Hasta La Ideas

British architect David Chipperfield has completed his first project for Swiss accessories brand Bally – the interior of a flagship boutique on London’s New Bond Street (+ slideshow).

David Chipperfield Architects based elements of the 400-square-metre store on an interior that Modernist architect Marcel Breuer designed in the 1920s for the brand, which was founded in 1851.

“It’s a brand that has incredible heritage and it’s one of the oldest companies to be in continuous trading as well,” Chipperfield told Dezeen. “It was interesting to try and understand what the heritage of Bally was and how that could be included going forward.”

Bally‘s previous collaborations with architects include Robert Mallet-Stevens, Andrée Putman, Le Corbusier and Karl Moser. “The graphic tradition of Bally is amazing,” said Chipperfield. “They were very design conscious and one of the first stores that really engaged good designers.”

An archive photograph showing shoe boxes stacked up the walls of Breur’s store prompted Chipperfield to recreate this feature, aiming to steer Bally’s retail focus back towards footwear.

“The shoe store is a very particular typology,” said Chipperfield, who completed the New York flagship for fashion house Valentino last month. “It’s different to other stores. And when you looked at those there were hundreds of boxes on the walls, and there were lots of chairs where people would be sat down, and there were lots of shoes.”

The store – Bally’s first flagship in over 20 years – is spilt over three levels in a corner building on New Bond Street, one of London’s most famous luxury shopping destinations.

Menswear is located in the basement, the ground floor is dedicated to womenswear and the first floor features Made to Order, Made to Colour and Shoe Caring services.

On all levels, burgundy-coloured boxes are stacked in columns across sections of the walls. This allows customers to pick out the shoes themselves rather than waiting for a shop assistant to disappear into the bowels of the building and fetch the right pair.

Walnut panels with grids of vertical slots surround the interiors on each floor. These curve around corners to link the small pockets of space, providing a screen across the many windows facing onto neighbouring streets.

To prominently display the shoes out of their boxes, Chipperfield designed shelves made from bent sections of aluminium, which hook into the slots in the walls with wooden brackets.

“This was a project of designing a shelf because without the shelf, the shoe shop can’t work,” Chipperfield said.

To illuminate the products, the shelves are backlit using a low voltage transferred directly from the walls into the frames. This means that the shelves can be clipped in and out, and relocated when necessary without having to rewire.

Other accessories are displayed either on or inside freestanding vitrines, with bent brass frames based on Breur’s furniture designs.

The staircase in the centre of the building is clad in grey Swiss marble, while grey carpet is laid on all of the shop floors.

Following a soft launch over the weekend, the shop is now open for trading. Chipperfield’s Milan office will continue to work with the brand on subsequent store designs, the next of which is due to open on Los Angeles’ Rodeo Drive next year.

The post David Chipperfield models Bally flagship store
on 1920s Marcel Breuer interior appeared first on Dezeen.

When Brook DeLorme first launched her line Brook There in 2007 as a spin-off of her and husband’s shirting label Seawall, her focus was on creating soft, easy loungewear…

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The latest in home security, DefenDoor allows your to screen your visitors just like you screen your calls. Its wide-angle lens and 720P/HD resolution also help you keep your home safely monitored while you’re out and even notifies you when other family members return safely. With a low price point and easy wireless installation, it’s a smart and cost effective solution for securing your doorstep and the rest of your home.

Designer: Glate

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(The Eyes and Ears of Your Home was originally posted on Yanko Design)

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What appears to be a random, irregular pentagon shape is actually created by simplifying the map of Seoul, capital of South Korea. Appropriately called the Seoul Tray, the marble dining piece is created with a CNC machine to achieve its protruding interior lines that provide grip and a modern aesthetic expression. In matte and polished versions, this serveware for hors d’oeuvres and wine is as elegant as it is simplistic.

Designer: Kim HyunJoo

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Yanko Design
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(Stone Serveware Au Naturale was originally posted on Yanko Design)

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As an industrial design publication, we publish both hypothetical and extant products; as such, we receive a fair share of inquiries, via e-mail or comments, from net noobs about the possibility of ordering these products. Where savvy Internet folk might content themselves with a Futurama macro of approval, we regularly receive reminders that there are plenty of people who think that the internet is not just a big store.

Of course, it takes a more nuanced approach to pull one on those of us who sift through Kickstarter pitches and dubious renderings for a living, and the TBD Catalog assumes a moderate degree of web-weary cynicism even as its pages present a close approximation of novelty (if not naïvity). The short version is that it’s a neatly packaged, portable work of design fiction, a vicarious investigation of a near future that may not be the one we want but could well be the one we get. As Fosta (one of the 19 co-authors) put it in his expository piece:

We wanted to talk about a future of middling indifference, of partly broken things, of background characters. A future where self-driving cars weren’t a fantasy, but another place to be bored. A future where drones didn’t draw gasps of awe, but eye-rolls of indifference. A future where today’s ‘technology’ had become tomorrow’s ho-hum.

Reverting to printed matter is, of course, at once a way to short-circuit the feedback loop of the Internet and an excuse to produce an artifact, a token of one’s efforts (why yes, it is available to order). Although the TBD Catalog is a send-up of invariably utopian futurecasting, it’s not so much an outright parody as an exercise in the uncanny: As a work of design fiction par excellence, it blurs the minor distinction between ‘fictitious’ and ‘fictional.’ [Ed. Note: I wish I were more intimately familiar with the work of the individual authors so I could speak to how each of them may have shaped the final product, but at this point it seems most fair to evaluate their collective effort.]

While its relatively high production value—semi-glossy though they may be, the pages are a cut above magazine stock—betrays its true nature, the message is not in the matter but the medium. Beyond the cover, it reads as a mail-order catalog at first glance, from the true-to-form layout to the intrinsic stiltedness of stock photography, both of which the authors exploit (and sometimes unravel) to nice effect. Some of the content invites a double take, but the authors rightly err on the side of subtlety, and the TBD Catalog certainly rewards a closer reading of the images, copy and subtext.

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