Wallpaper* News Feed http://www.wallpaper.com Design Interiors Fashion Art Lifestyle - Wallpaper* News feed EN Copyright (c) 2015 Wallpaper* <![CDATA[Introducing the June issue: Transport & Technology Special]]> http://www.wallpaper.com/design/introducing-the-june-issue-transport-technology-special/8827 The June issue of Wallpaper* (W*195) is here! Julio Le Parc's rainbow coalition with Hermès (page 094), Norman Foster's stellar cellar (page 060) and John Soane's model marvels (page 057) may take centre stage, but the Transport & Technology Special has more in store…

To begin with, in Auto Pilot, we look at the fleet of fiendishly efficient self-driving vehicles putting the auto back into automobiles. Driverless cars are closer than you think. For the wifi-weary, design-led electronics company Punkt and Jasper Morrison think back to basic telephony: SMS and contact capabilities. No internet, no touchscreen, no camera. They may have come up with the no-frills, no-net phone for you.

Speaking of screens - or rather, the coming of - Nick Compton looks at the one area of our lives not yet disrupted by the full force of the digital revolution: the art market (page 115). But is that about to change? Are the tech-savvy and art-hungry a big enough audience to transform the scene?

And if you are in the market for a swanky new sound system, be sure to turn to Angle Poise (page 118), which reels off the elegant new slant of the newest tech purchases.

In terms of interiors, we've developed a penchant for pattern (page 152), while in travel terms we're venturing to Matteo Thun's Venetian island resort (page 075). Elegant layering takes high-tech tailoring up a gear in our fashion shoot (page 142) and if - or when, we should say - the sun does come out, we'll be all set with our edit of the sleekest sunglasses (page 053). Until then, happy reading!

The June 2015 issue of Wallpaper* is out now

<![CDATA[Artist's Palate: Sarkis' milk tripe soup]]> http://www.wallpaper.com/art/artists-palate-sarkis-milk-tripe-soup/8824 ‘#41’ bowl, $385, by Jason Miller, from The Future Perfect. Photography: Zachary Zavislak, Food: Liza Jernow. Writer: Pei-Ru Keh Turkey is a land of many delights, but for the conceptual artist Sarkis, who unveils a new installation, Respiro, at the Turkish pavilion during the Venice Biennale (May to November), it doesn’t get much better than sütlü iskembe çorbasi, roughly translated as milk tripe soup. Made using beef tripe and served with a vinegary garlic sauce, the soup is traditionally regarded as a hangover remedy. Sarkis admits that he only makes it once a year, to help recuperate from the New Year celebrations.


For the soup

400-500g beef tripe

1 litre water


30g butter

60g flour

1 egg yolk

500ml milk

For the topping


1 tsp paprika

2 cloves garlic, crushed


lemon juice


Using thoroughly cleaned and rinsed tripe, cover with salted water, bring to the boil and simmer for 1 1/2 to 2 hours, until tender. Remove the cooked tripe, reserving the cooking water, and cut into bite-size chunks. Melt the butter in a pan, stir in the flour, then gradually add 500ml boiled water, stirring all the time, until smooth. Add the tripe chunks and cook over a low-medium heat for a further 15 to 20 minutes. Beat the egg yolk with the milk. Slowly pour into the mixture, stirring. Cook for another 3 to 4 minutes over a medium heat. For the topping, melt a little butter in a pan, add the paprika and sauté for a few minutes. Meanwhile, combine the crushed garlic vinegar and lemon juice to make a dressing. Pour the soup into bowls, drizzle with the paprika and a little of the dressing, and serve.

<![CDATA[Touching the void: Dan Colen tackles negative space in his latest show]]> http://www.wallpaper.com/art/touching-the-void-dan-colen-tackles-negative-space-in-his-latest-show/8825 About three years ago, artist Dan Colen conceptualised a project that explored the transfer of energy through sculptures formed from guardrails mangled by violent road collisions. Colen and his team would comb highways, searching for and collecting material, until they started getting caught. Luckily, they were never arrested, but after a severe warning, Colen decided to go for a safer alternative and began visiting junkyards and recycling depots.

Then began a process of trial and error. 'I was trying to build the sculpture out of the actual objects, but because of how they were designed to absorb impact, they were really hard for me to manipulate as I had imagined,' says Colen. Instead, he started casting in different materials like plaster, rubber and plastic, before going on to metals like zinc and magnesium. 'Once I started pouring around [the sculpture] to make moulds, I just saw what was happening in the negative space and it just seemed more interesting to me,' he says.

Colen eventually decided on silver, because it's good at giving form to what he calls the 'redundant negative' - the negative spaces in the dented guardrails the sculptures are moulded from and, at a deeper level, the stories of the accidents that originally caused them (even though he knows nothing about the incidents). 'That negative space was created by this accident, which I'm almost assuming has this deathly quality to it, which is another negative. It's a kind of articulation of the loss of life in a loss of space,' says Colen. 'I wanted to fill all of that void.'

The resulting sculptures, titled 'Canopics', are on display until 27 June as part of 'Viscera', the inaugural exhibition at Venus Over Los Angeles. Colen also has two more bodies of work in the show - abstract 'Rainbow Paintings', based on stills from the Disney's Fantasia, which strip away any relation to the animated classic, and a sound piece consisting of psychic readings, where the listener can exist as both a voyeur and a participant in such an intimate meeting.

