Wallpaper* News Feed http://www.wallpaper.com Design Interiors Fashion Art Lifestyle - Wallpaper* News feed EN Copyright (c) 2015 Wallpaper* <![CDATA[Argentinian artist Analia Saban arrives at London's Sprüth Magers]]> http://www.wallpaper.com/art/argentinian-artist-analia-saban-arrives-at-londons-sprth-magers/8531 The Argentinian artist Analia Saban arrives at Sprüth Magers in London with a fresh recommendation from John Baldessari. Last month, the LA-art scene’s grand patriarch picked out Saban as one of city’s ten bright young things for Wallpaper*.

Saban’s new show, ‘Interiors’, talks about domestic materiality, the stuff that surrounds us, as we once had it. But Saban’s is an alternative universe where marble hangs over a sawhorse like a soggy towel (though not happily and disintegrating in the process).

Claim (from Chesterfield Sofa) is a conjoined canvas and sofa in a single benign, unthreatening beige. Art about art as interior decoration. Some things come together in this imagined house, others fall apart, or shift out of focus. In Fade Out (Bouquet of Flowers, in Ten Steps) a series of ten still lives, a line drawing of a bunch of flowers grows blurred and indistinct until it is nothing but a Rorschach test blobs, in which you may see flowers and you may not. In Bulge, a bare white canvas swells horrific or comically inflates. In Markings (from Paint Storage), the emulsion from a photograph of paints pots on shelves is scraped away but splashes across an adjacent frame.

‘Interiors’ questions material and formal logic, our preconceptions about material and form, the right thing for the job. And it makes for a shaky, shaken kind of space.

Sprüth Magers Gallery
74 Grafton Street

<![CDATA[John Baldessari's humour and work go on show at Marian Goodman Gallery]]> http://www.wallpaper.com/art/john-baldessaris-humour-and-work-go-on-show-at-marian-goodman-gallery/8530 If Ed Ruscha is the first pick LA artist, John Baldessari now runs him close. They have worked similar angles of course, smartly matching text to image often. And, as a new show at the London branch of Marian Goodman gallery proves, Baldessari can equal Ruscha for hardboiled absurdism. Ruscha is pop art’s laconic cowboy; Baldessari conceptual art’s professor of deadpan. Both are expert in playing with Hollywood grammar for profoundly comic effect.

‘Pictures and Scripts’, Baldessari’s first solo London exhibition for nearly six years, is a series of 20 new works that pair black and white - with one exception - film stills with blown up snatches of text; here imagined film scripts, often absurd and funny and mostly somehow about movies or art and the market for art.

Baldessari is an obsessive collector and cataloguer of film stills and has used them in his art for decades. He deliberately keeps sources unstated though one still here is definitely of Herbert Lom in The Pink Panther Strikes Again. The stills used in the ‘Pictures and Scripts’ series, often cropped, come with Baldessari’s occasional painted overlays, also in black or white, covering hair and hats and occasionally entire people (no trademark dots though).

Baldessari has been producing these image-text diptychs since the mid-1960s. And ‘Early Work’, showing simultaneously at Marian Goodman’s Paris outpost, takes us back to that part of the artist’s career and even includes a rare 1962 piece that survived Baldessari’s famous ceremonial cremation of 125 of his works produced between 1953 and 1966.

Marian Goodman Gallery London, 5-8 Lower John Street, London W1F 9DY www.mariangoodman

<![CDATA[Caran d'Ache celebrates its 100 anniversary with special limited edition sets]]> http://www.wallpaper.com/lifestyle/caran-dache-celebrates-its-100-anniversary-with-special-limited-edition-sets/8513 A set of coloured pencils - that transform into watercolour when dampened with a paintbrush, all wrapped up in a tin featuring a rugged snow-topped mountain - has been the most prized acquisition of any art-loving child for decades. Now its maker, Caran d'Ache, the iconic Swiss manufacturer of artist's materials, has reached its 100th year and is celebrating with a highly covetable collection of limited edition pencil and pen sets.

The company began life in Geneva as the 'Fabrique genevoise de crayons' in 1915, and became Caran d'Ache in 1924 when the company was bought by Arnold Schweitzer. The name honours the French illustrator Emmanuel Poiré whose nom de plume was Caran d'Ache, itself a play on the Russian word for pencil, karandash. It moved on producing fine pencils, coloured and graphite, to manufacturing wax oil pastels, mechanical pencils and the first ballpoint pens. It has been in its home at Thonex, just outside Geneva since 1974, where all products are conceived and produced by highly skilled workers, and tested by a resident artist.

For the occasion of its 100th birthday, the company has revived a past logo, a pencil man character called Bonne Mine that took various different poses on the company's packaging in the 1930s. The anniversary collection includes a beautifully boxed Fixpencil mechanical pencil, a set of 4 Technograph pencils, a Prismalo Box of coloured pencils, an 849 ballpoint and an Ecridor ballpoint pen.

