Chalet Collection Carry-On

With bold colors and retro stripes in a high-shine finish, Away’s limited-edition Chalet collection brings Alpine-inspiration to their dynamic suitcases. The smaller of the brand’s two carry-on offerings, this iteration fits in the overheard bins of almost all airlines while still transporting so much—thanks to an interior compression system—in its 20 by 13.5 inch interior. Style and spaciousness aside, it also comes with a TSA-approved lock.

Salone del Mobile "consulting with stakeholders and the government" amid coronavirus fears

Salone de Milano coronavirus fears

The organisers of Milan’s Salone del Mobile furniture fair are discussing how to respond to Italy’s coronavirus outbreak, as fashion and eyewear events in the city were impacted by the virus.

A source told Dezeen that the fair, which is the world’s biggest and most important furniture event, is “consulting with stakeholders and the government” and would make an announcement in the next few days.

The statement came amid rising concern over the impact of the virus on Italy’s leading business city.

Eyewear fair and Armani show affected

Yesterday the organisers of MIDO, the world’s biggest eyewear event, announced it was postponing its 2020 event in the city due to the virus.

The 50th edition of the fair was due to be held at Rho Fiera Milano, the same fairground that hosts Salone del Mobile, from 29 February 29 to 2 March.

“We took this decision out of respect for the current alarming situation and for our exhibitors and visitors,” said MIDO president Giovanni Vitaloni. “As this health crisis is developing in Italy, we could not but choose to postpone MIDO’s 2020 edition.”

MIDO has yet to announce new dates.

Meanwhile, fashion designer Giorgio Armani presented his runway show to an empty room yesterday after advising guests to stay away. However, aside from this, Milan’s fashion week went ahead as normal last week.

Trade body calls for Salone to postpone

Last week Italian trade body Confapi Matera called on the organisers the Salone del Mobile to postpone the event over coronavirus fears.

The trade body, which represents small and medium businesses in the Matera district of southern Italy, said it feared the fair risked being a “flop” for exhibitors including local furniture companies if it went ahead.

“Numerous cancellations are arriving in Milan, especially by the Chinese and Asians in general,” said Confapi Matera president Massimo De Salvo and director Vito Gaudiano. “The risk of flop of the fair worries local entrepreneurs who will have to bear the costs of participation.”

Held each April, the furniture fair is considered the most important in the world. The 2020 edition is due to be held from 21 to 26 April.

Last year the event welcomed over 380,000 visitors from over 181 countries. Of its 2,418 exhibitors, 34 per cent were from overseas.

Italy hit by coronavirus

Italy has seen Europe’s worst outbreak of the new covid-19 strain of the coronavirus, with 200 people testing positive and seven deaths across the Lombardy region, of which Milan is the capital, and the neighbouring Veneto province.

Milan mayor Beppe Sala announced yesterday that schools and universities in the city would close for a week while the authorities try to contain the outbreak. Milan’s Duomo cathedral has been closed to the public in response, and the Venice Carnival ended two days early.

The current coronavirus outbreak, which was first identified in Wuhan, China, in December 2019, has already impacted numerous design events in China. The Design Shanghai trade fair and the Festival of Design architecture conference were called off in January due to coronavirus fears.

Earlier this month Barcelona’s Mobile World Congress, the world’s biggest mobile phone show, was called off because of the virus.

Italian design brand Fabbian also announced that it would not attend the Light + Building fair in Frankfurt next month, citing coronavirus fears.

“Our colleagues and partners have been forced to cancel their flights for the Light + Building trade fair in Frankfurt and, given that many other stands have already pulled out, we have decided not to participate in the trade fair for the aforementioned reasons,” the brand said.

However Light + Building organisers said that rumours that brands were pulling out of the fair were unfounded.

“As of now, cancellations amount to 24,” a spokesperson told Dezeen. “None of those are related to health concerns. In fact this is a normal number within Light + Building’s two-year cycle and mostly has to do with reasons that concern individual exhibitors. All market leaders will be present.”

Virus impacting global supply chains

The epidemic is causing global travel and supply chain disruptions. Factories around the country were ordered to close and many remain shut.

Design brands that manufacture products in China or rely on components from the country are bracing for disruption. Last week Apple announced it would miss revenue targets due to delays at Chinese suppliers, while UK lighting brand Tala said it expected to be impacted.