The exhibition may feel sparse inside the vast Boyle Heights space, but Colen insists that that's the whole point, as the space helps the search for the invisible forces of art. 'I'm challenging my works to interact with as much space as possible, to really become part of their environment and really have relationships with the air around them, to the architecture around them. In that way, I hope to touch a person more. Then you begin to understand that you're a part of this thing. You're not looking at it; you're inside it.'

601 South Anderson Street
Los Angeles
CA 90023

<![CDATA[Firing on all cylinders: the Mercedes E300 drives the C-Class up-to-date]]> http://www.wallpaper.com/lifestyle/firing-on-all-cylinders-the-mercedes-e300-drives-the-c-class-up-to-date/8823 Most car companies have impressive portfolios of conceptual visions and future dreams, but inevitably surrender to a more prosaic approach when it comes to actually building cars people want to buy. Sure, there are outliers, but new technology tends to creep stealthily into the mainstream.

There are few more conservative cars than the Mercedes C-Class. Ever since the segment first debuted in 1993 the range has been made up of sober saloons and functional estate cars. Back in the day it was the smallest Benz you could buy, but that's no longer the case, thanks to the plethora of new models in the company's stable. Instead, it exists as a mainstay, a best seller that appeals to everyone from families to businessmen to taxi drivers.

The E300 Hybrid is something of a departure for the class, a car that promises all things to everyone and pretty much delivers. Based on the solidly excellent fourth generation C-Class, it mates a hybrid powertrain with a four-cylinder diesel, creating a car that is fleet of foot yet also frugal, with plenty of space and styling that, although not quite head-turning, is as classically elegant as any historic Benz.

The best thing about the E300 is that it does everything with quiet brilliance, inside and out. It doesn't scream with self-importance or crude posturing, yet it contains some of the best-thought-out infotainment and safety technology in any car. Nearly 120 years after Karl Benz fired up the single-cylinder, 0.6 hp engine in the world's very first recognisable motorcar in 1886, the German engineer's name is still at the forefront of automotive innovation.

<![CDATA[Bompas & Parr light up the London Eye with election chatter]]> http://www.wallpaper.com/design/bompas-parr-light-up-the-london-eye-with-election-chatter/8822 Politics and art don't often go hand in hand, but if you happen to be walking past the London Eye tonight be sure to look up. You may be surprised by what you see…

Bompas & Parr and Facebook have teamed up to turn the 443-foot tourist attraction into a huge pie chart ahead of Thursday's General Election.

Glowing bright in the shadow of Westminster, the multi-coloured chart illustrates the millions of politics-related interactions (52 million, to be precise) taking place on the popular social media network. Each and every social interaction  - a like, share or comment - counted.

Since Friday (May 1), the massive wheel has been lit up, using anonymised Facebook data to reflect a different theme or topic, including the most talked about party nationwide - unsurprising and alarming in equal measure: UKIP.

This isn't the first time Bompas & Parr have used inspiring installations to encourage voters. During the last election they created the Parliamentary Waffle House, an election-themed bistro/bar with a food-based swing-o-meter to gauge the nations sentiment. Scaling up quite substantially and forgoing the foodie element, this year they've joined forces with Facebook, hoping the light show will inspire and engage voters to, as Sam Bompas put it, 'have their say - on Facebook and at the polls on 7 May.' 

It seems the race for Number 10 isn't the only one worth winning after all.

<![CDATA[Taking the lead from the watch world, ceramics and synthetic stones continue to infiltrate the fine jewellery realm]]> http://www.wallpaper.com/watches-jewellery/taking-the-lead-from-the-watch-world-ceramics-and-synthetic-stones-continue-to-infiltrate-the-fine-jewellery-realm/8821 Fine jewellery has taken a cue from the watch world by introducing high-tech manufactured materials alongside traditional precious metals and gemstones. The idea isn't novel: hard-wearing ceramics have been used to strengthen watch cases for decades now, with Apple recently blending ceramic powder into gold for the Apple Watch edition. But jewellers are creating a new luxury code by employing ceramic as a glossy foil to white diamonds, or turning to man-made stones set in natural golds for accessible, wearable jewels.

Milanese jewellery house Pomellato uses synthetic rubies and sapphires in hues of cadmium, orange or magenta for the Rouge Passion collection. Backed by mother of pearl, the cabochons have a creamy lustre and are set on bold cocktail rings, drop studs and pendant necklaces in 9 carat rose gold. These playful jewels have seen a strong response - the line is now one of Pomellato's bestsellers. CEO Andrea Morante points out, 'Using synthetic stones is pretty daring - no brand that is over 100-years-old could do that. But Pomellato's founder Pino Rabolini said that jewellery has to be something for every day.'

Older maisons are also experimenting. Earlier this year Chanel released the Cosmique de Chanel collection as a contemporary take on one of the house's most enduring motifs, the comet. This time, brilliant-cut diamond stars shoot across polished monochrome ceramics on chunky rings, pendant necklaces and earrings - a graphic update in tune with Chanel's philosophy of mixing high and low. Boucheron's relaunched Quatre White Edition collection of rings and earrings stacks layers of white ceramic between bands of yellow, white and pink golds and pavé diamonds. The company spent two years developing Hyceramic: more malleable than other ceramics, this sculptable alloy has been cut by hand into a textured band that resembles the cobblestones lining the Place Vendôme in Paris. A high-tech tribute to the home of fine jewellery, where synthetics have clearly found their own unique niche.