<![CDATA[Prada and Versace unite to restore Milan's Galleria Vittorio Emanuele II landmark]]> http://www.wallpaper.com/architecture/prada-and-versace-unite-to-restore-milans-galleria-vittorio-emanuele-ii-landmark/8529 One of Milan's most beautiful landmarks is the Galleria Vittorio Emanuele II, a soaring glass and cast iron arcade that sits adjacent to the city's majestic Duomo. Built in 1865 in honor of Italy's last King, the gallery signalled Italy's newly brokered unity and is frequently dubbed the world's first shopping mall.

Though it is one of the city's top draws (90 percent of the people who visit Milan pass through the gallery), a dismal lack of government funds have prevented this marble floored monument from receiving the upkeep it needs. As is becoming somewhat of a new trend throughout Italy, fashion labels Prada and Versace have stepped up and opened their wallets to underwrite a year-long cultural restoration that is very close to completion.

Prada's history with the Galleria began in 1913 (30 years prior to the monument being pummeled during a major World War II bombing) when the Milan-based fashion company opened a boutique for its genteel travel gear. In 2013, Prada opened a menswear shop directly opposite its still-open historic shop, followed by Versace's opening last September under the same central octagon.

Funds pledged by both houses have gone towards a 13-month restoration of the 14,000 sq m space. Every morning, 13 white gloved workers from Gasparoli, an esteemed Italian restoration firm founded 150 years ago, are hoisted onto scaffolding that climbs the structure's four storey edifice where they brush away dust and soot using small paintbrush-sized brushes and a vacuum cleaner-like suction machine. Caked on dirt is removed from the Pietra di Vicenza façade and its intricate cariati figure statues using a neutral detergent and gentle water hose that allows for cleaning to occur without erasing the Galleria's historic patina. Meanwhile, stucco is painted into fine cracks and tiny holes.

Every three weeks the scaffolding inches forward by three windows; while a night shift of four other workers is allowing the work to be completed by the end of March 2015, just in time for Milan's expo. The next step is to repair its dirty and leaking glass roof, a project slated for 2016.

Galleria Vittorio Emanuele II
Piazza Duomo
20123 Milano MI, Italy

<![CDATA[Blue Note: Meet Wallpaper*?s new colour created with James Cropper]]> http://www.wallpaper.com/design/blue-note-meet-wallpapers-new-colour-created-with-james-cropper/8507 We’d like you to meet Wallpaper* blue, the new colour developed by creative director Sarah Douglas during a fruitful year-long collaboration with one of the UK’s oldest paper companies, James Cropper.

The new hue – an unusual dark petrol blue – first made its appearance in a slightly different form when Sarah specified a palette of 12 new colours as part of Wallpaper*’s 2013 redesign. ‘I wanted to develop it further,’ she explains, ‘and the opportunity to work with James Cropper came at just the right time.’

The family-owned company, founded in 1845 and based in the Lake District village of Burneside, is one of the world’s leading producers of coloured and specialist papers, and works with many of the biggest brands in fashion and design – but this is the first time they’ve developed a bespoke paper for a magazine. ‘It’s been a really fruitful collaboration,’ Sarah says, ‘and I’ve loved meeting people who are so passionate about what they do.’

Working closely with current chairman Mark Cropper and his colour specialists, Sarah explored the possibilities of the existing blue, and ended up taking it in a subtly new direction. As she says, ‘The new Wallpaper* paper colour may look at first glance like a dark, almost navy blue, but it also contains a surprising amount of yellow, which gives it added richness and warmth. It feels modern and has a certain austerity, but it’s also a strong colour that to me feels very Wallpaper* and really reflects the strength of the brand.’

The new paper colour is already being used for all Wallpaper* stationery, but there are also plans afoot to launch a range of Wallpaper* notebooks in the same hue: watch this space.

<![CDATA[Alex Eagle has landed with two new retail lifestyle concepts in London and Berlin]]> http://www.wallpaper.com/fashion/alex-eagle-has-landed-with-two-new-retail-lifestyle-concepts-in-london-and-berlin/8504 Alex Eagle, a fashion industry veteran at 31 with editorial stints at Tank and Harper's BAZAAR as well as Joseph in PR on her CV, has joined the concept store fray on two fronts, opening up in London and Berlin. And her ambition is clear, not just in this twin-hub stretch, but in the range of what the stores offer.

Eagle's eponymous London store recently opened on Walton Street in Knightsbridge. The three-floor townhouse stocks everything from fashion to jewellery to art to vintage and contemporary design - from Ettore Sottsass to Makers & Brothers x Max Lamb ceramics to one-off pieces from Benchmark (who worked on the store interiors) - as well as new and vintage books, children's clothing, bed linens and photography from the likes of Robert Mapplethorpe and Cecil Beaton.

