Hasta La Ideas

Milan 2014: Japanese architect Toyo Ito spoke to Dezeen about his design for textile brand Kinnasand’s first Milan showroom and his “site specific” architecture (+ interview + slideshow).

Kinnasand, a company founded in Sweden over 200 years ago and now owned by Danish textile brand Kvadrat, asked the 2013 Pritzker Prize-winner Toyo Ito to develop its showroom interior for Milan design week.

Ito rarely designs interior projects, but in an exclusive interview with Dezeen the architect said that he agreed to collaborate with Kinnasand as he felt that several of its fabrics were reminiscent of the transparency and natural influences inherent in some of his architectural projects.

“What I have felt from the start is that it would be important to create an architecture that is more site specific, that is going to take into account what surrounds the human begins,” said Ito, who discussed the underlying ethos that connects the wide variety of styles and forms he has experimented with.

“When I think about a new piece of architecture, I think about making it as if it was a piece of clothing that must be wrapped around a human being,” he said.

Ito’s career has spanned more than four decades. Predominantly based in Japan, his best known projects include the Mikimoto Building, created for a jewellery company in the Ginza district of Tokyo – which features a series of irregular glazed openings all over its facade – and the Tod’s building in Tokyo with criss-crossed concrete bracing that echoes the silhouettes of the trees on the street it faces on to.

His more recent projects include the Sendai Mediatheque – a transparent glass cube that aimed to remove some of the architectural barriers around how space should be used. In 2011 he completed work on the Toyo Ito School of Architecture in Ehime, completed in 2011.

At the last Venice Architecture Biennale in 2012, he curated Japan’s award-winning pavilion presenting alternative housing solutions for the aftermath of the country’s 2011 earthquake and tsunami.

For Kinnasand’s showroom, he chose to translate the properties of the company’s textiles into the materials used for the showroom’s walls, floors and ceiling.

“Some of them were transparent, others were semi-transparent, all of them were very light and it really felt like they could float over the whole space of the showroom,” said Ito, describing the fabrics.

“I decided that the architecture for this space needed to be something that would not overwhelm the essence of these fabrics. It needed to be something that could leave the textiles the possibility to float around the space,” he added.

“This is the image that I had in my mind and this is also why I decided to use the reflective glass, but at the same time I decided it needed to be something with a not too strong reflection. I wanted to create a soft but deep environment for the showroom.”

The glass walls have a frosted finish that reduces their reflectivity and are complemented by the dull shine of the electropolished steel panels on the ceiling and the polished white limestone floor tiles.

Two curving metal poles suspended from the ceiling provide rails over which the fabrics can be draped to enclose the central area of the showroom and form its only product displays.

A storage area for further fabric samples is concealed behind floor-to-ceiling wooden doors featuring minimal metal handles at one end of the space.

The clean and bright aesthetic is enhanced by basic furnishings including a rounded meeting table and chairs made from pale wood, which reference the brand’s Scandinavian heritage.

Lighting is provided by spotlights and strips of LEDs hidden behind the edges of the ceiling that wash the walls in light that can be adjusted between different colours to alter the mood of the space.

Read the edited transcript from our interview with Toyo Ito:

Marcus Fairs: How did you get to come into contact with the brand and how did you apply your architectural ideas to an interior?

Toyo Ito: About one and a half years ago, I had a visit from a Kinnasand person that arrived in Tokyo with a suitcase full of textiles and I was asked if I would be interested in doing the interior design for the showroom. And I have to say that usually I don’t do just interior design, I do architecture. But in this case, the textiles that I had the chance to see were so beautiful, so brilliant, that I really wanted to do just the interior design for the space.

Marcus Fairs: Tell us about the way you’ve used the space here.

Toyo Ito: I had the chance to take first a look at all the textiles of Kinnasand and I realised that is was very sensitive fabric. Some of them were transparent, others are semi transparent, all of them were very light and it really felt like they could float over the whole space of the showroom. They could actually envelop, they could wrap the whole environment.

So I decided that the architecture for this space needed to be something that would not overwhelm the essence of these fabrics. It needed to be something that could leave to these the textiles the possibility to float around the space. This is the image that I had in my mind and this is also why I decided to use this reflective glass that you can see here but at the same time, I decided it needed to be something with a not too strong reflection. I wanted to create a soft but deep environment for this showroom.