“The business has undertaken a critical analysis of our inventory and are pleased to let you know that we are currently in a strong stock position,” the brand said. “However, we anticipate our faster-moving lines are likely to be affected in the next few weeks.”

As well as imposing quarantine measures, Chinese officials have been using technology to help stop the spread of the virus. Robots and drones are being used to deliver supplies in closed-off areas and to spray disinfectant over streets in locked-down neighbourhoods.

The global coronavirus death toll now stands at over 2,600, with more than 79,000 people in 36 countries confirmed as infected.

The post Salone del Mobile “consulting with stakeholders and the government” amid coronavirus fears appeared first on Dezeen.

2020 Premiere Classe Fashion Event in Paris

Pendant que les « runway » de la capitale sont en effervescence et que les grands créateurs de mode révèlent leurs nouvelles collections au monde entier, un rendez-vous incontournable dévoile une sélection haut de gamme d’accessoires au Jardin des Tuileries.

Depuis 30 ans, Premiere Classe accompagne la Paris Fashion Week en présentant les tendances accessoires de la saison à venir et les jeunes créateurs qui feront la mode de demain, une sélection premium complétée par un choix de prêt-à-porter.
La créativité, l’originalité et le style définissent la sélection pour l’exposition de 400 créateurs de bijoux, de chaussures, de maroquineries ou d’autres accessoires.

Affiche Premiere Classe

Comme une pièce immaculée dans laquelle l’imaginaire et la créativité pourraient se déployer sans limites, c’est l’élan créatif qui est célébré dans le salon cette année avec le thème “Visible à l’oeil nu”.
La transformation du vide vers l’effusion de couleurs et de textures, de la page blanche à l’œuvre, Premiere Classe nous invite dans ce monde où les possibilités de compositions sont infinies, un monde où la couleur est un accessoire.
Le magazine culturel au contenu très inspirant Tafmag présentera des artistes d’univers différents, comme Romain Sarrot, Vincent Lorgé ou Lise Stoufflet, dans l’exposition “Visible à l’œil nu ».


Bijoux – S by Shourouk


Prêt à porter – Martin Luttecke


Bijoux – Clair de lune


Bijoux – Gamme blanche


Chaussures – Eugène Riconneaus

Dans la tente Concorde, le pop-up store Premiere Classe X IMPACT sera ouvert à tous et proposera un espace de shopping à la sélection “sustainable”. Un espace pour dénicher des pièces et accessoires uniques avec Face to face et sa sélection de créateurs indépendants, The Ethiquette ou le meilleur des boutiques vintages.


Face to face – Entoure


Face to face – Marie Martens

Pendant que votre regard s’ouvrira sur un éventail de nuances et de matières, Premiere Classe vous entraînera vers d’autres plaisirs.

La programmation de la cantine du pop-up store signée A Poêle, le podcast français de référence de la food, promet une carte d’exception co-créée par le chef Sho Miyashita et la créatrice Marianna Ladreyt. Au sein de cet espace, vous pourrez savourer de petits plats à mi-chemin entre la France et le Japon.
Pour sûr, le chef de Paris Munchies et d’Haikara saura ravir vos papilles comme lors de ses dernières résidences chez Tontine, Yard, Chambre Noire et Caché à Paris ou Song à LA.
Un brunch est également prévu le dimanche dans la cantine de ce pop-up.

Du vendredi 28 février au Lundi 2 mars 2020, venez profiter de ce lieu dans lequel des ateliers DIY ainsi que plusieurs DJ sets sont prévus.

Un code spécial vous permet d’obtenir un badge et d’accéder à l’ensemble de Premiere Classe.
Rendez-vous ici avec le code : FUB5466.
Ce badge vous ouvre également les portes de l’opening party du vendredi soir dans l’espace pop up store privatisé avec :
De 19h à 21h : Fishbach (DJ set)
De 21h à 23h : Address Hymen (DJ set)
L’entrée est possible jusqu’à 20h au jardin des Tuileries par la grille face à la rue Cambon.
N’attendez plus, il n’y a que 100 places disponibles.