A record section has been put together by The Vinyl Factory, including its own limited edition releases. But perhaps the most interesting part of the offer is Eagle's own range of mannish womenswear and collaborations with the finest English makers, such as tailors and shirt makers New & Lingwood, luggage and umbrella maker Swaine Adeney-Brigg and gentleman's hosier Pantharella.


Even more ambitious is The Store x Soho House Berlin, which does much the same thing as the London store but on a far bigger scale, with a broader stretch of brands, from Balenciaga to Proenza Schouler and beyond, with significant extras. The Store, though that hardly covers its multi-functionality, is a collaboration with Soho House, with Eagle acting as creative director, and takes up 2,800 sq m of the former department store in Mitte that Soho House has called home since 2010. As well as the concept retail, launched earlier this month, The Store adds a dedicated exhibition space with artists invited to create site-specific installations (first up and in was the Berlin-based Claudia Weiser), an organic café and a Barber & Parlour grooming operation.

'We wanted to create a place where people could spend all day,' says Eagle. 'A light, fresh and fun space where guests can shop, work, eat, drink and hang out. Like an open, shop-able private home for everyone to spend time and where is everything is for sales; from the candle burning, record playing to the sofa you sit on.' But there's more to come. Much more. Later this year a screening room, broadcast studio and branch of Cecconi's will be added to the mix. Already open are three loft apartments, one equipped with a grand piano.

<![CDATA[Behind the set: Hunter Original takes us up stream for A/W 2015]]> http://www.wallpaper.com/fashion/behind-the-set-hunter-original-takes-us-up-stream-for-aw-2015/8506 Hunter Original creative director Alasdhair Willis continued to move mountains for the house's latest show venue that saw a trio of man-made waterfalls flowing right through his A/W presentation.

The industrial irrigation system and 31-metre pool took four and a half days to assemble within London's Albert Embankment Warehouse. Built from steel, the brand once again worked with production company Gainsbury & Whiting on the pump-action water world. But unlike previous seasons, there was no time for splashing around. 'The starting point for the show installation was to engage and ignite the senses on a very basic, almost primitive level,' explains Willis. 'I wanted to evoke the dramatic waterfalls of the Scottish glens - the birthplace of the Hunter brand.'

His clothes may have been inspired by a pioneering romp through the Scottish Highlands, but the set spoke of the urban industrial spaces that have also impeded those glens. 'The executional aesthetic of the idea was intentionally industrial, almost brutal,' he continues, 'through its use of scaffold and sheet metal - reflecting the more recent urban spirit of the brand.' Indeed, the house's London flagship store is a melange of rural architecture structures. 'The result was the collision of these two extreme environments, which took the audience on a theatrical journey from the city up to the wilds of the Highlands.'


<![CDATA[Xavier Veilhan immortalises pop producers for latest exhibition]]> http://www.wallpaper.com/art/xavier-veilhan-immortalises-pop-producers-for-latest-exhibition/8508 Most of the figures currently stationed throughout Emmanuel Perrotin’s New York gallery and, as of next Saturday, his gallery in the Marais, may not be easily identifiable at first glance—a near-life size Pharrell Williams in sequoia wood notwithstanding. But collectively, they depict some of the most important contributors to pop music over the past half-century: the producers. And in the mind of Xavier Veilhan, they represent a 'transversal dimension' that we sense, yet rarely ever see.

'I’m very much interested in conceptual art; and for me, music is conceptual art. But at the same time, it can make you happy, or make you cry or make you want to dance,' Veilhan told Wallpaper* from his industrial studio at the east edge of Paris, one week prior to the first of two openings. Both of which, incidentally, are silent; although friend Marc Teissier du Cros from the label Record Makers is said to be compiling demos produced by the subjects but never heard. 

Veilhan - whose vast influence across contemporary art ranges from an enormous faceted blue bust of Le Corbusier (conveying a state of permanent contemplation in Miami’s Design District) to site-specific performance pieces and video collaborations - completed his latest series in just a few short months. He assumed that enlisting participants might prove as challenging as when he sculpted a who’s who of practicing architects that appeared on the grounds of Versailles in 2009.

Once Giorgio Moroder and reggae legend Lee 'Scratch' Perry signed on, he had little difficulty convincing the others—including Rick Rubin, Brian Eno, Nigel Godrich, Daft Punk’s Guy-Manuel de Homem-Christo and Thomas Bangalter, Quincy Jones and Williams’ partner as The Neptunes, Chad Hugo. The only female presence is Éliane Radigue, who has collaborated with Veilhan on various past projects and is now 83 years old.

French electro-synth producer Philippe Zdar was his first subject and, like everyone else, was initially captured as a 3D scan. Veilhan likened the process to taking a picture in the early period of photography; which is to say, more labour and time-intensive than a regular camera—except that the resulting image appears in three dimensions. Each half-hour sitting, he added, provided an opportunity to glean information. 'An energy develops but then the pose changes.'