Watches & Jewellery
<![CDATA[All at sea: Aston Martin leaves us guessing after releasing a few tantalising details of its new superboat]]> http://www.wallpaper.com/lifestyle/all-at-sea-aston-martin-leaves-us-guessing-after-releasing-a-few-tantalising-details-of-its-new-superboat/8818 Aston Martin has already dipped a toe into nautical waters. Last year, it announced a series of beautifully crafted, powerful yachts, but new sketches offer a glimpse into the design of another concept, the AM37 - the first of a family of powerboats to be built in partnership with Dutch firm Quintessence Yachts.

Only a few details of the 37-foot craft have been released ahead of its debut later in the year. What we know is that much like the marque's latest Vulcan supercar, tough yet lightweight carbon-fibre is utilised throughout construction.

A scalpel-sharp curved hull is at the centre of its design, a feature that Aston Martin design director Marek Reichman promises will surprise. 'It goes into a negative and positive,' he smiles. 'When you see it, you'll think you cannot possibly do that.'

One of the most charming features is the delicate sound of water hitting the hull. Here, a large diffuser mounted at the rear directs water through for an added Aston Martin note, while at the same time creating a unique wave pattern at the back.

To ensure the sculpture works visually when the vessel is both stationary and in motion, Reichman applied what he terms a certain 'cleanliness' to the surface. He explains, 'There's a very different dynamic in terms of its surface language. Typically with a boat of this size there is a lot going on, but here we describe it with three lines. It adds drama.'

Another distinctive feature is the deck, which opens to cover the open space for a seamless path onto the vessel. Once on-board it quietly slides back to expose the whole interior. 

The cabin will feature all the luxury staples - wood, leather, metals - but with some unique applications and a great deal more leather and shaped wood than in any other yacht of its size. 'We had a great transfer of knowledge,' notes Reichman, 'and the wood you'll see in our future cars is immense!'

The craft will be available in two trim levels - the leisure AM37 'gran turismo' with speeds of up to 50 knots (57mph), and the S-line sportyacht that can power up to 60 knots (69mph). The first boat should set sail in September

<![CDATA[Prime position: STA's latest Oslo house makes the most of the spectacular views]]> http://www.wallpaper.com/architecture/prime-position-stas-latest-oslo-house-makes-the-most-of-the-spectacular-views/8819 Perched on a hill in Oslo, this new single-family house by local firm STA comes with striking long views towards the Norwegian capital and beyond, to the country's famous fjords and green hills in the distant horizon. Its prime position, high up, at the very edge of the city's limits and with a dense forest starting behind it, is complemented by its timber architecture that creates a generous, warm, yet typically minimal Scandinavian interior.

The site, privileged, as it may seem, didn't come without its challenges. While it sits firmly within the capital's suburban zone, a high-density development is located right in front of it, potentially blocking its views towards the city centre. The architects, headed by STA co-directors Stian Schjelderup and Øystein Trondahl, had to approach height and massing carefully, and conducted a thorough analysis of the different viewpoints and the volumes of the surrounding buildings, in order to ensure the best possible experience for their clients. 

Take an interactive tour of Oslo House

The geography of the site and strict building regulations determined the form and height of the house, but also its colour. The structure's tall form is clad in slow-grown, handpicked, burned and oiled spruce board that conceals all the fixed window frames within. A vibrant yellow highlights some of the irregular openings that break the monotony of the façade.

The street-level entrance is situated on the building's middle floor, which compactly houses four bedrooms and a bathroom. A short hallway leads diagonally through to a family sitting room. Downstairs from this level, on the ground floor, are a series of service rooms and a small studio apartment with independent entrance, living area and access to the concrete terrace on the garden.

At the building's very top sits a generous open-plan living area, including the kitchen and dining room. The roof's angle and internal timber cladding (solid oak floorboards and plywood wall panels) help create an intimate atmosphere. A terrace jutting out from the building's side, like a bridge toward the horizon, gives the owners the chance to take in the stunning views al fresco. 

<![CDATA[Dom Pérignon showcases its rare Vintage offerings with a series of events in a plush London townhouse]]> http://www.wallpaper.com/lifestyle/dom-prignon-showcases-its-rare-vintage-offerings-with-a-series-of-events-in-a-plush-london-townhouse/8816 Best known for its vintage offerings, Champagne brand Dom Pérignon’s latest venture, Les 3 Étages, is a series of lunches, dinners and tastings, arranged to focus on its different ‘Plénitudes’- or levels of maturity.

Set over three floors within a classic London townhouse in a secret location, the journey begins with the launch of the new 2005 Vintage, which represents the first Plénitude or ‘P1’. Subsequently, a 1998 Vintage can be found on the second floor, while ‘P3’ - which comprises the rare 1982 and 1971 Vintages - will be showcased on the top floor as the final and most mature. Food is a paired tasting menu, devised by Michelin-starred chef Skye Gyngell, whose signature light dishes such as  crab with shaved raw wild asparagus, borage flowers and samphire, or guinea fowl with morels, broad beans and peas elegantly compliment the stars of the show.

Fendi Casaand Paris-based architect Thierry Lemaire, are plush; a progression of mushroom tones and petrol blues, accented by marble, gold and brass details. This provides a decidedly chic background for the casual fluorescent signage, which lends the space a playful edge, embodying the very essence of one of the most prestigious Champagne brands in the world.

