Hasta La Ideas

Design Miami 2013: German architect Juergen Mayer H. is exhibiting a sculpture derived from the patterns used on the inside of envelopes to obscure personal information at Art Basel Miami Beach (+ slideshow).

Juergen Mayer H. took the squiggly patterns used to mask private data sent in the post as a reference for the Pipapo sculpture.

“The design itself comes from a whole family of sculptural pieces and architectures that are developed out of data protection patterns, which are these camouflaged patterns that you find on the inside of envelopes or when you get the pin code from your bank,”  he told Dezeen when we caught up with him in Miami.

The piece is made from Caesarstone, an artificial stone moulded from ground natural quartz mixed with adhesives then pressed and cured. Sheets of the material were milled to create the lattice-like patterns then assembled so one surface sits horizontally on two upright planes.

Resembling an architectural model, the design’s flat top could be used as a table or bench.

However, the architect created the piece with no particular function in mind. “It’s actually an art piece,” said Mayer H. “A horizontal sculpture that looks ambivalent. It is what you want it to be. I’m not really interested in disciplines so it’s an object that slips between different imaginations of what it can be.”

The piece is on display in the Galerie EIGEN+ART booth at Art Basel Miami Beach, which continues until Sunday.

Further information from Caesarstone follows:

Caesarstone is proud to announce its sponsorship of a new artwork by architect Juergen Mayer H., to be unveiled at Galerie EIGEN+ART booth at Art Basel Miami Beach 2013. Pipapo is made of Caesarstone surface from the Supernatural series, with a natural stone pattern delicately milled to create a three dimensional, lattice-like formation.

The work is based on Mayer H.’s long standing investigation, both in architecture and art, of data protection patterns found, for example, on the inside of envelopes sent by government agencies and banks. Their extremely dense optical pattern aims to protect the personal content of letters from indiscretion and to make sensitive data invisible by presenting a sphere of exclusive knowledge.

Pipapo reflects Juergen Mayer H.’s fascination with camouflaged digital design and the interrelations of communicative space. The sculpture represents an endless pattern field and plays with dimension and form, the exposed and hidden and the material and the immaterial.

The chosen material is Caesarstone Alpine Mist (5110), a new design part of Caesarstone’s Supernatural series which draws inspiration from the beauty of natural stone while exhibiting the exceptional strength, flexibility and durability inherent in all Caesarstone surfaces.

Juergen Mayer H. says in regard to the sculpture and his work: “We like to speculate on the potential of new materials for our built environment, to stress the limits of production possibilities and to keep the way we use them free to explore.”

“We are extremely proud that Juergen Mayer H. chose Caesarstone surfaces for Pipapo. This latest collaboration is yet another opportunity for Caesarstone to evolve, explore and reach new design limits,” says Eli Feiglin, VP of marketing at Caesarstone.

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based on data-protection patterns in Miami appeared first on Dezeen.

Les équipes espagnoles de cabinet b720 Arquitectos ont repensé l’architecture et le design du marché en extérieur barcelonais Els Encants Vells. Une création sculpturale de métal en suspension impressionnante, permettant d’allier avec talent la tradition à la modernité. A découvrir dans la suite.

Spring 2013 saw the introduction of Giro’s cycling lifestyle collection New Road. While the initial launch was semi-soft, Fall 2013 made waves when launched a month or so ago…

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A previously unrealised beach house designed by modernist architect Charlotte Perriand in 1934 has been constructed and furnished by French fashion house Louis Vuitton to coincide with this year’s Design Miami fair (+ slideshow).

Charlotte Perriand’s La Maison au Bord de l’Eau, or the house beside the water, has been built by Louis Vuitton using sketches and drawings almost eighty years after it was first conceived.

The project was initially conceived for a competition to design cheap holiday lodging, held by French architecture magazine L’Architecture d’Aujourd’hui.

Perriand’s design won second prize and was later reworked for wealthy vacationers, but the original scheme was never built.

Now constructed in the beach-side garden at The Raleigh Hotel on Miami’s South Beach, the small house is raised on wooden cuboids above the sand and accessed by a ramp at the back.

Two wings fronted by sliding glass doors are connected by a semi-enclosed corridor at the rear, creating a U-shaped plan.

Bedrooms containing beds designed by Perriand are located on one side, along with the bathroom. The kitchen, dining and living areas are housed in the opposite wing.

Wood clads the walls and floor, and is used for the majority of the furniture.

A central deck is covered with a fabric canopy, which drains via a hole in the centre positioned above a plant pot.

