unexpected is minimised. This isn't the case here. Land Rover's stagehands don't bother lurking in the wings, for the company's global expeditions team are a core part of every launch, tagging along in a fleet of specially modified vehicles drawn from the marque's storied past to ensure that getting stuck in snowdrifts is all part of the fun.

Even these unscheduled stops were rare. The Discovery Sport performed outstandingly, traversing great snowy swathes of the island across roads closed for the season due to the weather. Land Rover still make the world's best off-road cars and the confidence this instils is nothing short of invaluable. The Discovery Sport is intended to live a more outdoorsy life than the Range Rover range, which frequently find itself as elevated luxury transport for the urban elite, despite its river-fording, mountain-scaling skills.

At this juncture you just have to decide what means more; the Land Rover badge, or the Range Rover one. Both cars have a breadth of ability and practicality that belies their size. The Range Rover Sport is larger, thirstier and plusher. But the Land Rover - by dint of that name - gives off a more casual, utilitarian and less precious air. That will matter more to many, especially the country-dwelling customer base that brought the original Range Rover to prominence back in the 70s. It's no less chunkily handsome than its relatives, although there's a slight danger of the bleed between Land Rover and Range Rover becoming ever blurrier. By means of being newer, the interior trim, tech and gadgets are all a generation ahead as well.

The 'Sport' appellation mirrors its opposite number in the Range Rover stable, where prices are twice as high. It also signals the future arrival of a larger standalone Discovery model to replace its current namesake. That said, the new car is still a full seven-seater and offers flexibility enough for most. Other manufacturers might compete - the Audi Q5 or BMW X3 for example - but the Discovery Sport has a sense of solidity and class that transcends traditional brand one-upmanship. For its fans, for whom only a Land Rover will do, the Discovery Sport won't let them down.

<![CDATA[Spring books: leaf through the top titles]]> http://www.wallpaper.com/lifestyle/spring-books-leaf-through-the-top-titles/8632  


<![CDATA[Highlights from the creative Saint-Étienne Design Biennale 2015]]> http://www.wallpaper.com/design/highlights-from-the-creative-saint-tienne-design-biennale-2015/8612 Each year kicks off with a flurry of design fairs, from Maison et Objet to Ambiente, but none are quite like the Saint-Étienne Design Biennale. The French city offers a creative change of pace in the run-up to the Salone del Mobile (not that there isn’t great commercial design to be found at the biennale). For its ninth edition, which tackles the theme of ‘beauty’, visitors from as far away as Seoul (the Korean city is this year’s guest of honour) descended in droves to enjoy over 60 exhibitions and events.

Among the highlights at the fair’s main site, La Cité du design, designers Sam Hecht and Kim Colin of Industrial Facility step into the curator’s seat, with their poignant and convincing exploration of Beauty as Unfinished Business. Likening the tricky subjectivity of beauty to a hand drawn circle (you never arrive at the exact point you started), Hecht explained, ‘By not completing a circle, you’ve left it open and unfinished, and when it’s unfinished it allows you as a person to enter it and also leave it. It becomes more human.’ The show offers up recent pieces by the likes of Philippe Starck, Kvadrat, Laufen, Artemide and Iitala, in a meticulously illuminated setting (the duo were also responsible for the exhibition design).

Also on show at La Cité du design, Serial Beauty is a pleasingly formed collection of recent, memorable products by big-name brands and designers including Studio Job, Front, Kartell and more. Form Follows Information, meanwhile, is a surefire crowd pleaser for its sheer Instagramability, while Sam Baron taps the next wave of Europe’s design stars for his show, L’essence du beau, curating a selection of projects by fresh graduates. In the space adjacent, things take a turn for the weird, the kitsch and the grotesque at Vous avez dit bizarre? ('Did you say bizarre?').

Off-site, there's plenty to uncover among the sprawling red rooftops of Saint-Étienne – the first French city to be designated a UNESCO City of Design. The Musee d’Art et d’Industrie kicks things up a notch with a finely-tuned exhibition geared at rev heads, featuring pieces by Arik Levy, Xavier Veilhan and more. Elsewhere in the city, Ideal Lab challenged artists, designers and residents from two European, industrial port towns to explore the notion of ‘replanted identity’ – a jet-black coffee-making prototype by young Norwegian design outfit Vera & Kyte was a particular standout.