Where the artist’s signature approach to sculpture often reduces figures to geometric planes, this group of characters—eight in New York, four in Paris—expresses heightened realism. If they are less Veilhan-esque, they are more idiosyncratic. An oak facsimile of Jones, the folds of his shirt in relief from his belly, seems contently settled into an armchair; Rubin, also in oak, chills out on a mattress; Zdar, standing in blackened polyurethane resin, looks as if he is waiting for a concert to begin. All of them take their position from a monochrome double-stacked plinth, in shades from aubergine to peacock green. These are formal sculptures, played up with mainstream appeal.

Veilhan noted how linguistically, a producer invites various readings, from executive to content creator. Beyond that, he felt compelled to explore the 'fabrication' of music by immortalising those involved in the early stages of its conception. And of course, like any longtime fan, the access to these living legends was a bonus. Which is why he is already thinking ahead to a future series—Timbaland, RZA, DJ Premier, Dr. Dre and George Martin are all on his wishlist—that would be situated en plein air, arranged like the monumental heads of Easter Island. Call it Veilhan’s ambitious Volume Two.

Galerie Perrotin, New York
909 Madison Avenue 10021
Galerie Perrotin, Paris
76 rue de Turenne 75003

<![CDATA[Hélène Binet's show at the Julius Shulman Institute sheds light on the art of contemporary photography]]> http://www.wallpaper.com/architecture/hlne-binets-show-at-the-julius-shulman-institute-sheds-light-on-the-art-of-contemporary-photography/8494 Hélène Binet scooped the coveted Julius Shulman Institute Excellence in Photography Award for 2015, so it was only fitting that the renowned organisation set up an exhibition of her work to mark the occasion. Hélène Binet: Fragments of Light is a celebration of the photographer's ongoing contribution to her field. 

Over twenty-five years, the Swiss-French artist has offered her unique perspective to the work of internationally acclaimed architects across the globe, from Zaha Hadid and Daniel Libeskind, to Peter Zumthor and Caruso St John. Her work is underlined by her strong compositions, use of light and her meticulous analogue processes. 

This show, on display at the Woodbury University Hollywood Gallery (WUHO), is Binet's first West Coast exhibition and her third in the United States. It was curated by Binet together with Emily Bills, the Institute's Managing Director. 'Binet is an advocate of using film over digital methods, developing exquisite prints that reflect a deep concentration on the production of each image,' says Bills.

Binet is recognised not only as a leading international photographer, but also as one that has helped shape the contemporary architectural photography scene. Above all, she is acknowledged for her unique way of capturing the journey of light through a building. It is this quote by Louis Kahn, Binet says, that expresses her work: 'The sun never knew how great it was until it struck the side of a building.'

6518 Hollywood Boulevard
Los Angeles, CA 90028

<![CDATA[New design company Luteca marries Scandinavian design and Mexican flair]]> http://www.wallpaper.com/design/new-design-company-luteca-marries-scandinavian-design-and-mexican-flair/8496 The unveiling of a new design company is always exciting business, even more so when it hails from a locale as vibrant as Mexico City. Riding the crest of a growing new wave of Mexican design is Luteca, a contemporary furniture brand that seeks to bridge the nation’s illustrious design legacy with its swiftly evolving present.

Founded by creative director/designer Alexander Andersson, Amanda Price Reant and Sebastian Reant, Luteca’s inaugural collection is comprised of two parts. The first is an assortment of new creations designed by Andersson, who grew up in Sweden but has close ties to Mexico because of his Mexican mother. Andresson’s designs are seamless hybrids of both sides of his background. Minimal, Modernist silhouettes are injected with tenets of Mexican craft, like rustic woven seats and slat backs for chairs.

'I grew up with all this Scandinavian design and I wanted to create a collection in Sweden, but it was so difficult and inflexible in Europe. I wanted to produce furniture like they did in the 1930s and 1940s, like Finn Juhl, Wagner and all those designers,' recalls Andersson, who studied industrial design. 'I had this Hemingway-esque dream of moving to a hot place in Mexico and making furniture. So I went and became a woodworker. It took me five years to learn the craft. It’s an art form and requires so much more than just design.

As Andersson put together his operation, he came across the furniture designs of the pioneering Mexican architect, Pedro Ramirez Vázquez, who granted Andersson first-ever access to his furniture design archive right before his death at age 94. A stunning series of never-before-seen Ramirez Vázquez designs therefore forms the second part of Luteca’s offering. Curated together with Javier Ramirez Campuzano, the icon’s son who continues to run his father’s design studio, Luteca will continue to bring small editions of Vázquez’s hidden creations to life.

'Many of these designs were produced as a prototype or two for Ramirez Vázquez’s house only, or maybe as a bespoke piece for a client. The development of the pieces took almost two years. They are completely handmade and hand polished,' explains Andersson, who sees both sides of the collection blending together. 'There is a common line in the language from the post modernism of Ramirez Vázquez to the back to basics sensibility of my designs. I think they mirror each other very well.'