<![CDATA[Net-A-Porter moves into S-Commerce with social media shopping network The Net Set]]> http://www.wallpaper.com/fashion/net-a-porter-moves-into-s-commerce-with-social-media-shopping-network-the-net-set/8811 They were the first luxury e-commerce retailer to market, delivered the first shoppable m-commerce app, and now Net-A-Porter is taking on s-commerce with the launch of its own social media platform, The Net Set.

'About two years ago Natalie [Massenet] set us with the challenge of coming up with a social network for our customers,' says The Net Set's vice president Sarah Watson. 'I say two years ago, but actually this has been brewing in Natalie's brain for such a long time; thinking about a way to let our customers know about each other and feel like they are shopping together.'

You could say that Net-A-Porter has been something of a one-way conversation… until now. 'Digital innovation doesn't stand still and neither do we,' Massenet explained of the project. Its name itself is a play on 'jet set', and was born from an existing hashtag used across the retailer's Instagram and Facebook channels by customers styling up their new purchases at home.

'We started building it under our desks, borrowing developers,' Watson continues. 'Natalie told us to keep it secret at first as she wanted to build a proof of concept first.' Working with co-conspirator Alexandra Hoffnung, Net-A-Porter's former technical lead for mobile design and now creative director of The Net Set, they launched a Beta version (under the moniker 'The Net Book') into the app store in September 2013. By September 2014, The Net Set had become the pair's full-time focus.

Built for the iPhone, iPad and Apple Watch (not android just yet), the app follows a familiar, news feed functionality, with each user curating content for their profile page in the visual style of Instagram. The Net-A-Porter twist is the addition of third party image recognition technology, which makes intuitive 'style matches' with Net-A-Porter products for each picture that's loaded by a user (or 'admirer' as they term followers).

In addition to profiles helmed by each of Net-A-Porter's 350+ designer brands (with accounts run by each house's social media team), The Net Set also launches with 20 style ambassadors (think high profile fashion editors and creatives), who have been chosen to lead the platform's conversations.

When it officially launches next Wednesday, The Net Set will be available in addition to Net-A-Porter's existing shopping app, which replicates their editorial content and easily filters its product listings for mobile. 'The Net Set is a very different experience in that you are shopping with other people and being inspired by the things that they're looking at as a whole community,' explains Hoffnung. 'They can upload images, comment and interact.'

So what's going to happen when you upload a photo of a cherry blossom tree on a trip to Tokyo for example? If a designer hasn't used the exact floral, a print of a similar nature will pop-up on clothing and accessory matches. And it's impressively close. While they acknowledge that there are competitors in the market, The Net Set takes users from inspiration to purchase remarkably quickly and, of course, comes with the full Net-A-Porter global service experience.

And unlike many start-up apps, The Net Set has been slowly building up its user numbers. It will launch with 15,000 community members to make sure that the initial offering feels meaningful. As for the membership process, for now it will remain invite only, with Net-A-Porter shoppers extended the first invitation and the ability to invite five friends.

<![CDATA[Hedi Slimane adds an African accent to a new private salon at Saint Laurent's Faubourg Saint-Honoré flagship]]> http://www.wallpaper.com/fashion/hedi-slimane-adds-an-african-accent-to-a-new-private-salon-at-saint-laurents-faubourg-saint-honor-flagship/8813 Saint Laurent's Faubourg Saint-Honoré outpost is the latest of the Parisian brand's stores to undergo a monochromatic makeover dovetailing with creative director Hedi Slimane's modern vision for the maison.

Showcasing ready-to-wear womenswear alongside accessories, the revamped 390 sq m space displays all of the hallmarks of the brand's now established Art-Deco-inspired architectural concept, which was conceived by Slimane upon his arrival at the label in 2012. Mirrored panels and vast slabs of 'noir soie' and 'blanc statuaire' marble span the walls and floors. Lines are kept clean, rhythmic and straight while in the private salon - a VIP area which is accessed by a mirrored elevator - warm touches come in the form of mirror polished brass furniture and exacting upholstery designed by Art Deco Modernists such as Danish furniture craftsman Theo Ruth and French designers Jacques Adnet, André Sornay and Alfred Porteneuve based on drawings by Émile-Jacques Ruhlmann.

Notably, a collection of Bamana Suruku masks from Mali make a pleasant if unexpected addition to the private salon and continue the African undercurrent that Slimane first introduced at the brand's Hôtel de Sénecterre atelier in January of last year - a nod to Yves' love of African art and the pieces he collected together with Pierre Bergé.

Saint Laurent's nearby menswear location at 32 Rue du Faubourg Saint-Honoré is currently undergoing a similar renovation, which will complete Slimane's overhaul of the brand's Parisian stores when it opens later this year.

Saint Laurent
38 Rue du Faubourg Saint-Honoré
75008 Paris, France

<![CDATA[Paris Photo Los Angeles takes over the sets at Paramount Pictures Studios]]> http://www.wallpaper.com/art/paris-photo-los-angeles-takes-over-the-sets-at-paramount-pictures-studios/8814 The sunny, subversive thrill of celebrating photography in the heart of movie-land is showing no sign of fading. Paris Photo Los Angeles has kicked off its third stateside edition at Paramount Pictures Studios, with the help of stars from both Hollywood (Gwyneth Paltrow, Drew Barrymore) and the art world (Sterling Ruby, Catherine Opie). With 70 galleries from 17 countries exhibiting throughout three cavernous soundstages and the ersatz storefronts of Paramount's New York City backlot, this year's fair had an emphasis on emerging artists and young galleries to balance its strong roster of canonical image-makers.

