Swedish Love Stories

Sweden moves to Milan in a showcase of the country’s brightest design minds
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Milan will soon be swollen with darkly-clad design types as its mammoth Salone del Mobile furniture fair and plethora of off-site exhibitions, showrooms and installations open their doors to around one million visitors beginning Tuesday, 12 April 2011. The many post-Milan tales of new discoveries are just around the corner, and the shift to underline a product’s backstory is one we expect to see heavily played out this year, as brands look to give the viewer more than simply a new shape or form.

Sweden has long held its heritage dear to its heart and this year’s Swedish Love Stories pavilion (organized by Svensk Form, the Swedish Crafts and Design Council) focuses on the narrative behind each of its 55 exhibitors.

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Taking place at the pioneering Superstudio Più, Swedish Love Stories 2011 highlights the work of Sweden’s Västra Götaland region—the center of the country’s furniture production industry—with 15 young designers showcasing their wares. Fredrik Färg (pictured at top), Little Red Stuga, Staffan Holm (pictured bottom left) and Brikolör (pictured above) being a few designers from this rich region expected to clean up.

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Joining them will be a hefty showcase of Sweden’s wide-ranging design talent from the wise, touchingly poetic rugs of Kasthall (pictured bottom right) to Volvo Trucks (pictured above) outlining its creative credentials. Those in the know are itching to see what the first products from The Fifty Fifty Projects will look like, a collective with a unique and poignant approach to design which sees everything from profits to its economy split in terms of responsibility between its three founding designers.

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Chinese telecommunications firm, Hauwei will be unveiling a unique, almost retro phone, the Folding Leaf—designed in collaboration with Sweden’s starchitects Claesson Koivisto Rune. The device seeks to return functionality and simplicity to the phone user of today, who may not need quite so many apps.

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For 2011 Swedish Love Stories tapped design consultancy No Picnic to bring the pavilion to life, ensuring the space is a celebration of the people behind the products and their dedication to their craft.


Colé

Milan’s newest furniture brand launches their utility-driven first collection

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With strong roots in the Milanese tradition of furniture-making, the new design firm Colé will debut at the coming 2011 Design Week, bringing with it a modern take on usefulness in design. The thinking behind the brand draws on the industry experience of Matteo De Ponti (brand manager of furniture manufacturer Driade for more than ten years) and co-counder Laura Macagno’s passion for art, fashion and design. “We love objects with deep roots and we are convinced that in a world almost full of objects, the product should be first of all a service”, the entrepreneurs explained.

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Their combined ambition seeks to define not just new concepts, but new ways of making design, based on expressive research and an unseen collaboration among all taking part in the productive chain.

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By defining new kinds of partnerships with local producers, the goal is to come up with objects that testify as much to the work of designers as to the artisanal techniques, in Italy and abroad. This approach aims to have nearly unique products, defined by Colé’s concepts but always slightly different due to semi-mechanized processes.

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Two young Milanese studios, Lorenz-Kaz and Aksu/Suardi, designed the first collection in what will become a constant group work made by groups of people and led by rather unusual thinking. “We provided them with an emotional brief – says De Ponti – rather than a technical one: the keywords were color, nature, warmth and soul.” The resulting chairs, tables and mirrors recall traditional bourgeoisie furniture, but the layer of a certain degree of irony, and mixture of signs, materials, colors and cultures suggests a project in tune with the times.


Mini Rocketman

See Mini’s LED-lit concept car’s dual-hinged doors and drawer trunk in our video

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Making a good thing better is hard enough, but making a small thing smaller may be even trickier.
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invited us to see how they did both when yesterday in Milan they unveiled their new concept car Rocketman, a forward-thinking ride with features that suggest not just a future of more compact cars, but one that boldly uses materials, lighting and other features.

Lit entirely with LEDs, the all-glass roof (also embedded with LEDs) makes for a glittering look, accented by the carbon-fiber body, which also lends fuel-efficiency. Its diminutive size, measuring just over three meters and seating three, is geared for urban markets and, perhaps most impressively saves space with a sliding drawer-style trunk, that can be left open for toting snowboards or other bulky items. Hinged doors make squeezing into tight parking spaces easy and allow passengers to get in the reat seat without too much trouble.