Here’s what Dyson’s ‘air-purifying’ headphones could (possibly) look like…

Is it just great timing or what? Just earlier this month, Dyson filed for a patent that brings its air-purifying technology to a smaller, more portable scale. The company famous for making some of the most powerful vacuums, fans, and hair-dryers in the world just disclosed in a patent that they may be working on a portable, wireless pair of headphones with air-purifiers built right into them. Based on those patent files, here’s a concept that brings those visuals and Dyson’s form language together into something that isn’t just a bunch of line-drawings. It’s important to point out that this is just a concept created to help visualize the product, and isn’t connected to the Dyson brand.

Say hello to the Air-Purifying Headphones. Armed with around-ear cups on both sides, and a dual-headband design on the top, the Air-Purifying Headphones have a unique way of combining air-filtering with audio-playback. The upper headband swivels forward to cover the face, and features the iconic bladeless-fan-style form that helps route air directly to the nose and mouth. The headphones house a powerful motor and filter located within the left and right cups, drawing air from the grilles on the outside and channeling them through and out of the headband’s air-outlets. According to the patent, the purifying headphones would feature propellers that spin at 12,000 rpm and draw in 1.4 liters of air per second each to filter particles like dust and bacteria. A key requirement of the motors would be to function quietly, allowing the headphones to offer great audio playback too.

Apparently, Dyson’s been working on wearable purifier tech for a while now. The company’s seen great growth in its purifier department in countries like Asia, where less-than-desirable air-quality has made owning home-air-purifiers rather commonplace. Shanghai was the top-selling city for Dyson’s purifiers in 2017. With its wearable purifiers, the company hopes to work on a personal level, rather than a spatial one. Headphones and face-masks are perhaps two of the most commonly worn face-accessories outdoors, so combining the two into a singular product could actually be a pretty good idea. Besides, the swiveling headband and its hollow design may just help people unlock their phones with their faces while breathing clean air… a feature that isn’t possible with traditional face-masks.

Given that this concept was developed off patent-drawings, it’s difficult to say if Dyson’s headphones would even remotely resemble these renders… that’s if they do plan on releasing them. Details on the headphones, its functions, and its price aren’t available either, but the fact that the company’s invested in shrinking its air-purifying technology to fight pollution on a more dedicated, personal level – that’s definitely something worth lobbying behind!

Designer/Visualizer: Sarang Sheth

Disclaimer: The Dyson Air-Purifying Headphones are a conceptual render aimed at visualizing public-domain patent files. These renders aren’t affiliated with or connected to the Dyson brand in any way.

Patent Files via United Kingdom Intellectual Property Office

Studio Vural imagines off-the-grid Dune House for Cape Cod

Dune House by Studio Vural

Architecture practice Studio Vural has envisioned a seaside holiday dwelling that is carved into sand dunes and operates without relying on public utilities.

Dune House is designed for a coastal site in Wellfleet, a small hamlet located on the hook-shaped peninsula of Cape Cod in Massachusetts.

The architect Selim Vural, who leads an eponymous firm in Brooklyn, knows the area well, as he vacations there with his family every summer.

After years of studying the local climate, landscape and architecture, Vural was approached by a New York City real estate developer seeking to build a personal holiday house on the beach. Vural conceived a two-storey, self-sufficient dwelling that is carved into sand dunes. He calls it “subtractive architecture”.

Dune House by Studio Vural

“Since the house is only recognisable from sea as a circle with a cut, it blends seamlessly with nature,” Vural said. “The shoreline silhouette remains unchanged – the house is immersed, not imposed.”

Vural said that construction is scheduled to begin this fall, noting that he is “looking further into coastal regulations”.

In plan, the upper level of Dune House takes the shape of an octagon. It consists of two wings that are linked by a central breezeway. This top floor houses public functions, such as a kitchen and dining area.

Stairs lead down to the lower level – which is rectangular in plan – where the architect has placed a series of bedrooms and a den. Wedge-shaped windows are designed to bring in daylight and offer views of the water.

Dune House by Studio Vural

The home is designed to be anchored to the site via deep piles. Walls are intended to be made of fly-ash concrete and large stretches of triple-insulated glass set within metal frames. The windows are designed to be storm-resistant.