'Paris Photo Los Angeles is a mix of historical and contemporary images, and it's a point of connection located in an iconic place,' said fair director Florence Bourgeois, noting the choice of 33 galleries to present solo shows spotlighting the likes of Guy Bourdin, Ralph Gibson, Liu Bolin, Matthew Rolston and Rachel Rom. 'It's a unique opportunity to really delve into the universe of each artist exhibited.'

Among the standout single-artist stands is that of Paris-based Christophe Gaillard gallery, which showcases the work of Unglee, an enigmatic tulipomaniac who mixes exquisite images of the blooms - in painterly close-ups, botanical abstractions, splayed bouquets multiplied in Polaroid grids - with obituaries of himself. 'You never know if he really exists or not,' said Paris Photo artistic director Christoph Wiesner with a bemused shrug. 'He's famous for his photos of tulips but also for creating a history around his own life. He's died several times now.'

Alive and well is Los Angeles-based Zoe Crosher, whose 31 square photographs of landing planes are tiled on a single wall of LAM Gallery's stand. The window-sized images were taken from each hotel and motel that surrounds Los Angeles International Airport. Another local gallery, M+B, looks back to the Golden State's golden age in the images of surf photographer LeRoy Grannis, while Leica presents François Fontaine's silent cinematic homage: fuzzy snapshots of iconic movie moments.

Meta-decisive moments are also provided by Sandro Miller, whose meticulous recreations of iconic images - think Dorothea Lange's Migrant Mother or a Warhol Marilyn - all star John Malkovich. In one photo offered by Chicago-based Catherine Edelman gallery, the actor appears as both of Diane Arbus's famous identical twins of 1967. 'The emotion in both of those girls - one with fear and hesitation while the other stood tall with a smile, wanting to be photographed - John had to nail both of those,' according to Miller, who spent a year researching the project and obsessing over every detail, from the girl's dresses to the paint splattered on the sidewalk.

The ever-mutating roles of photography are explored by Mazaccio & Drowilal (French duo Elise Mazac and Robert Drowilal). The pair's 'Wild Style' exhibition, presented by BMW, is an Instagrammer's dream: dogs staring at sunsets, a spread of artfully cut watermelon, a photocube that transforms images into an object, a plethora of cats. Much of the work was created during the pair's BMW-backed residency at France's Musée Nicéphore Niépce. The museum's director, François Cheval, has described Mazaccio & Drowilal's work (approvingly) as 'a frontal attack on good taste' powered by a 'tsunami of vulgar images.' Perhaps it's because, as Drowilal says, 'photography does not stop once we've taken the picture.'

<![CDATA[Mirror image: Casa Invisibile launches Delugan Meissl's prefab concept]]> http://www.wallpaper.com/architecture/mirror-image-casa-invisibile-launches-delugan-meissls-prefab-concept/8789 Casa Invisibile is a cost-efficient housing concept by Vienna-based Delugan Meissl Associated Architects, which offers a resolution to the age-old predicament around the relationship between a building and its context by proposing a design 'for turnkey implementation at any designated site'.

'Invisibility', in this design, is achieved through two key approaches: On one hand, the scheme leaves a minimal footprint, due to its lightweight nature and ability to function as a mobile home (reducing planning restrictions). At the same time, mirrored cladding helps the structure seamlessly blend into the scenery.

Build in standardised 14.5 x 3.5 x 3.1m prefabricated modules (45sqm) - for exact fit onto the back of a lorry - there are currently two prototypes in existence, both situated in rural Slovenia. Mass production is a key future aim for the firm. The lightweight structures are easy to assemble and relocate; DMAA suggest the house could be raised on stilts, propped up on steep hillsides, or simply sat upon flat ground. The basic model can be added to, in order to extend the living space within, generating a bespoke personalised space.

The build is simple. An Alucobond (aluminium sandwich panels) façade is fitted onto a basic insulated wooden shell. Whilst the mirror-finish promotes 'invisibility', a choice of different coloured panels is also available. The interior pinewood finish comes in a range of possible tones, whilst various options for internal fittings and external additions - such as fireplaces and terraces - ensure each home is tailored to the homeowner's needs.

The interior is divided into three zones; sleeping quarters lie at one end, separated from the living room by an optional fireplace; living space occupies the middle zone, with two wide sliding doors allowing plenty of sunlight in; a utility space is sectioned off at the other end of the house, with doors leading into a bathroom and storage, the only closed off areas in an otherwise open, flexible floorplan.

The layout of Casa Invisibile was designed to be fundamentally practical - offering just the right amount of space to accommodate the activities inside - while the smooth continuous timber surfaces and minimal interior decor contribute equally to the house's simple, yet texturally rich aesthetic.

<![CDATA[London's Stephen Friedman Gallery channels Parisian chic as Galerie de l'Epoque during May]]> http://www.wallpaper.com/art/londons-stephen-friedman-gallery-channels-parisian-chic-as-galerie-de-lepoque-during-may/8803 Galerie de L’Epoque is a gallery within a gallery; or fragments anyway of a fictional, but fully furnished, post-war Parisian gallery, conjured up in London’s Stephen Friedman gallery. As Stephen Friedman’s director of sales, Oscar Humphries, says this is a Paris about to be outflanked, commercially and creatively, by New York, even if it doesn’t see the outflanking coming. But, for now, or then, it is the high modern moment, Paris is in its pomp and this gallery offers the art essentials of any modernist European dream home.