In order to have the materials of this architecture not take all the attention in this space, I give a lot of attention to small details and this is why I decided to choose simple materials. As you can see for those doors, you have a surface that is very plain and flat but at the same time is very simple and linear. So you do not have a frame where the doors are actually hidden, you have some doors that become the surface itself of a very linear construction, so that it could envelop this whole environment. This is something that I really wanted to give great attention to in the details.

Marcus Fairs: The white fabric with the pattern of circular dots on it reminds me of the facade of the Mikimoto building in Ginza, Tokyo, which has a similar pattern of circular windows. Did you spot that similarity?

Toyo Ito: Absolutely, I think that the fabric right behind me is perfect for my architecture. In relation to the building of Mikimoto in Ginza, it has got a very simple surface with several sized holes in it. Also, just by having a look at the fabric behind me, I think I would really like to use Kinnasand’s fabrics and textiles in my own architecture.

Marcus Fairs: Throughout your career, there’s a lot of different forms you use and different structural solutions. How would you describe your approach to architecture?

Toyo Ito: As you said, my style, the materials I’ve been using, has changed throughout several eras. Also the shape and the form of my architecture. But there is one thing that is consistent, which is that my own architecture is something made for human beings. You have other architects that think if human beings are not a part of the particular architecture, that architecture will look even more beautiful. I do not think so. I think that architecture is something that must be made for human begins. That human beings must be partners with the architecture itself. So when I think about a new piece of architecture, I think about making it as if it was a piece of clothing that must be wrapped around a human being. This is my image of architecture.

Marcus Fairs: Sendai Mediatheque was a hugely revolutionary building because of the structure and the way it used data, and the Mikimoto building is fun and it has a pattern on it. So what is the link between those two different architectures?

Toyo Ito: Both the Sendai Mediatheque and the Mikimoto building have got a very important point which is the structure. Of course what I wanted to create was a kind of structure that had not yet been seen until that very moment. But what I wanted to focus my attention on is that when you decide to use a new kind of structure, you have to think of how you can make it as human as possible. To turn it into a human space as much as possible.

For the Sendai Mediatheque, I decided to use pieces of wood like tubes that would give the human being inside the space the idea of being surround by a forest – so you have a human being that can enjoy a video or just some time inside the forest. And for the Mikimoto building, of course that was also commercial architecture, so we didn’t have the chance of making the interior design. As for the main architecture, I decided that it was also interesting in that case to have the light entering the building as if it were through the leaves of a forest and so in both cases, you have a very natural element that is strongly felt by the human being inside the environment and that’s the common point in my architecture.

Marcus Fairs: And the Tod’s building in Omatesando in Tokyo has a glass facade with large tree shapes set in it.

Toyo Ito: Of course Tod’s even more than the Mikimoto building, you would have the possibility to see a very strong and direct wooden silhouette, wooden structure. In that case, we didn’t have that much of a volume we could use and also the facade was L-shaped. In that case we decided to have a wooden structure and having it completely surrounded by wood you would feel like you were really surrounded and wrapped by nature and this is the image that I had when I created the design.

What I have felt from the start is that it would be important to create an architecture that is more site specific, that is going to take into account what surrounds the human begins. So it would be important to create an architecture that destroys that distance between human begins and nature. Up to now, human beings have lived in environments that are very far from nature and actually I would like the chance for human beings to live inside nature and to be surrounded by nature.

Of course you have to take one step at a time, and I think that if we do take one step at a time in that direction we can achieve some kind of evolution. And I can also tell you that to a certain extent, we are already going towards that direction, and if we continue completely towards the direction and arrive at the goal we will be able to enjoy a much more lively life. We will get back to a more primitive instinct that will give us the possibility to be more natural in our everyday life. Like animals to a certain point, having the possibility to completely enjoy the surroundings and that is the kind of architecture that I think we should all aim for.

Marcus Fairs: And when you say “we”, do you mean “we” as an architectural office, or “we” as a society?

Toyo Ito: Of course I mean my personal office but not only just that. I would like to think I am extending the meaning of what I just said to all people who are currently making architecture.