In the scheme, a significant portion of the dwelling is blanketed with native plants that help “sponge up” carbon emissions. The decking of the breezeway is made of porcelain planks that resemble wood in the architect’s renderings.

The images show interior spaces that feature white-painted concrete walls, polished concrete floors and blue clay tiles. Bamboo is used for cabinetry and panelling.

A solar panel array and mini wind turbines are intended to generate electricity for the home. Extra power would be stored in the “the latest oxidised-zinc batteries designed to be replaced as the technology advances”.

Dune House by Studio Vural

The aim is that a rainwater collection and storage system would supply fresh drinking water. Sinks and showers would use filtered groundwater, of which there is an abundance in the area.

A geothermal system would heat and cool the dwelling, with an “eco-concrete basin” under the house aiding in temperature control.

“The anchoring sand piles also contain conductive fluid piping, which convey the coolness in the summer and warmth in the winter,” the architect added.

“Once you touch the concrete walls in the summer, it will feel like a chilled soda can, and in winter, it will be a lukewarm tea cup.”

Other unusual houses that have been envisioned for natural settings include a modernist concrete dwelling by designer Amey Kandalgaonka that is integrated into a giant boulder, and a modular treehouse by Precht that features tube-shaped rooms and large round windows.

Images are by Studio Vural.

The post Studio Vural imagines off-the-grid Dune House for Cape Cod appeared first on Dezeen.

How can brands be more gender inclusive?

We explore how brands can create more inclusive products and campaigns – and ask whether gendered branding and ads are still relevant in 2020

The post How can brands be more gender inclusive? appeared first on Creative Review.

LastObject Tackles Unsexy but Important Single-Use Items, Like Reusable Tissues, Strikes Kickstarter Gold

You know that old saying that great minds discuss ideas, average minds discuss events, and small minds discuss people?

The industrial-designer-specific version is surely that great minds design solutions, average minds design objects, and small minds design for Instagram likes.

LastObject is a Danish design trio that consists of great minds. They’ve chosen to tackle some of the least sexy objects out there–first cotton swabs, now disposable tissues–not for fame nor love of these objects, but because they are addressing the problem of single-use items, and looking past the highly-visible culprits (currently, plastic bottles and straws).

Their LastSwab is a washable and reusable silicone swab, designed after the team learned that 1.5 billion disposable cotton swabs are produced per day, and wind up becoming “a huge source of marine pollution,” they write. Launched on Kickstarter, LastSwab attracted nearly 20,000 backers who pledged roughly $694,000 to get it going.

Now they’re onto their next target, something you never hear people talking about: Disposable tissues. Despite the low profile, cutting down trees to convey your snot into a wastepail carries a heavy environmental cost. “The ‘issue’ in ’tissue,'” they write, is that

“The paper and pulp industry is the third largest industrial emitter of global warming gasses. Every year around 8,000,000 trees are cut down to make facial tissues for the US alone.

“Deforestation can lead to a direct loss of wildlife habitat. The removal of trees reduces available food, shelter, and breeding habitat. It also removes the miraculous effect the trees have of cleaning our carbon emissions to breathable oxygen – helping to prevent climate change.”

Hence they developed LastTissue, a package of six washable, soft-on-the-nose organic cotton tissues. And they’ve thought the UX through: How do you carry dirty tissues around without making a mess, and ensure that you’re only pulling clean ones out of the package to use?

If you’re wondering how much of a difference using LastTissues could possibly make, here’s what LastObject has calculated:

– Every time you blow your nose with a LastTissue, you save 2 liters of water.

– It takes 3 times more energy to produce paper tissues compared to the reusable cotton tissues.

– With one LastTissue pack you will save the planet from more than 2800 single-use tissues as well as their plastic packaging.

On top of that, I figure the water required to wash and re-use these is negligible; six handkerchiefs can be thrown into a regular washing load without needing to bump up the volume settings.

At press time, LastTissue was proving to be another smash hit: While the goal was just $12,000, it’s already up to $618,025.

I really appreciate that LastObject is tackling unsexy but significant items like these. It’s worth noting that their first Kickstarter campaign was for a “meh” object that you’d expect to see from someone fresh out of design school: A fruit basket. Their second campaign, for a high-tech jewelry pendant that you could laser-inscribe a soundwave onto, failed altogether. But now they’ve refocused on far more important objects, and found great success as a result.