There are two Picassos, an early one, and a later one; a loose, looming portrait, set above an imposing Indian walnut, glass and aluminium desk by Maxime Old which becomes our imagined gallerist. There is a Calder mobile, a Jean Arp objet, a (fine) Kandinsky and a Klee, a couple of Kurt Schwitter collages, a Juan Gris and a lovely pair of Giorgio Morandis. A collection assembled by Friedman and all for sale.

Stephen Friedman and Humphries have worked with French Interior designer Emilie Bonaventure to create this fantasy gallery (which comes with its own signage). And Bonaventure has avoided the obvious Prouvé/Perriand design pieces - and not just because of over-exposure and dwindling supply but because they were kitting out schools and other public institutions in the 1950s rather than smart Parisian galleries. Instead she has assembled pieces from lesser known French designers such as Alain Richard, Jacques Dumond and Rene-Jean Caillette. There is a lovely credenza by Antoine Philippon and Jacqueline Lecoq. She has also used period wallpaper and paint palettes.

But this is more than the fantasy set of a not-yet-made, art-rather-than-ads Mad Men cash in. The collection stretches forward in time to include post mid-century pieces including a 1969 wave sculpture by Jiro Takamatsu and Isa Genzken’s marvellous 2000 upright box, Hanne. Friedman’s current stable of artists are also featured, including a salon hang of Juan Araujo’s take on works that once hung similarly in Lina Bo Bardi’s Casa de Vidro in Sao Paulo. For Humphries this is a show about how Modernism stretches forwards and backwards in time, from Morandi to Mamma Andersson’s Huggermugger of 2013; and the art of juxtaposition and collage, of connections made.

25-28 Old Burlington Street, London

<![CDATA[Reading between the lines: Thomas Struth lets landscape do the talking]]> http://www.wallpaper.com/art/reading-between-the-lines-thomas-struth-lets-landscape-do-the-talking/8810 To Thomas Struth, choosing what not to include in each frame is as important as what makes the cut. In his current show at London's Marian Goodman Gallery, it's especially important to read between the lines. On six epic expeditions across Israel and Palestine between 2009 and 2014, Struth chose to capture 'the banal, the hopeless, the unheroic'. In a landscape defined by conflict, disenfranchisement and media hyperbole, he let the naked landscape express its own hierarchy.

The Berlin- and New York-based photographer embarks on new territory in this splendid Soho space, both literally and metaphorically. It is his first official foray into a conflict zone and the first instance in which the locale dictated the theme, rather than vice versa. It was as if, he says, 'Israel and Palestine were a geographical container for the scope of the human condition'.

Appearing, at first glance, to want to be taken at face value, Struth's large-scale colour prints are politically charged. That's thanks to their scrupulous composition, often conceived over several visits to a particular spot. In 'Har Homa, East Jerusalem' (2009), a swath of earth levelled for settlement swallows up the cracked earth like a biblical flood. 'The Holy Land is such a desirable place,' says the artist, 'yet in reality it is so dire, desert-like.' In 'Silwan, East Jerusalem' (2009), a mound of rubble looms in the foreground; sculptural clouds weigh on the horizon; a veiled villager emerges on a dusty path, laden with bags. 'The woman noticed me,' he says. 'She was not happy. It was the perfect example to show the situation of conflict is within everyone.'

Struth has arranged the gallery with the same scrupulous composition, 'like a piece of music, with themes, variations and a quiet denouement'. He has framed bolder pieces between pillars to highlight the interior architecture. The climax is the sun-drenched upstairs loft. He includes some ostensibly unrelated photos, taken during the same period in cable-tangled, high-tech facilities in California. Aesthetically and ideologically, the two themes do intersect. 'Technological research requires the same obsession and tunnel vision of an intractable conflict,' he says. 'And in the scientific world, different cultures work together to make progress.'

He believes, sadly, that the obsession with technological progress distracts us from the greater need for political progress.

Marian Goodman Gallery
5-10 Lower John Street

<![CDATA[Human traces: Idris Khan explores the horrors of war in haunting new show]]> http://www.wallpaper.com/art/human-traces-idris-khan-explores-the-horrors-of-war-in-haunting-new-show/8809 For over a decade British artist Idris Khan has been seriously playing with the idea and form of the palimpsest - multiple-layers of words and images, a compressed stretch of time where the past leaves visible traces. In previous works he has made composite photographs of every stave of Chopin's Nocturnes, every page of the Quran, every Bernd and Hilla Becher photograph of gas holders and every one-a-year-for-forty-years image of the Brown sisters by Nicholas Nixon, amongst many other things.

In each case, Khan's subject gains a new rattle and hum, becoming less distinct, sometimes dissolving and other times becoming more substantial. Always though, Khan’s images have an odd beauty - he is not afraid of that - and the Polaroid melancholy of the past in the present

In his new show, however - 'Conflicting Lines' at Victoria Miro Mayfair in London - Khan's traces are his own. He has scrawled phrases in oil stick, roughly wiped them away, then scrawled again and again till his blank square is blackened over. He has done the same thing in reverse with chalk on blackboard. The phrases are not random but, as the exhibition title suggests, a response to the waves of images of bloody conflict that now wash over us; each one super-imposing itself on the last, creating its own fuzzy fog of war.