Luteca is backed by Mexico’s artisanal, handcraft tradition, whose strong suits range from metalwork and glassware to silversmithing and leatherwork. Luteca has developed and adapted production processes, which are not usually made for furniture, to suit their manufacturing needs. Vázquez’s laser cut sheet steel coffee tables, for example, are produced by metal factories and engineers that supply the automobile and aviation industry. Every piece is made in Mexico, with all the handcrafting done in Mexico City. Now that’s what we call a national treasure.

Luteca's headquarters are in New York, USA; www.luteca.com

<![CDATA[Heatherwick Studio provides insight into creative process at LA's Hammer Museum]]> http://www.wallpaper.com/architecture/heatherwick-studio-provides-insight-into-creative-process-at-las-hammer-museum/8493 The literature related to the Hammer Museum exhibition 'Provocations: The Architecture and Design of Heatherwick Studio' singles out the firm’s 'astonishing range.' For one time in the history of press packets, this is a profound understatement.

As the show illustrates, the brilliant, mercurial office’s portfolio is perhaps the most eclectic in existence. It includes, but is not limited to, spinning chairs, extruded metallic sofas, and transformable tables, and scales up to Olympic cauldrons, buses, bridges, buildings, and city plans.

Like Heatherwick’s creations, the meandering exhibition, curated by Brooke Hodge with coordinating curator Aram Moshayedi, has no hierarchy, although it does lean more heavily on recent work, much of it in the public realm, which Heatherwick acknowledges is his passion.

Projects are grouped into what show designer Neil Hubbard calls 'organised chaos,' informal clusters that allow viewers to make their own connections and conclusions. The emphasis is on the studio’s process, which, as the exhibit title suggests, starts with a question and leads to hands-on, ruthlessly logical responses.

Each object is accompanied with a query, like 'How can a seaside building relate to the sea?' (the wavy, layered East Beach Café in Sussex, England), and 'Can a building stand up on the architectural equivalent of matchsticks?' (the porcupine-like Belsay Sitooterie in Northumberland, England). The show is light on renderings and heavy on models, mock ups, and test elements, making it refreshingly tactile and reinforcing the image of a firm that follows through on its intricate and brash, yet very accessible, proposals.

'The workshop is the heart and soul of the studio,' said Hodge, who also curated Provocations’ iteration at the Nasher in Dallas last fall, and will direct the show at the Cooper-Hewitt in New York this summer. 'The ingenuity is so mind boggling to me. It’s fresh because they’re never doing the same thing.'

For those who question Heatherwick’s transition to buildings and infrastructure, the answer is in the spectacular results— such as the lushly planted Garden Bridge in London, the hive of textured, cylindrical columns at the Learning Hub in Singapore, and a contemporary art museum in Cape Town built into forty two vertical concrete tubes—which rethink what’s possible in a way that only someone who insists on being what Heatherwick calls 'an expert at not being an expert' can.

To such naysayers Hodge asks, 'Why not? Does he have to keep making handbags and chairs?'

'There’s always some friction in change. It would be weird if there weren’t,' adds Heatherwick. 

Hammer Museum
10899 Wilshire Boulevard
Los Angeles, CA 90024

<![CDATA[Mies van der Rohe award gears up for 2015 winner announcement]]> http://www.wallpaper.com/architecture/mies-van-der-rohe-award-gears-up-for-2015-winner-announcement/8498 Strong geometric shapes and a variety of typologies and materials make up for an exciting list of finalists for this year's coveted Mies van der Rohe Award. The biannual prize, organized by the European Commission and the Fundació Mies van der Rohe in Spain, is now on its 26th year and the five schemes to compete for the honour have just been announced.

Nominees include: the Ravensburg Art Museum in Germany by LedererRagnarsdóttirOei; the Danish Maritime Museum by BIG; the Antinori Winery in Italy by Archea Associati; the Philharmonic Hall Szczecin in Poland by Barozzi / Veiga; and the Saw Swee Hock Student Centre LSE in London by recent RIBA Gold Medal winners O'Donnell + Tuomey.

The Mies van der Rohe award is all about built work, but the nominations can be of any scale or typology. Select institutions and experts propose their respective country's best buildings of the last two years - this is an award the architects cannot enter directly, which surely adds to its appeal. This year's submissions counted a grand total of 420 projects. These were whittled down to a shortlist of 40, which in turn provided the five finalists.

It is all about supporting and celebrating contemporary architecture, says the Mies van der Rohe Foundation's Director, Giovanna Carnevali. And this is embodied in their famous headquarters in Barcelona, the reconstructed Mies van der Rohe pavilion. 'The pavilion represents in a way the beginning of modern architecture', says Carnevali. 'It is timeless'.

The ceremony and festivities to announce the winners of this year's EU Prize for Contemporary Architecture - 2015 Mies van der Rohe Award will take place in Barcelona on 8 May.