LastObject consists of industrial designer Nicolas Aagard, Co-designer* Isabel Aagard, and industrial designer Kåre Frandsen.

*(Interestingly enough, “Co-design” is something you can get a degree in from the Royal Danish Academy of Fine Arts’ Schools or Architecture, Design and Conservation; it’s essentially a trans-disciplinary degree that combines a variety of design fields with social sciences.)

There’s still 17 days left to pledge for LastTissue.

Raul Cabrera – First Weekly Artist on Fubiz Prints

Nous vous avons présenté la nouvelle plateforme Fubiz Prints, qui chaque semaine vous propose d’acquérir l’oeuvre d’un artiste disponible à la vente et à l’impression pendant une semaine seulement. Chaque lundi à 12h (heure française), une nouvelle série de créations d’un nouvel artiste est mise en avant.

Nous vous présentons le photographe qui a l’honneur d’inaugurer cette première semaine de Fubiz Prints. Il s’agit de Raul Cabrera, qui vous propose un choix de cinq images. Il immortalise l’architecture dans son aspect le plus minimaliste. Il en explore toute la géométrie, qu’il fait ainsi émerger dans des images remplies de poésie.

Nous vous offrons donc l’opportunité de posséder une impression numérotée et donc unique d’une de ses photographies, durant une semaine, au prix fixe de 39€ aux dimension de 48 x 68 cm sur imprimée sur un Papier d’art de qualité de MOHAWK (175gsm Superfine Eggshell). Vous avez jusqu’au lundi 2 mars 12h (heure française) pour commander votre oeuvre favorite. Ne ratez pas cette occasion unique, après il sera trop tard!




Ace & Tate’s Well-Priced Eyewear Arrives in the US

Thoughtful design that ranges from the expressive to the subdued and subsequently timeless

Not only are eyeglasses a necessity for many who suffer from poor or impaired vision, they’re also a stylish accessory worth changing as the occasion demands. For many, one or two pairs will do—perhaps a durable, reliable set for at-home use and ones for use in public. But, Mark de Lange, the founder and CEO of Amsterdam-based eyewear purveyor Ace & Tate (recently launched in the US), insists that we believe this solely because the experience of buying, and also producing, glasses remains—with the exception of de Lange’s label and a few others—unnecessarily limiting. The entry point for quality frames and lenses proves too high to appease our desire to own more than one. Plus, it traditionally takes exceedingly long for prescriptions to be assessed, submitted, and subsequently filled.

“I was in New York back in late 2011,” de Lange prefaces, “and we stayed at the SoHo Grand and passed this optical store every day. On our last day, there was a sale sign out front and I decided to walk in and buy a pair and then we went back to the Netherlands. It stuck with me—how difficult that process was, how expensive it was, and how long it took. Right then, buying a pair of eyewear was as fun as going to the dentist for a root canal—although it’s a super-fun and cool accessory. My feeling was, ‘Why can’t this be a more lightweight, fun, and cheaper process?’”

The process of being prescribed glasses—because visual impairment is such a multifaceted medical issue—is largely sterile and reasonably-priced premium design is severely limited. There are hundreds of luxury eyewear brands eager to sell $500+ frames and then the very act of filling in the lenses tacks on hundreds of additional dollars.

“The design aspect is so important because it is such a personal thing. If you switch from contacts to a pair of frames, or you switch from a heavy pair of frames to a lighter pair of frames, it really fundamentally changes your physical appearance,” de Lange explains.

Frames are largely unmatched in their potential for personal expression and overall visibility. Like sneakers, which also have a very literal and obvious function, glasses are an artistic canvas—especially as one that complements or contrasts clothes. “I would wear an outfit when I would have an important business meeting, and I would change to go out with friends. But, the thing that would remain constant was the frame on my face, although that is the one thing that probably changes the perception of me the most,” de Lange explains.

Available starting at $108, Ace & Tate’s glasses range from the expressive to the subdued and subsequently timeless. A roster of best sellers remains omnipresent, and an ever-changing rotation of generally unisex seasonal picks, collaborations, and limited-edition releases pop in and out of their online store. Right now, their web shop offers 193 different optical frames to choose from. The designs fit a diverse array of skin tones, face shapes and, most importantly, personal styles.