Khan has photographed these scrawls somewhere between 500 and 2,000 times, pushing in, pulling out and changing angles. He has then painstakingly put all these shots together, picking up particular curves and edges of text.

Khan talks about Roland Barthes' idea of 'punctum', the particular detail in a photograph that 'pierces its viewer' with its emotional charge, This is what Khan is aiming for. The final, large prints are mesmerizing, as though Khan were coming at Agnes Martin Minimalism from new angles.

Khan has always pushed photography towards the painterly, his repeated marks acting like brush strokes. In a series of five platinum prints - the result of printing process that produces a richer tonal range than normal printing with a matte finish - his abstracted scrawls become almost monochrome water colours. And if Khan's process is more hidden in these images, the effect is more complex and haunting.

Victoria Miro Mayfair
14 St George Street

<![CDATA[Art expo: Zegna's Milan HQ bursts into bloom with Lucy and Jorge Orta mural]]> http://www.wallpaper.com/fashion/art-expo-zegnas-milan-hq-bursts-into-bloom-with-lucy-and-jorge-orta-mural/8807 In honour of Milan's Expo, which officially opened its doors on Friday, Ermenegildo Zegna's Milan headquarters have been blanketed with enormous blooms designed by artists Lucy and Jorge Orta. The latest addition of the house's ZegnArt initiative, the installation welcomed guests to a performance feast created in tandem with Italian chef Davide Oldani and the Ortas;  a true sight to behold.

Entitled 'Fabulae Naturae', the headquarters' new floral murals are part of an enchanted-forest exhibit that tumbles freely across walls and ceilings of stark cement and clean glass. Curated by art and fashion historian Maria Luisa Frisa, the project was inspired by recently acquired floral-based archival fabric and also features a second chapter of Spirit characters, which debuted this weekend wearing costumes and masks. These were invented by the Ortas for a Zegna exhibit at Rome's MAXXI museum in 2012. The Ortas have also designed a collection of limited edition Limoges plates, featuring their new floral designs, which will be sold to fund an agricultural development project in Punta Mesco, near the Cinque Terre.

'We've put together a great big mix of all of Zegna's souls,' explains Anna Zegna, president of the Zegna Foundation. 'But it makes sense. Fabrics come from our archives, nature is fundamental to our world and what we are doing with Zegna Oasis and every generation of Zegna, starting with my grandfather, has been deeply interested in the world of art.'

Though it couldn't be more apt for Milan's sustainable-food-themed Expo, Zegna's voyage into a floral and food wonderland began over two years ago when the fashion giant purchased an enormous archive of over 2,200 vintage textile volumes from Heberlein, a Swiss-based family run fabric company. 'Our fabric archive is already one of the biggest in the world,' says Anna Zegna, 'but we're always looking to expand it. We bought this one without even knowing what was in it.'

Anna Zegna poured over the enormous contents (which included 40 different themes ranging from the 1920s-1980s) for over two years with the help of Maria Luisa Frisa and finally settled on florals as a first theme to develop. The Ortas' artwork is inspired directly by this botanical material and played a beautiful backdrop to both the musical performance entitled 'Symphony for Absent Wildlife', as well as the Sprits' performance called 'XXXVII Act of the artists' 70x7 The Meal', which took place in Milan over the weekend.

Ermenegildo Zegna Headquarters
Via Savona 56/A, Milan

<![CDATA[Miuccia?s museum: Milan welcomes Fondazione Prada]]> http://www.wallpaper.com/architecture/miuccias-museum-milan-welcomes-fondazione-prada/8795 Milan is having an uncharacteristically hip moment.  Despite messy logistics and half-baked construction, The Expo has revitalised the city’s spiritual shroud, while iconic public figures such as Giorgio Armani have helped buoy the wave of attention with a new fashion museum and a recent Hollywood-studded 40th anniversary event.  But no one has done more to shine a truly long-term, international and bright lens on this city than Miuccia Prada and Patrizio Bertelli who will open the doors to their long-awaited Fondazione Prada on 9 May.

In the works for more than a decade, the Fondazione opens with 'Serial Classic', an exhibit curated by Salvatore Settis, and lives up to every bit of hype that has swirled around it. The project is massively ambitious – 10 different buildings packed with a dazzling selection of contemporary and modern art sprawl like a labyrinth across 19,000 sq meters — and is just as satisfying.

‘People keep asking me if this is an art gallery, a public museum or a private foundation,’ Bertelli told us in a private preview of the substantial compound.  ‘In truth, we wanted to make a space that was an aggregate of all three. It is very homogeneous and at the same time very heterogeneous.’

Visually, the Fondazione Prada is an intriguing hodge-podge of different buildings, styles, spatial sizes, creative themes and time periods.  Shiny mirrored surfaces battle against raw concrete interiors;  tiny, intimate rooms contrast with vacuous warehouse-sized hangars.  Without a typical plan, the discovery process unfolds without a pre-ordained path, though a stop in the Wes Anderson-designed cafe, wrapped in tromp l’oeil wallpaper recreating Milan’s famous Galleria Vittorio Emanuele II, would be an excellent place to start.

A former distillery, the location features a disparate mix of seven structures that date back to 1910, plus three new ones (one of which, called Torre, is still under construction) all set within a tall-walled, art-filled campus.  Hundreds of pieces of art have been sourced from both Fondazione Prada’s private collection as well as non-permanent exhibits and site specific installations. 