<![CDATA[Palm Springs Modernism Week 2015: The Coachella valley's mid-century Mecca comes of age]]> http://www.wallpaper.com/architecture/palm-springs-modernism-week-2015-the-coachella-valleys-mid-century-mecca-comes-of-age/8497 Among the usual roster of envy-inducing home tours and poolside cocktail parties at Palm Springs Modernism Week, a number of other exciting launches and openings were also in the mix this year. The arrival of the new Palm Springs Art Museum Architecture and Design Center was a particular highlight of the 10-day annual architecture festival. Housed in a former 1960s bank building designed by E. Stewart Williams, the project was overseen by Los Angeles architects Marmol Radziner, whose subtle interventions have ensured a harmonious balance between old and new with original features such as the terrazzo flooring and the movable, anodized aluminum sunscreens all being painstakingly restored.

'It was an amazing and fantastic experience to work on the project,' says architect Leo Marmol. 'Very few cities have stand alone museums committed to architecture and design and the fact that there's one here in Palm Springs indicates the level of interest and commitment and focus on its design history.'

Indeed, interest in the city's architectural heritage has been building since the mid 90s when Palm Springs' many midcentury marvels were rediscovered thanks to early refurbishment projects like Marmol Radziner's 1993 restoration of Richard Neutra's 1947 Kaufmann house. The project sparked national and international interest and kick started a period of rejuvenation that is still going strong over 20-years later - now spearheaded by the city's Modernism Week, which celebrated its 10th anniversary this year. 'It was just a forgotten little community with boarded-up, dusty old buildings and an economy that was in a shambles,' remembers Marmol. 'It's been amazing to watch the transition.'

With Modernism Week now generating an estimated $17 million in income each year, the city is attracting a new generation of influencers and creatives who are choosing to invest their time and money in Palm Spring's vibrant hospitality industry. Within the past year Toronto-born photographer and entrepreneur Jaime Kowal has launched a trio of ventures including The Amado - a collection of 5 boutique vacation rental units - a coffee shop and a Tiki bar all in Palm Springs' uptown design district and geared towards a younger generation of design-savvy visitor.

'This really is the new face of Palm Springs and it was sorely needed,' says Kowal of the city's new wave of stylish hospitality options. The upswing is down to a combination of factors she tells us: 'The economy has picked up in past few years but real estate is still much more affordable here than it is in LA. Festivals like Coachella are bringing in a new audience and hotels like the Ace are attracting creatives from LA, Las Vegas and San Diego. All of these things are building blocks that over time have culturally, socially and economically shaped the place that we're in now.' With an AC Marriott hotel slated to open in 2017, a Kimpton Hotel in Spring 2016 and the highly anticipated 'Arrive' hotel - a collaboration between developer John Wessmen and architect Chris Pardo - launching later this year, it would seem that Palm Springs' architectural investment is finally paying off in spades.

<![CDATA[Backstage at London Fashion Week A/W 2015]]> http://www.wallpaper.com/fashion/backstage-at-london-fashion-week-aw-2015/8503   

<![CDATA[Behind the set: Delpozo's fairytale forest fantasy]]> http://www.wallpaper.com/fashion/behind-the-set-delpozos-fairytale-forest-fantasy/8472 Under Josep Font's creative direction, the Spanish fashion house recreated a modern day winter wonderland within New York’s IAC building for its A/W 2015 collection.

Natural sunlight permeated the venue, reenacting a fantastical forest mise-en-scène for a show rich in both history and colour. An all white backdrop of densely packed 2-4 metre high trees, which encircled the models as they sashayed down the catwalk, was the perfect contrast to the vibrant colour palette of the pre-Raphaelite spirited collection.

The straight cut, simplistic 60-strong tree installation, produced by AO, was both statuesque and transparent, acting as a blank canvas for a show that possessed a painterly quality lending to the18th century artwork of Russian painter Andrey Remnev, and the animated, yet sinister imaginings of Australian artist Rhys Lee.


<![CDATA[Delfina Delettrez teams up with Rafael de Cárdenas for her London wunderkammer]]> http://www.wallpaper.com/watches-jewellery/delfina-delettrez-teams-up-with-rafael-de-crdenas-for-her-london-wunderkammer/8474 Last weekend Italian jeweller Delfina Delettrez opened her second jewelled box on Mayfair's Mount Street to a London Fashion Week crowd that spanned fashion and architecture with a guest list ranging from Lady Amanda Harlech to Zaha Hadid. Split over two floors, the boutique itself was designed by good friend Rafael de Cárdenas, and leads on from the jeweller's first Roman enclave.

And just like Delettrez's multi-faceted work, which fuses the abstract with the surreal, the store's environs are a mix of unexpected textures and metals, uniting faux Malachite leather walls with polished stainless steel, satin brass and mirror. Upstairs, glass vitrines appear to hover in space, just like Delettrez's pearl and gem floating rings, while the lower ground hosts a private lounge for her high jewellery offering - formally entrusted to Dover Street Market.