The post Glass, timber and stone showroom created by
Toyo Ito for Kinnasand’s “sensitive fabric” appeared first on Dezeen.

Milan 2014: architect Zaha Hadid has cantilevered a series of elongated strips of black granite to create a fluid storage unit for Italian brand CITCO.

Zaha Hadid lengthened the interconnected elements of the Tela Shelving for CITCO to make the heavy stone look as weightless as possible.

“Tela is a shelving system characterised by an interesting dichotomy: the solidity of the black granite of which it is composed seemingly dissipates with the elongated cantilevers,” said Hadid.

Shelves are connected to each other by sloping sections that support the cantilevers on both sides, so each of the three levels looks like a wavy line when viewed straight on.

This group of connections is offset from the centre of the unit and make the shelves appear to have been pulled up from a single flat piece of stone.

“At the centre of the configuration, its structural core, are the interweaved shelves which appear to open and unfold from a single surface to follow parallel trajectories,” Hadid said.

CITCO displayed the shelving on its stand at the Salone Internazionale del Mobile, which concluded on Sunday.

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by Zaha Hadid for CITCO shelving appeared first on Dezeen.

Milan 2014: Slovenian designer Nika Zupanc has created a collection of furniture and products for London design label Sé, influenced by Modernism and sporting motifs (+ slideshow).

Zupanc designed pieces including an armchair, sofa, cabinet, table lamp and a mirror for the collection, which is the third to be launched by Sé since it was founded in 2007.

Sé cofounder Pavlo Schtakleff first came across Zupanc’s work in 2011 and said he was keen to work with her because of her “distinct design language”, but also because he wanted to work with more female designers.

“I was particularly interested in collaborating with a female designer,” Schtakleff said. “Sometimes overlooked within the industry, I felt this would introduce a fresh perspective to the collection; however Nika’s creativity and approach spoke for themselves.”

Last week Dezeen columnist Kieran Long criticised the dearth of work by female designers on shown in Milan and included Zupanc on a list of women who design brands should consider working with in the future.

For this collection, Zupanc drew on the simplicity of 1950s Modernist furniture and combined this stylistic reference with forms intended to evoke a fictional private sports club.

“With Collection III, I wanted to blend timeless elegance, sensitivity and tenderness with a splash of smoky, determined and even masculine reality,” explained the designer.

Materials including marble, brass and wood are used throughout the collection to add a sense of luxury and emphasise the craftsmanship involved in the production of the pieces.

The collection includes a dressing table – the first to be produced by Sé – which features a mirror comprising two offset intersecting circles and a straight central section that provide reflections from different angles.

A curving sofa upholstered in a textured gold fabric is supported by solid brass legs, while mirrors are framed in metallic laurel wreaths in reference to the prizes awarded to athletes in ancient Greece.

A monumental cabinet featuring a grid of shelves behind curved glass doors is embellished with brass details, including handles formed from interconnecting circles.

Marble-topped tables of different heights with slender metal legs can be grouped together as a family.

Some of the rectangular tables feature ceramic surfaces with raised compartments that surround containers topped with spherical handles.

A ceramic table lamp houses its light source inside a dome-shaped shade with a metallic interior. This joins the Full Moon Lamp, which was first exhibited last year and features a round, flat light source mounted on an adjustable arm.

Sé presented the new products at Spazio Rossana Orlandi in Milan last week. The brand’s previous two collections were designed by Jaime Hayon and Damien Langlois-Meurinne.

The post Nika Zupanc bases furniture collection for Sé
on “an imaginary private sports club” appeared first on Dezeen.

Milan 2014: industrial designer Konstantin Grcic has created a birch chair with a circular seat and splayed legs, his first design for Finnish furniture company Artek.

Grcic‘s circular Rival chair for Artek incorporates a swivel function and has four splayed legs milled from solid birch.

“Grcic designed legs milled from one piece of solid birch,” said a statement from Artek. “This technique has recently been used in a number of chairs, resulting in the wood taking on a fluid quality more like moulded plastic than timber.”

Laminated birch is used for the arms and the backrest, formed from one curved element, as well as for the vertical supports holding this piece in place.