Accents of blue used for rounded lighting covers and counter tops match the corrugated roof.

The project follows Louis Vuitton’s Icônes Spring Summer 2014 fashion collection that took its influences from Perriand.

Work by the modernist designer is currently on display as part of an exhibition about how women shaped twentieth-century design, on show at the Museum of Modern Art (MoMA) in New York.

At Design Miami last year, Louis Vuitton showed a collection of leather portable objects including pieces by designers Fernando and Humberto Campana.

Here’s some more information from Louis Vuitton:

La Maison au Bord de l’Eau, 1934

Design Miami satellite exhibition

Charlotte Perriand

Architect, designer, planner and photographer Charlotte Perriand remains an influential figure in the modern movement of the twentieth century.

With links to the avant-garde in France, Germany, Russia, Japan and Brazil, her work spans seven decades of the last century.

She left her mark on the 1920s, 30s, 40s, 50s and 60s, always working at the very top of her profession and at the cutting edge of the new. She was the first woman to work as an architect, designer and planner, opening up all these opportunities to the many women who followed her.

She played a major role in the story of design, not only in France, but also in Japan by giving direction to that country’s industrial design output before the outbreak of war in the Pacific.

As a pioneer of interior architecture alongside Le Corbusier, and trailblazer for the modern movement in furniture, she created many design masterpieces now regarded as icons.

As a close friend of, and collaborator with, painter Fernand Léger, her work is marked by the concept she called a “synthesis of the arts” (synthèse des arts) and the determination to share progress with everyone through her chosen field of creativity: the home.

A great traveller throughout her life, her thinking and work were enhanced and expanded by her travels throughout Europe, Asia, India, the Pacific and Latin America.

La Maison au Bord de l’Eau

The House first designed a clothes collection, an ephemeral reflection of Perriand’s desires, and is now producing La Maison au Bord de l’Eau for the 2013 Miami art week. This never-before-released work by the architect will be on display in South Beach December 3-8, 2013. This legendary, yet never executed, project is now a reality.

La Maison au Bord de l’Eau, first conceived in 1934 for a design contest held by L’Architecture d’Aujourd’hui magazine, was meant to introduce an economical form of holiday lodging for the mass market. This project won second prize, but was never built.

Charlotte Perriand later reworked the idea into several variations for wealthier vacationers. The fact that the project was never executed explains the lack of detailed drawings and the great variety of versions found in sketches.

Now, eight decades later, Charlotte Perriand’s studies prove quite contemporary in light of the advancements in wooden architecture. Though a certain degree of adaptation was necessary to translate the original drawings and notes into a tangible structure, the spirit of the designer was respected to the fullest.

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beach house in Miami appeared first on Dezeen.

Japanese designers Nendo have adapted a traditional Japanese paper-making technique to create a series of lamps that are smooth at one end and gently wrinkled at the other.

Nendo called the collection Semi-Wrinkle Washi, with “washi” being the name for Japanese paper made from plant fibres. “Washi is made by passing fine screens through a bath of plant pulp and water to collect the pulp, then by drying the screens and peeling off the new paper sheets,” said the designers.

To create the lamps they collaborated with Taniguchi Aoya Washi, a company in the Tottori Prefecture in western Japan which is famous for creating three-dimensional objects using the same technique. “Rather than pasting sheets of washi together to create forms, the company uses the same process to create beautiful seamless forms that are three-dimensional from the start,” Nendo said.

According to the studio, the lamp shades created through this process are so smooth that they “can be confused with white glass or plastic.”

They found that adding a vegetable called konjac to the mixture creates wrinkles that reveal the objects are made of paper, but this technique means the surface no longer communicates that it was made with the company’s traditional technique.

“After running into this problem, we decided to take the best of both worlds: to create lighting fixtures that are only half-formed with the wrinkle process,” they explained. “The wrinkles can be applied gradually so that the two different effects come together seamlessly.”

The resulting shades have smooth surfaces at the bottoms and softly pointed, crumpled tops. They come as pendants or table lamps and have a hole in the underside allows that light to escape.

The wrinkles shrink the overall size of the fixtures so Nendo decided on the desired final size and calculated backwards to work out what the starting form and size should be.

“This hybrid process created a new face for paper, one that combines the softness and tensility that only three-dimensional washi can display,” the designers added.

The product will be available exclusively from Seibu department stores in Japan.

Photographs are by Hiroshi Iwasaki.

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to design crumpled lamps appeared first on Dezeen.