‘It was our intention to make old and new work seamlessly here,’ observed longtime Prada collaborator Rem Koolhaas, whose OMA architectural firm was charged with designing the compound. ‘At any moment, you can’t really tell if you’re in an old building or a new one.’

Set in the southern section of the city across from bleak railroad tracks, Fondazione Prada’s neighbourhood is in a decidedly un-cool part of town.  ‘What’s fabulous about this area is its industrial quality,’ Koolhaas stressed.  ‘We absolutely do not want to create any gentrification here - this was crucial for all of us.’

The classic Milanese might not be pounding on the surrounding real estate, but the space itself — which unfolds like a creative village with charming public spaces and open-air courtyards — is sure to become a lure, not just for the city’s resident design class, but for top art and architecture scene-makers around the world. And let’s be honest:  this (much more than a six-month, mass, eat-fest) is exactly what the city of Milan needs most.

Largo Isarco, 2
20139 Milan

<![CDATA[Smoke up with Bjarke Ingels and take a dip with Charles Renfro as one-off experiences go under the hammer]]> http://www.wallpaper.com/design/smoke-up-with-bjarke-ingels-and-take-a-dip-with-charles-renfro-as-one-off-experiences-go-under-the-hammer/8805 Ever wanted to take a dip, smoke up, break bread or go on a birdwatching expedition with your favourite architect, artist or designer? If any of these were on your bucket list now is your chance to cross them off. From 6 until 20 May, the Van Alen Institute is hosting an online auction featuring a host of adventurous ‘experiences’ with the likes of Charles Renfro, Bjarke Ingels, Yabu Pushelberg and more.

The offerings include a chance to pick the brains of Airbnb co-founder Joe Gebbia on a Pacific coast hike, peruse through graphic designer Irma Boom’s vast collection of handmade books and a wander around the Tadao Ando-designed Pulitzer Arts Foundation with Emily Pulitzer. Lauded landscape designer Piet Oudolf, meanwhile, will offer a rare tour of his private gardens and self-described ‘dream landscape’ in Hummelo, Netherlands, followed by drinks at his local haunt, the nearly 400-year-old Gouden Karper.

Elsewhere, one lucky bidder (and five of their guests) will wine and dine with design duo George Yabu and Glenn Pushelberg at the striking Manhattan home they created for themselves in a Richard Meier-designed tower, while another will get to talk buildings and birds with architect Jeanne Gang in one of Chicago or New York’s iconic urban parks.

For the more intrepid, there’s a chance to join Bjarke Ingels and partner Jakob Lange as they test their self built smoke ring generator for BIG's new waste-to-energy power plant at the Amager Resource Center in Copenhagen. And if you really feel like getting intimate on your blind design date, there’s a hot tub roundtable with architect Charles Renfro of superfirm Diller Scofidio + Renfro on offer, hosted at his mid-century modernist house on Fire Island - cocktails included.

The auction marks the Van Alen Institute’s annual Spring Party in Lower Manhattan, which this year includes a seated dinner and performances by My Midnight Heart, DJ David Pacho and Brooklyn-based dystopian funk super group LÁ-BAS. Proceeds from the sale will help fund the Van Alen Institute’s inventive cross-disciplinary research, design competitions and public programmes. Now that's a bidding war that's priceless.

The Surrogate's Courthouse
31 Chambers Street
New York

<![CDATA[B.E Architecture's Whitehall Road house perfectly frames the Australian landscape]]> http://www.wallpaper.com/architecture/b.e-architectures-whitehall-road-house-perfectly-frames-the-australian-landscape/8798 Smooth white sand beaches line the coast around the tranquil town of Flinders, near the southernmost tip of the Mornington Peninsula in Victoria. A short way inland, the verdant countryside sets the scene for this sprawling family residence by Australian practice B.E Architecture, in a design that encourages interaction between internal, external and 'interstitial' spaces, maximising the panoramic views and glorious Australian sunshine.

The house perches on a hillcrest, maintaining a low profile, largely concealed from the street by a grove of mature gum trees. The generous 740sqm dwelling is mainly concentrated on one floor, with a small gym and pool deck sunk into a lower level. Zoned into three separate rectilinear pavilions, the design offers flexible occupation for two to fifteen people.

The first 'zone' is the main house, accommodating open-plan living, kitchen and dining facilities with great entertainment potential, and two children's bedrooms. A second portion contains the fully glazed master bedroom, ensuite bathroom and walk-in wardrobe, with a connecting stair leading to the lower level, whist the house's third section is a separate guest suite, which can be used to house the client's older children when they visit.


Take an interactive tour of Whitehall Road

A delicate timber arbour for outdoor barbeques lies in the heart of the complex, framed by the blocks of the living spaces. The connecting shaded walkways and shared outdoor spaces are integral features in the design. 'The journey through the building is very important. It holds back a little at first so that there is greater enjoyment as it is progressively experienced and greater impact when it is ultimately revealed,' says B.E Architecture Design Director Broderick Ely. Whilst the house appears closed off and private from the front, large windows and courtyards open up towards the rear, with framed sightlines out over 29,000 sqm of sloping garden.

Whilst the original construction was completed a few years ago, upgrades to external materials and a greater emphasis on landscaping has updated and perfected the design. The new, subtle black staining of the oversized rough sawn cypress cladding perfectly complements the natural granite of the drystone wall. This 700mm thick drystone wall is one of the key features of the scheme, acting as a retaining wall to counter the flow of the hillside above, as well as a spatial divide between the main internal areas and the pool and garden slopes below.