Over at the Musée de la Mine, the once-thriving heart of the city’s coal industry, Dutch-Anglo alliance Studio Glithero is presenting a new, site-specific installation. Dutch designer Dennis Parren’s trippy LED installation lights up the Salle des Pendus (or, ‘hangman’s room’, named after the miners who hung their belongings on ropes from the ceiling), while a showcase of 100 glass prototypes by various designers in the adjoining Salle de l’Énergie harnesses the site’s historic past.

Meanwhile, Korean artist Lee Bul is the subject of a retrospective at the Musee d’Art Moderne, with her first museum show since her 2007 outing at the Fondation Cartier in Paris. The museum is also showing the work of two young Korean designers, Hye-Yeon Park and Seung Yong Song. (Bonus architour points for the Jean Maneval-designed prefab prototype that sits on the front lawn of the museum).

In the nearby commune of Firminy - a short drive from Saint-Étienne - Le Corbusier's awe-inspiring Saint-Pierre church plays host to an installation by Japanese designer Yuri Suzuki. In direct response to the church's design and acoustic properties, Suzuki has created an interactive installation, entitled 'Acoustic Pavilion', exploring the relationship between space, shape and sound. Here, visitors can create their own listening device using a network of pipes and colourful conical end pieces that nod to the hues found inside the church.

La Cité du design
3 Rue Javelin Pagnon
42000 Saint-Étienne

<![CDATA[Nudity, humour and politics: Art Dubai 2015 delights and surprises]]> http://www.wallpaper.com/art/nudity-humour-and-politics-art-dubai-2015-delights-and-surprises/8631 Established as the leading art fair in the MENASA region - Middle East, North Africa, South Asia - Art Dubai pulled out all the stops in its ninth year and the numbers spoke volumes.

Under the patronage of His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice-President and Prime Minister of the UAE and ruler of Dubai, Art Dubai secured 92 galleries across 40 countries, becoming a veritable smorgasbord for art lovers and buyers alike. Other international art fairs pale in comparison to the sheer variety that was on offer, not to mention the programs integral to supporting a region that has had to create the community for Art Dubai to flourish. The art school Campus Art Dubai runs throughout the year and the Global Art Forum, which this year debated technologies and their impact on the world of art and culture, beginning in Kuwait just prior to the fair, provided a lauded academic counterpoint to the fair itself. All projects around the fair intelligently combined local and foreign artists in a feasible program that didn't feel like an afterthought. The VIP program spanned the Gulf, from major international museum shows to exclusive preview and curator-led tours of collectors' homes, artists' studios and curator-led tours. Art Dubai, frankly, is a powerhouse.

Apart from the Global Art Forum, the non-profit program also includes The Abraaj Group Art Prize, the only prize in the MENASA region awarding artists on the basis of submitted proposals to a guest curated exhibition. The prize was won by female artist Yto Barrada.

The main reason, however, for the influx of attendees to Art Week prevalent throughout the region, was the belly of the fair itself, adroitly developed over the years by Fair Director Antonia Carver and housed at Madinat Jumeirah (there were four thousand revellers on the rather heady opening night, according to ex-pat Brit Ben Floyd, CEO and founder of Art Dubai - but we could still see the art).

If censorship exists, which according to Floyd it does, then it is not too evident. There was a nude, there was humour, and there were certainly politics represented throughout the entirely international slew of galleries. One very encouraging aspect was the price point at Art Dubai. Of course there were the heavy hitters with price tags to match, but there were affordable pieces for the fledgling collector too, not always from the most obvious quarters.

One message was repeatedly clear on the ground - the juggernaut of support for the burgeoning art and design communities in the region (and the UAE in particular) is borne from a local desire to create a shift in interests, particularly among the youth. If Art Dubai can play a part in that shift, then the show is doing its job. Wasn't art always meant to be a little provocative - and often part of a movement?