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Make-a-new Collection is a design method with an almost limitless freedom of possibilities: one can play with materials from a durable point of view. ..

Photosynthesis by Ehud Oren

Photosynthesis by Ehud Oren

Dezeen in Israel: artist and designer Ehud Oren presents furniture disguised as buildings in an exhibition at the Braverman Gallery in Tel Aviv.

Photosynthesis by Ehud Oren

Vinyl photographs of buildings in both Tel Aviv and New York cover the surfaces of the cabinets, concealing the locations of cupboard and drawer openings.

Photosynthesis by Ehud Oren

Images of eroded wall surfaces and street rubbish wrap some of the smaller sets of drawers, while one cabinet is decorated as an apartment block with rotated and jumbled elevations.

Photosynthesis by Ehud Oren

A mirror displayed beneath this piece reveals a photograph of a rooftop swimming pool on its underside.

Photosynthesis by Ehud Oren

Israeli artist and architect Ghiora Aharoni curated the exhibition, which is on show until 22 December.

Photosynthesis by Ehud Oren

You can see more design from Israel in our special feature.

Here’s a little more information from the gallery:


Ehud Oren – Photosynthesis
Curated by Ghiora Aharoni
Opens Thursday, November 17th 2011 8pm 17 November – 22 December 2011

Braverman Gallery is pleased to present recent work by Ehud Oren.

Photosynthesis by Ehud Oren

Ehud Oren recontextualizes ordinary images from the exterior world– fragments of photographs taken on the streets of Tel Aviv and New York–as canvases for functional repositories which conceal the mundane items of domestic life.

Photosynthesis by Ehud Oren

With this transposition of the exterior world to the interior, Ehud shifts our awareness of the routine, the quotidian, the things we take for granted.

Photosynthesis by Ehud Oren

These arrested moments–withering vines, compressed cardboard, dilapidated facades, steel scraps–celebrate the transitory and ephemeral vernacular that surrounds us.

Photosynthesis by Ehud Oren

While what we see is recognizable, the manipulated context and scale heighten our perception of its inherent beauty.

Photosynthesis by Ehud Oren

The gesture blurs the boundaries between art and furniture, elevating the utilitarian to the poetic.

Photosynthesis by Ehud Oren

GEEK coffee table

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Kin Coda

Art and design collide in a thought-provoking show that encapsulates the beauty of brotherly collaboration
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A project four years in the making, Kin Coda comprises a range of 25 uniquely crafted keepsake boxes, each an assemblage of art by the diverse design collective We-Are-Familia. Since graphic designer Jennifer Garcia began the project in 2007, several of the first 11 boxes have been featured in galleries or snapped up by discerning collectors, debuting at Colette and then coming stateside to Open Space in Beacon, NY and Fountain Art Fair.

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For boxes 12-25, We-Are-Familia used damaged furniture from the sustainably-minded Danish brand Fritz Hansen. In order to protect the integrity of their classic designs, Fritz Hansen is forced to destroy a small amount of unusable furniture each season, and when sales director for North America David Obel Rosenkvist heard about the collective’s forward-thinking project, he and his team decided to donate the damaged chairs and tables to Garcia and her team.

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Garcia originally started the project to exemplify the synonymous nature of art and design, and has brought her point to life with this second wave of furniture-based conceptual boxes, currently on view at NYC’s Fritz Hansen store. Several notable designers, including David Weeks, Iacoli & McAllister, Kiel Mead, Joe Doucet, UM Project and more, have put their own distinctive twist on the Fritz Hansen furniture, which rounds out the project. Serving as a stimulating foundation for the ingenious designers, the Fritz Hansen furniture takes new shape in works like Chen Chen and Kai Williams’ deconstructed Star Base Swivel Chair in fire engine red, or Nightwood’s rustic Swan chair-turned-“Hunter-Gatherer Chair,” and UM Project’s modern armoire made from Arne Jacobsen Series 7 chairs.

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Living up to the We are Familia name, Garcia tells us that when one of the pieces sells—prices top off at $10,000—they all split the profit. It’s with this communal enthusiasm that the designers created the singular keepsakes, each brimming with the works of 40 different artists. The full collection of collaborative creations, combined with the support of Fritz Hansen, perfectly illustrates the familial spirit of the artists’ collective.

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Kin Coda will be on display for just a short time at Fritz Hansen, from 17-23 November 2011. To see more of the series, including the original 11 keepsakes, check out the gallery below.


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Finns Challenge Designers Not to Design Chairs


Peter Bristol’s “Cut Chair” (Photo: Peter Bristol)

With Helsinki poised to begin its reign as 2012 World Design Capital, a couple of crafty Finns have issued a challenge to designers worldwide: go a year without designing a chair. Carpenter/artist Eero Yli-Vakkuri and blacksmith/designer Jesse Sipola of Ore.e Refineries are spearheading the No Chair Design Challenge, with goals ranging from freeing up time for non-chair-design-related activities to altering the world’s view of sitting. “We believe that the world already has enough chairs. Designing new ones only takes time away from renovating the ones we already have,” say Sipola and Yli-Vakkuri. “Consider this the ultimate challenge for you to rethink how sustainable design should be manifested.” Show your support by committing not to design a chair in 2012 through their online petition. Beginning in January, the duo will solicit text message-based updates from participants about what they’ve accomplished when not designing chairs, and five designers will be rewarded with “DnS – Design and Craft Diplomas.” Take a seat—or better yet, stand—as you watch this video tutorial on how not to design chairs.

New Career Opportunities Daily: The best jobs in media.

Chair 107 by Robert Stadler for Thonet

Chair 107 by Robert Stadler for Thonet

Austrian designer Robert Stadler has created a new bistro chair for Thonet, a brand famed for their bentwood chairs synonymous with cafe culture that have hardly changed in a hundred years.

Chair 107 by Robert Stadler for Thonet

Stadler’s Chair 107 borrows the language of the original but incorporates a flat backrest and can be produced in a process that’s almost entirely automated.

Chair 107 by Robert Stadler for Thonet

Stadler designed the chair for the interior of a restaurant for the Corso brand in Paris – see his restaurant interior on Avenue Trudaine here and the one on Place Franz Liszt here.

Chair 107 by Robert Stadler for Thonet

The original Thonet cafe chairs were designed in 1859, produced in their millions and distributed worldwide.

Chair 107 by Robert Stadler for Thonet

Yesterday we published a movie in which American furniture designer Matthias Pliessnig wraps a Thonet chair with strips of steam-bent white oak to create a sculpture – watch it on Dezeen Screen.

Chair 107 by Robert Stadler for Thonet

Photographs are by Constantin Meyer and Charles Negre.

The details below are from Stadler:


To design a new bistrot chair for Thonet is a touchy task. Initially I was proposed to customize a typical Thonet chair for the Corso restaurants, for which I am in charge of the design.

Chair 107 by Robert Stadler for Thonet

But I preferred to elaborate a new chair instead of producing one more Designer comment on this essential piece of furniture. My starting point was the fact that today chair 214 (historically baptized Nr. 14) is rather expensive, which represents a certain break in regards to Thonet’s history.

Chair 107 by Robert Stadler for Thonet

Indeed the company is renowned for being the first to achieve a world-wide distribution of their furniture thanks to it’s ingenious conception based on dismantling.

Chair 107 by Robert Stadler for Thonet

Yet, after more than 40 million sold chairs the manufacturing of the back part is still rather traditional.

Chair 107 by Robert Stadler for Thonet

With chair 107 I focussed on a new design of that element which is now being produced in an almost totally automatic process.