The pair seemingly had a lot of fun sourcing Fifties modernist furnishings including an Ico Parisi sofa, Azure marble side tables and Fontana Arte artwork, however Delettrez notes that the space's finishing touches were something of a family affair, with pieces 'borrowed' from mother Silvia Venturini Fendi and a host of strong-willed Italian design powerhouses (aka relatives) advising on final placements just hours before the doors were opened.

We snuck in a moment to chat to the jeweller and her architect about bringing the site to life...

Wallpaper*: Delfina, what is it about Rafael's work that most appealed to you?

Delfina Delettrez: Rafael knows my strong, personal aesthetic. He also knows how to make multiple codes coexist, in one concept, which I wanted for my store. He knew I wanted to mix the organic with the industrial, for it to be a place where fur, leather and metals all coexist.

W*: What did you most want to achieve with this space?

Delfina Delettrez: I wanted the London boutique to be a very intimate reflection of my personal taste, like a private wunderkammer. I also wanted the store to have an impact, and have multiple illusions, not knowing where the jewellery ends and the installation begins. Stones and vitrines have the illusion of floating and there is an element of distortion on the Malachite trompe l'oeil.

W*: Did you want to extend the Rome store's vision or keep this location entirely unique?

Delfina Delettrez: I wanted the store to be connected to the Rome boutique, but to have a futuristic evolution. It has the same cabinet de curiousitè feeling, but is more contemporary, sharper. I like to imagine both boutiques as jewellery boxes, and the London store as a very modern jewellery box, where the contemporary is combined with Italian furniture, such as Fontana Arte and Gio Colombo. I wanted the basement to become a very dynamic and free environment, where it is multifunctional and can be easily transformed.

W*: Rafael, tell us more about the boutique's more unique features.

Rafael de Cárdenas: The way the Malachite painting wraps the space and suggests a seductive secret down the stairs is a particularly favourite feature of mine.

W*: Can you explain your unexpected material choices for the project?

Rafael de Cárdenas: Malachite green proved to be a key aspect of the project. It feels ancient, exuberant, Italian and very contemporary as combined with polished, unlacquered brass, stainless steel and dark wood.

W*: Did the Mount Street location present any particular challenges?

Rafael de Cárdenas: Its small and not exactly symmetrical, which is something I often found difficult. We created fine walls in order to suggest further depth than there actually is. These also form arcs that give the main space a symmetrical order. Oh... and the year-long council permit process!

Watches & Jewellery
109 Mount Street
London W1K 2TR

<![CDATA[Fashion maths: from Barbie to blood baths, the S/S 2015 shows in numbers]]> http://www.wallpaper.com/fashion/fashion-maths-from-barbie-to-blood-baths-the-ss-2015-shows-in-numbers/8486    

<![CDATA[Canada House unveils new interiors at one with the Great White North's wild elements]]> http://www.wallpaper.com/architecture/canada-house-unveils-new-interiors-at-one-with-the-great-white-norths-wild-elements/8465 Without a doubt, Canada scored Commonwealth gold when it secured a Greek Revival pile on a prime corner of Trafalgar Square for its High Commission. Flying the maple leaf in the heart of London is advertising you couldn’t buy today; particularly a (politically) small country that does big business in the capital.

Over a century, though the Grade II-listed building became a warren of unsympathetic conversions and cheap carpeting – fine for the parade of flag-embroidered backpackers replacing lost passports, but not much else. When the government sold the High Commissioner’s residence and chancery on Grosvenor Square last year for £306 million, it funnelled some of the earnings into a ground-up renovation of Canada House, joining it to the neoclassical building next door on Cockspur Street to create an 8,000 sq m cultural and diplomatic headquarters. Where the two buildings meet is a new top-lit atrium over a cascading staircase and a feature wall of Canadian hemlock. Welcome to the Great White North.

The architecture practice Stantec, with offices in London and Canada, led the project with heritage architects Purcell, sourcing every hand-crafted furnishing, artwork and piece of cabinetry from the mother country. The new square-facing entrance opens to a broad, vaulted foyer laid with Canadian red oak, decorated with Brent Comber’s cedar-block tables and hung with a light installation by Vancouver lighting company Bocci, designed with amorphous blown-glass ‘57’ chandelier.

Elaborate wool carpets in every room – 13 rooms are named after Canada’s provinces and territories and four after seminal Prime Ministers – were custom-tufted after paintings selected through a cross-country competition. Themes of light, climate and geography are reflected in the icy blues and vivid harvest reds of the wool.

Two years and some £10 million later, the interior holds its own among London’s finest and most fashionable interiors, yet it is resoundingly Canadian. Not in a rah-rah way, but subtly, as is our wont.