We caught up with BMW design head Adrian van Hooydonk at dinner and learned all about the Rocketman’s spirit animal, his predictions for car design’s future and more.

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Is there a danger of being too cute with Mini?

The lines are more crisp and taut on this concept, because we feel that a Mini should always be like a friend, let’s say. But if it becomes too cute, than maybe people will see it like a toy, a teddy bear. Of course we like to appeal to young customers, but Mini traditionally is a car that appealed to people of all ages, cross-gender and all around the world.

The elements in this car, we believe are elements that could do that: keep Mini exciting, interesting fun, endearing, but also something to be reckoned with, also serious. Almost like a British bulldog—a small dog, but people take it seriously.

What are the challenges of designing small?

On a big car, it’s easy to make things move, do a door opening or a trunk. On a small car, it’s much, much harder. But exactly what Mini stands for, right from the very beginning, is being clever in a small space. And this car is full of ideas for a small space. The way the trunk opens, the original Mini had that too. In a tight parking spot, if a car is parked behind your Mini, you can still open this trunk and put your stuff in. Or the side doors, they have a double hinge that allows you to open the door, even when there’s another car parked right next to you.

How much less room does the door need?

I would say one-third, if you have to put a number to it. The Mini has quite a long door, because it’s a four-seater but a two-door car. If you open it with one hinge, you hit the other door and then you have to sort of squeeze in. With the Rocketman, we solved both issues. You can crawl in the back because the door’s quite long, but you don’t have to squeeze in through a narrow opening because of the double hinge.

That’s actually why we called the car Rocketman. On the one hand, Rocketman sounds like a brave little guy—and Mini is that, a brave little guy. But this car to us is so full of ideas, that we thought it’s rocket science by Mini. That’s why we call it Rocketman.

How did you treat the interiors for this car?

Of course we are dealing with a small car, but as a designer you can do a lot to give the feeling or the sensation of more space. We did this in the Rocketman in the sense that there is no dashboard like we know it today.

The dashboard takes up a lot of space. In the old Mini there was only a steering wheel and one big dial, and that’s what we’ve done in this Rocketman as well. But the steering wheel and the big round center dial have grown together into a structure. And then the rest of the dashboard is gone, you don’t need it.

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The lighting is another feature which I believe can do a lot to create a very nice atmosphere, even in a small space. We’ve played with that a lot in the car, and we believe that the light or the light color in the future is going to play a bigger role in the whole color and material set up of the car. Right now the light is treated very separately from the materials that we use in the car, and in this concept we made it an integral part. We thought about it from the beginning, it could light up in red or blue or some other colors.

You could customize to your mood, which is something that Mini offers today. There’s just one or two LEDs in the Mini interiors today so you can change the color seamlessly from orange to blue. But in this car now, there’s big surfaces of light. And the roof of course is transparent which is another element that increases your sensation of spaciousness.

What other examples of industrial design inspired the car?

We’re constantly not just looking at other fields of design, like industrial design, furniture design or fashion design, we also have a part of our team—actually a large part of our team located in California—called Design Works. And this design consultancy, we do industrial design for other companies as well. We are actually in touch with other industries, like aircraft industry, or boating. We design airplane interiors or boats exteriors and interiors.

And you always learn, so as a designer you become more creative the more you work on different types of products, or design problems. LED light is something that is coming anyway, also in furniture, also in housing. It is simply very small, it uses less energy.

It led to a whole creative outburst, because now we can position these lights in places where in the past a lightbulb would have to go in and there wouldn’t be the space. Without LED we couldn’t have done this roof or the illumination of the door panels, or the tail lamps where the air can pass through. It wouldn’t be possible.

What about the headlights?

In the headlamps, the way we use LED is we would like to make the light in a way that is soft and homogenous. We don’t like to see the dots actually, because we think it’s a little bit too bright, a little bit too cold. And we want to have the light be somewhat soft and warm.