It’s such a process to get a new pair of glasses, but also it’s super-expensive to get a good pair. It’s basically a trade-off between paying less and getting a shit product or buying something that is very good and thoughtfully designed at a super-high price.

“Most people just wear one pair—which, actually, is quite strange. It would be the same as wearing [if required] the same suit every day,” de Lange adds. “It’s largely influenced by the fact that it’s such a process to get a new pair of glasses, but also it’s super-expensive to get a good pair. It’s basically a trade-off between paying less and getting a shit product or buying something that is very good and thoughtfully designed at a super-high price. But, it’s not necessary for it to be that way. You can make a very good product for a very good price. That’s where we are.”

Since the company launched in 2013, and rapidly expanded across Europe in the years that followed, de Lange has leveraged his experience as the son and grandson of longtime members of the shoe business into a mastery of the modern supply chain. This mastery affords Ace & Tate a bit of liberty in how they price their products, resulting in cheaper bills for consumers. The in-house team of designers conceptualizes each frame, and correspondents from the company oversee every step of each design’s production—working directly with the manufacturer to ensure costs are kept low. It’s the direct-to-consumer formula that many adhere to but few maintain with a sense of authenticity.

“My grandfather, my father, my uncles, they all worked in the shoe business—both representing brands and owning and operating stores. Most of it was on the luxury end and skewed toward male, so a lot of time was spent in shoe factories. I think that kind of shapes, now that I’m looking back, my desire to work with a physical product. But then when I went to school, I ended up working at a small investment company. Then I worked for a private investor and got very involved with some of his companies, and that sort of fueled my desire to operate my own company at some point. A light bulb sort of went off, and it ticked all of the boxes—an idea for physical products done in a new way that the internet and technology made possible.”

Technology and innovation forged a clear path for the inception of Ace & Tate, but it also has offered the company an opportunity to evolve. Developments in material design—namely the betterment of available bio acetate—let de Lange offer more sustainable products at prices that do not alienate their existing customer base. Plus, he remains unashamed to admit that the company is still in the midst of betterment itself.

“Starting in the second quarter of this year, we won’t order any new styles that are non bio acetate,” de Lange tells CH. “Over the past couple of years we’ve done a lot of work in the background, on becoming a more responsible company and decreasing our footprint. We’re becoming more and more comfortable speaking about that. We’re making steps every month to become a better company. I think that’s definitely the future for us. It’s challenging, but once you make the steps it really is rewarding.”

Images courtesy of Ace & Tate

Home Stories exhibition at Vitra Design Museum looks back at iconic interiors

Home Stories: 100 Years, 20 Visionary Interiors exhibition at the Vitra Design Museum

Domestic spaces designed by Karl Lagerfeld, Lina Bo Bardi and Finn Juhl appear in the Home Stories: 100 Years, 20 Visionary Interiors exhibition at the Vitra Design Museum, which looks into the history of residential interiors.

The Vitra Design Museum exhibition sets out to stimulate conversations about the private residence – a space which the museum’s director, Mateo Kries, and assistant curator, Anna-Mea Hoffman, think has unfairly been omitted from “serious discourse”.

Home Stories: 100 Years, 20 Visionary Interiors exhibition at the Vitra Design Museum
The exhibition’s first room has a model of a micro-apartment designed by architecture studio Elii

“With architecture, there’s a mass of magazines, zines, blogs and everything – and in interiors, there’s nearly nothing,” Kries told Dezeen.

“I think there’s several reasons: one is probably that architects do houses, designers do objects, but the people that do interiors are sometimes architects or designers – and then they see it at the periphery of their main work.”

“Domestic interiors are also just simply not as accessible – architecture can be judged by everyone,” added Hoffman.

Home Stories: 100 Years, 20 Visionary Interiors exhibition at the Vitra Design Museum
A drawing of Assemble’s Granby Four Streets project is included in the exhibition

Hoffman and lead curator Jochen Eisenbrand decided to base the exhibition around 20 exceptional interiors that they felt would provide a comprehensive overview of the history of western domestic design.

The interiors are represented by a selection of furniture pieces, drawings, short films or models, and have been purposefully arranged in retrospective order.