Canada House
Trafalgar Square
London WC2N 5NJ

<![CDATA[Richard Kilroy draws together fashion illustrators for a new book and London exhibition]]> http://www.wallpaper.com/art/richard-kilroy-draws-together-fashion-illustrators-for-a-new-book-and-london-exhibition/8461 Judging from the turnout at the launch of Richard Kilroy’s Menswear Illustration book, published by Thames & Hudson, it’s safe to say that illustrated renderings of menswear are a much-loved approach to interpreting fashion.

‘Photography has a few levels of group effort, in fashion particularly,’ Kilroy explains. ‘But illustration has come from one person and is a singular vision. Drawing itself, and its context of artistry give it a unique position for imagery and possibilities.’

The works on display in the Paul Smith store on Albemarle Street provide a glimpse into the wide variety of styles featured in the book. From Julie Verhoeven’s energetic drawings to the more conventionally elegant silhouettes of Clym Evernden, the scope of styles is as great as there are illustrators.

Kilroy’s illustrations combine classic portraiture and fragmented composition, which is as much about its subject as it is about the negative spaces enveloping his figures. This imperfect quality, he says, ‘came from going too far with realism at one point in my drawing. I felt like a human photocopier and I much prefer the ability to incorporate suggestive line and play about with things. It kind of divides the audience. I enjoy the fragmentation element but sometimes people ask: is it finished?’

The blank spaces and fine pencil strokes add a flux to his images, which he bases mostly on his own photographs. ‘I hate using secondhand photographs,' he explains. 'It's not my own vision and it's plagiarism of theirs, and also I need my models to be lit in a certain way to get the drawing how I want it.'

Kilroy veers toward ‘certain types of faces and looks of male models, I like to draw emphasis on their cheekbones, Adam’s apples and hands. I was always fascinated by detailed baroque sculptures of men fighting or wrestling, all those veins and their muscle tensions.’

When it comes to the menswear itself, Kilroy enjoys ‘suggesting elements and being very sparing. It's always a balancing act between the elements of realism and looseness.’

<![CDATA[Artist Trevor Jackson pays homage to physical music formats with new tracks]]> http://www.wallpaper.com/art/artist-trevor-jackson-pays-homage-to-physical-music-formats-with-new-tracks/8460 The last time Trevor Jackson put out music was also the last time he feels musicians were fully in control of who and how their music is listened to: 14 year ago. Before iTunes and Youtube, and before even the likes of Madonna and Björk were forced by leaks to release albums prematurely. ‘I didn’t want anything to do with it any more,’ says the DJ, graphic designer and label impresario. ‘I was disheartened about creating music. My music is a precious creature – I didn’t want to give it away.’

Jackson returned to art direction and design, meanwhile building up an archive of some 150 unreleased tracks. Over time he refined and remastered a careful selection of that music – an inventive mix of house, new wave, techno, beatbox and ambient sounds. But rather than release it digitally, this week Jackson is orchestrating possibly the most democratic listening experience in recent memory. Today, he’ll release 12 new songs, each in a different format, from vinyl and mini-disc to 8-track and VHS.

The limited edition release, called ‘Format’, pays homage to physical music formats from Jackson’s childhood and celebrates the simple act of listening. 'With the homogenisation of music,' he says, 'I’ve begun to appreciate all the fine details of the music I have – the digital displays, the sound of ejecting a CD…. Physical objects just mean more to me. I still buy DVDs and Blu-ray.'

Jackson’s music will appear in individual formats at formatvf.com – save for the reel-to-reel track, which will comes in a special edition. The collection will be available only in its physical form until 25 March, when all the tracks will be released as a digital album. Jackson, who says his most treasured music is the stuff with a physical presence, would have it no other way.

'The fact that, culturally, everything has become so convenient and easily accessible – whilst in the process totally disposable – is an important subject I needed to address with this project,' says Jackson. 'As a creator of these works, I believe I have a fundamental right to control who listens to my music and how. That might sound antiquated, but it’s fundamental. On the day of the release, everyone has a chance to hear the music at the same time. If I was the music fan, I’d love that. Because ultimately this is the ultimate music-nerd project.'

To accompany the release, Jackson has curated an exhibition at the Vinyl Factory, the record label, shop and exhibition space that collaborates with artists like Jeremy Deller, Massive Attack and Christian Marclay. Between 27 February and 2 March, visitors to the Vinyl Factory’s space at Brewer Street Car Park, in London’s Soho, will have a chance to listen to the album in full, see and purchase the limited-edition formats and also experience new, stripped-back audio-visual artworks by Jackson. 'For each format, I’m showing a short film – basically a detailed ritual of each one of these objects being played,' he says. 'It’s very fetishistic. I had to restrain myself about the design, because ultimately this is a project about the format itself. The packaging is very clear and very informative.'

Jackson and his team are already referring to Format as a collector’s item. That’s a term you haven’t heard swirling around Madonna in a long, long time.

The Vinyl Factory Space
Brewer Street Carpark
Brewer Street London