What are the features you think are most likely to go to market?

When you’ve just presented a concept car that’s meant to go very far in the future, then that’s probably the toughest question to ask. But, the lighting ideas for sure. I would say things like the hinges, or the way the trunk works. This would be possible to put in production.

Also a lot of the surface features, the design the ideas, the form ideas we’ve put in the car, both in the interior and the exterior. I can see a lot of potential in using those because that is not necessarily technically difficult. That’s just a matter of seeing how it was received—judging by tonight that was good but let’s see if the broader audience in Geneva sees the car.

And this was also deliberate. If people see this car as part of what could be Mini, then we have just broadened our palette. We’ve just given ourselves more room to play. Because Mini has such a strong history, such a strong heritage in one car. Of course everything gravitates towards this one original car. Does it look like that car or does it not? I think this concept car will help us widen the palette a little bit, which I think is necessary to develop the brand into the future.

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Pigr

A new store in Milan for lazy design afficianados
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The newest design store in Milan, Pigr, literally translates as lazy. The name reflects the founders’ desire to sell easily understandable design objects—simple, fun and with a clear function.

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Pigr selects original items from around the world, for sale at reasonable prices. Some objects are famous but difficult to find, while some others are authentic discoveries. The shop is in the old premises of an early twentieth century building in the district of Porta Romana, designed and restored by Studio C Milano, it respects the original structure and the previous uses of the space.

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Pigr is also choosing and developing small and large projects, to be supported, produced, advertised and marketed through their online store as well.


Gum Salon

A greaser-inspired Milanese salon you wouldn’t mind getting stuck in your hair
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Named for a ’50s brand of pomade, Gum is a trio of hairstylists playing off the gravity-defying greaser hairstyles to come up with looks suited for the modern man. The salon, located in Milan’s fashionable Ticinese area, mixes the old-school aesthetic and vintage furnishings with quality cuts and clever ‘dos that go far beyond the rockabilly pompadour.

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The stylists each focus on their individual talents—with Alice scheduling appointments, Stefano cutting hair and Monica applying color, Gum tailors each style for each client’s hair type. Through collaborations with photographers and make-up artists, Gum has steadily built a large presence in the fashion and music industries in the few years since it opened.

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On a recent visit to Gum, I couldn’t have been more satisfied with the experience. A cozy atmosphere, no more than two customers at once, a welcome drink, wi-fi—not to mention dedicated time for choosing the right style and a head massage with perfumed balms—Gum provides an altogether deep, personal and flawless experience.


Cardi Black Box Vol. 1

A new publication richly documents one of Milan’s most progressive young galleries
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Keeping with the family business, Nicolò Cardi and his partners chose to develop a museum-like approach to his Galleria Cardi by supporting artists in the creation of new projects and collaborating with innovative international museums and cultural institutions. An extension of the contemporary art space and the brainchild of Cardi, Cardi Black Box catalogs the young gallery’s successes.

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The hugely dense book takes a look at exhibitions, special projects and conversations with the artists. With accurate descriptions of each initiative, details and images of every single work of art ever displayed, as well as its signature type and graphic design, there’s plenty to pore over in this first edition.

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Some of the most compelling works are the intense still-life photographs of Shirana Shahbazi, the hyper-detailed paintings of Scott Short (which copies by hand the details of photocopies), the portraits of mafia killings by Sicilian photojournalist Letizia Battaglia and the obsessive and colorful graphics of Thomas Bayrle.

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Printed by Tar Siz Publishing (known for their art-enthused publication Tar Magazine), Cardi Black Box Vol. 1 was designed and produced entirely by the gallery staff.

The book hits museums and concept shops 18 October 2010, and currently pre-sells from Colette. See more images from Cardi Black Box Vol. 1 in the gallery below.