“We always hope that we can learn from the past,” said Hoffman.

“I think the interiors that we’re living in today consist of many layers. I think going in the past with the exhibition is just trying to dig into these layers,” added Kries.

Home Stories: 100 Years, 20 Visionary Interiors exhibition at the Vitra Design Museum
Part of the first room is dedicated to the influence of IKEA, and features vintage copies of the furniture company’s catalogues

The first room of the exhibition – titled Space, Economy and Atmosphere – focuses on interiors completed from the year 2000 to the present day, and how they address some of contemporary society’s most pressing issues.

On display is a scale model of architecture studio Elii’s Yojigen Poketto apartment – fitted with built-in furniture and under-floor storage, the 33-square-metre home was designed to counter the increasing scarcity of space and affordable property in urban cities.

Another portion of the room is dedicated to Granby Four Streets, a project that saw creative collective Assemble conserve and repurpose a row of dilapidated houses in Liverpool that were threatened by demolition.

The room also notes the ubiquitous nature of IKEA – one wall is mounted with vintage issues of the furniture company’s catalogues, while one of its flat-pack cabinets has been suspended from the ceiling.

Home Stories: 100 Years, 20 Visionary Interiors exhibition at the Vitra Design Museum
The exhibition’s second room highlights Karl Lagerfeld’s flat in Monte Carlo, which was filled with Memphis furnishings

Visitors then wander through to the second exhibition space, Rethinking the Interior, which looks into the living methods and bold aesthetics that emerged between 1980 and 1960.

Standout projects featured in the room include late fashion designer Karl Lagerfeld’s pied-à-terre in Monte Carlo, which was filled with Memphis furniture – a movement considered unusual at the time for its use of bright colours and pattern.

One wall is also mounted with a huge image of artist Andy Warhol’s Silver Factory. Considered by the curators as an early example of loft-style living, the foil-covered home blurred the boundaries between living quarters, film studio, workshop and hang-out spot.

Home Stories: 100 Years, 20 Visionary Interiors exhibition at the Vitra Design Museum
The room also shows Andy Warhol’s Silver Factory – a foil-covered loft where the artist lived and produced work

The third exhibition room – Nature and Technology – concentrates on the years 1940 to 1960, exploring how interiors became more mechanised and open to the outdoors in this period.

Among the projects highlighted is Casa de Vidro. Created by Italian-Brazilian architect Lina Bo Bardi in 1951, the house has a glass facade that has uninterrupted views of Sao Paulo’s luscious green terrain.

There’s also a tan-leather iteration of designer Finn Juhl’s Cheiftain Chair on display, which takes cues from the undulating hills of the countryside.

Home Stories: 100 Years, 20 Visionary Interiors exhibition at the Vitra Design Museum
The third exhibition space features Lina Bo Bardi’s Casa de Vidro, a glass-fronted home in Sao Paulo

The fourth and final room, The Birth of Modern Interiors, lays out the key domestic design concepts that were established between 1920 and 1940.

Part of the room spotlights Mies van der Rohe‘s Villa Tugendhat, one of the first private residences to have an open-plan layout. There’s also a 1:1 model of Margarete Schütte-Lihotzky’s Frankfurt Kitchen, a functionality-focused cooking suite.

Home Stories: 100 Years, 20 Visionary Interiors exhibition at the Vitra Design Museum
One of the room’s cork display plinths presents a tan-leather edition of Finn Juhl’s Cheiftain Chair

This is one of the few full-scale interior replicas to appear throughout the exhibition, in which items are largely displayed on modular cork plinths created by Genoa-based studio Space Caviar.

“If you try to recreate one-to-one rooms in a museum, most of them look dusty and unused because what is lacking is the main thing – the people that live in them,” concluded Kries.

Home Stories: 100 Years, 20 Visionary Interiors exhibition at the Vitra Design Museum
The fourth exhibition space showcases Mies van der Rohe’s Villa Tugendhat, one of the first Western residences with an open-plan layout

Home Stories: 100 Years, 20 Visionary Interiors will be showing at the Vitra Design Museum in Weil am Rhein, Germany, until 23 August 2020.

The post Home Stories exhibition at Vitra Design Museum looks back at iconic interiors appeared first on Dezeen.