It comes in a high and low-back version, with a choice of upholstery in a three-dimensional textile or leather for the seat. Colour options include white, black, and red, as well as natural wood.

The chair was presented at the Salone Internazionale del Mobile in Milan last week.

Here is some information from the designer:

Introducing the Rival by Konstantin Grcic

Konstantin Grcic’s Rival is designed with people working from home in mind.

In its use of materials, Rival reflects its roots in the legacy of Artek, with a mix of solid birch for the legs and laminated birch for the arms and back, and in the circular geometry of the seat. But it also has a technical finesse, which transforms it into an entirely modern piece of furniture. The swivel function offers a psychological clue as to the purpose of the chair – a multifunctional task chair for contemporary living.

Grcic designed legs milled from one piece of solid birch. This technique has recently been used in a number of chairs, resulting in the wood taking on a fluid quality more like moulded plastic than timber. But Grcic has maintained a more conventional form that reflects the materiality of birch. The birch of the back and the arms is displayed in a saw-cut lamella.

For Grcic, designing a chair works on a number of levels. There is the choice of materials, and it was clear that for the Rival, birch would play an important part. There is the home office typology, a reflection of a contemporary approach to life. And third is what might be called the grammar of construction, the way in which a piece is put together.

The first incarnation of Rival is an armchair with a low (KG001) and a high (KG002) back version, a seat in a choice of a three-dimensional textile or leather upholstery, available in a range of colours.

The post Konstantin Grcic’s first design for Artek
is a circular birch swivel chair appeared first on Dezeen.

News: Italy‘s design manufacturing capability is at risk of disappearing, according to the president of design brand Alessi.

The country’s producers could go the same way as its great designers of the last century and be outsourced abroad, Alberto Alessi told Dezeen.

“The risk is that it disappears,” he said in an interview in Milan last week during the Salone del Mobile. “Maybe Italian production will disappear.”

Alessi said that until the 1970s, Italian design was characterised by Italian designers working for Italian manufacturers.

“Then during the 80s we had some important change,” Alessi said, as Italian industry started to work with foreign designers. “Design expressed through the catalogue of Italian design factories was not any more Italian,” he said.

Today, he said, “maybe the second element, Italian production, will disappear.”

The company, which specialises in kitchen accessories and tableware, was founded in 1921 by Alberto Alessi’s grandfather Giovanni Alessi and today employs around 500 people at its factory in Crusinallo on Lake Orta in northern Italy. Its annual turnover is around €100 million.

One of the best-known of Italy’s design-led manufacturers, Alessi started out as a producer of stainless steel utensils for the catering industry but, like many successful Italian “design factories”, began collaborating with external designers in the fifties and sixties.

Famous Alessi collaborations include the 9090 espresso machine designed by Richard Sapper, the Juicy Salif lemon squeezer by Philippe Starck and the Record watch by Achille Castiglioni.

Foreign competition and Italy’s lingering economic woes are creating problems for Italy’s design houses. In May last year Claudio Luti, president of both the Kartell brand and the Salone del Mobile, said the failure of the country’s small, family run firms to seek investment and explore foreign markets was a “big, big mistake.”

Last September Patrizia Moroso, head of Italian furniture brand Moroso, said Italy was “in crisis” while Milan was “sitting in the past”.

“Italy… is very much in a crisis because it doesn’t want to change, doesn’t want to move and is becoming very old,” she said, adding that the country was “losing the culture behind production.”

Alberto Alessi said his company was committed to maintaining its production base in Italy but said he was “concerned” that Italian manufacturing would go the same way as Italian design, and migrate abroad.

But he added that, even if this happened, the notion of “Italian design” would continue, because of the country’s unique culture of collaboration between designer and manufacturer.

“I think that [Italy] will continue to have Italian design because it has not only to do with the nationality of the designer but it has to do with a culture,” he said. “We are a kind of mediator. The core of our activity is to mediate endlessly between on one side the best creativity in product design from all over the world and on the other side, customers.”

“This culture makes Italian design factories the best labs to offer to designers to make real their designs,” he added. “When they enter the door of Alessi, the designer or architect immediately feels he will meet people who will do their best to help him express what he has inside.”

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says Alberto Alessi appeared first on Dezeen.