Aldo Lanzini at Missoni’s Spring/Summer 2011 Show

From runways to galleries, the philosophical needlework of a rising Italian artist
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Aldo Lanzini‘s beautifully alarming crochet masks most recently made an appearance at Missoni’s Spring/Summer 2011 fashion show when the 30 ushers wore them to seat people. While the riotous colors and fantastical faces make compliment the Italian label’s renowned knitwear well, their bold expressions and strange forms of the maskes are a spectacle of their own.

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Splitting his time between Milan and NYC for the past 15 years, Lanzini has been quietly building a large army of loud characters with his expressive needlework, explaining to Vogue Italia that his pieces are “the condition of contemporary man, some kind of conscious schizophrenia.”

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Lanzini’s work can currently be seen at Milan’s Le Case D’Arte, where he transformed the gallery into visceral experience that amplifies the senses through visual, sonorous, tactile and olfactory elements. Dubbed “The Drop,” the exhibition speaks to Lanzini’s constant investigation of how the process of creation affects the everyday life and is on view through 11 December 2010.


Space Age Lights

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The second half of the 20th Century saw design attempting to unite the tension between the function and wonder of daily objects. A new exhibit, “Space Age Lights,” which opened today at La Triennale di Milano Design Museum, shows how lamps and lighting in particular have helped solve this conundrum.

With a collection of often anonymous and never-before-seen lamps, borrowed from individuals who gathered this eye-catching series of objects both in Europe and the U.S., the show offers a rare opportunity to study even the fringes of the era. While technically the Space Age goes from the late ’60s to the early ’70s, its influence extends to various related styles that have developed over the entire century.

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Curator Gianluca Sgalippa created an exhibit based on meticulous research comparing each piece with paintings, sculptures, movies and graphics that date back to Futurism, Constructivism and Machinism, including science fiction and fashion icons such as André Courrèges and Pierre Cardin.

The display (conceived by Salvo Bonura) makes the upshot of his exploration clear, as does the show’s subtitle, “Between Pop and the Avant-Garde”—these objects always balance edginess with mass appeal.

The accompanying rich catalogue, in Italian and English, compares these masterpieces from the ’60s to the ’70s with the work of many great (though obscure) authors. “Space Age Lights” runs through 5 September 2010. See more images in the gallery below.


Nadia Moro

Une magnifique série “Behind the Surface” imaginée par la photographe italienne Nadia Moro. Une très belle atmosphère entre poésie et légèreté pour ce projet conçu entièrement sous l’eau. Le tout est disponible sur son portfolio et dans la suite de l’article.



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Previously on Fubiz

CityLife

by Jose R. Mejia

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What happens when you task four leading architects with redeveloping a historic Milanese neighborhood? Multiply that by €523 million and you get an equally historic seven-year endeavor, breaking records and creating an entirely new blueprint for cities of the future.

CityLife, the catch-all name for the project, will end up being Milan’s first zero-emissions neighborhood. Comprised of residences, offices and retail space, the new architectural phenomenon will include three bold skyscrapers designed by Zaha Hadid, Daniel Libeskind, and Arata Isozaki.

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At the core of the development, a centralized park—designed to operate both as a pretty public attraction and an eco-engineering feat—will purify air and normalize temperatures.

Slated to become Italy’s tallest building, Isozaki’s Il Dritto, will tower at 715 feet. His love for spartan design makes a strong statement through the simple, elegant structure.

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Hadid’s tower, Lo Storto, will connect to the tube station (along with Il Dritto), housing retailers and apartments. The slick design highlights her mastery of form and curvature, seen recently in the MAXXI Art Museum. Hadid explains her process, “The dynamism of the surrounding urban fabric was the subject of our formal investigations and inspired the geometry of the project.”

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Libeskind deconstructed the classic shape into Il Curvo, a strange pairing of curved, half-moon glass and sharp concrete. Both dreamy and urban, the edifice represents the metropolitan idealism of CityLife.

Intended to work as a fully-formed neighborhood from its opening in 2014, the mix of offices and residences will be complemented by several new cultural buildings, including a new Museum of Contemporary Art, tying together the starchitect-studded vision of utopian living.

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