An inspiring exhibition, and the first major retrospective of one of the 20th century’s greatest portrait painters, American artist Alice Neel, has made its way to London’s Whitechapel Gallery after debuting last fall at the Museum of Fine Arts, Houston. Read more
John Dodelande of Artcurial invited artist Xavier Veilhan to draw a nautical sculpture to be built by the Frauscher shipyard. This unique project marks the first time artist Xavier Veilhan has been invited to design a functional object in sync with his aesthetic beliefs. Read more
The fabulous French online magazine and shopping site Prestigium, has an inventive series of flash interactive postcards that feature trendy and unusual fashions for men and women by some of the most irreverent designers of today.
Items by Viktor and Rolf, Bernhard Willhelm, Yves Saint Laurent, Af Vanderhorst, Anne Valerie Hash, Etro, Sinha Stanic, Alena Akhmadullina, Raf Simons, Lacoste, Marc Jacobs, Boris Bidjan Saberi, Martin Margiela, Balenciaga, Salvatore Ferragamo and Walter Van Beirendonck are nestled into comic book and graphic novel art.
The photos of the designer fashions are collaged into moving superhero art comic strip illustrations. It’s not really easy to see the fashions, nor is that the point. The postcards, which you peruse by clicking on an arrow, have a lot of movement and move quickly, so I took screengrabs of them for you. Each “postcard” has little “click” pulldowns that mention the designers and describe the item (in French).
Yves Saint Laurent:
Yves Saint Laurent:
Yves Saint Laurent:
Boris Bidjan Saberi:
Walter Van Beirendonck:
Anne Valerie Hash:
Go see them in their flash glory here.
I simply cannot get over how rich the area of industrial design is when it comes to radiators. This is my fourth post on radiators and I simply keep finding more and more ones that I want to blog about. Read more
I was both surprised and excited when I received the following press release, given that I’d blogged about both these fashion designers/companies separately and had no idea they’d ever collaborate. Read more
Three well-known pieces from the iconic collection of LC furniture by Le Corbusier are now available in wild contemporary color versions from the exclusive manufacturer of authentic Le Corbusier furniture, Cassina.
The classic tubular steel and leather “Grand Confort” collection (specifically the armchair, 3 seater sofa and chaise longue) are now available in various colored fabric and frame options as part of Cassina’s Masters Collection (I Maestri).
The original LC furniture range by Le Corbusier, whose actual name is Charles-Edouard Jeanneret, was a system of furniture co-designed with his cousins Pierre Jeanneret and Charlotte Perriand in 1928. The tubular steel furniture, especially the famous LC4 chaise and Grand Confort chair, both of which are in the permanent design collection of the Museum of Modern Art, projected a new rationalist aesthetic that came to epitomize the International Style.
The Original LC4 Chaise Longue:
above: Original LC4 – Chaise longue, 1928. Le Corbusier, Pierre Jeanneret, Charlotte Perriand. photo Cassina © FLC/ADAGP
The classic Armchair and two or three seat sofa with steel frame are and have been available from Cassina’s I Maestri collection in the following finishes: polished chrome – matte black – gloss black (basalte) – gloss grey – gloss light blue – gloss green – gloss bordeaux – gloss ochre.
The LC4 longue chaise from Cassina was and still is available with adjustable chrome or matte black cradle and matte black base. The upholstery of the base is available in the following materials: hairy skin with black leather headrest (shown above), all leather with a black leather headrest and in a special canvas with leather footrest and headrest.
Now, the new colors!
A series of updates and new details have been added to the iconic models that Cassina exclusively produces in the “Cassina I Maestri” collection. This new range has been carried out in close collaboration with Le Corbusier Foundation and through the analysis of original documents and drawings belonging to the designers. The result is an even more vibrant and contemporary vision.
Alongside the better known chrome-plated pieces in black leather, Cassina enhances the seven tones established for its metal frame structure. The company proposes them in innumerable combinations with a fabric collection approved by Le Corbusier Foundation, and the heirs of Jeanneret and Perriand.
The design idea of deconstructing the seat into its base elements of supporting frame/cushions is further enhanced. The LC2 model is now also proposed with down padding, while the versions in dacron® in both the LC2 and LC3 models are even softer. All elements are designed to highlight the relationship between cushion/content and metal frame/container. The result is a product with an even richer and pleasantly lived-in look. There is also more flexibility of choice for the LC4.
The famous leather chaise-longue can now be accompanied by a cushion in the same shade as the entire mattress, as well as the usual version with black cushion. The result is a consistent, plain colour that enhances the purity of the form. Cassina has also worked on the textures of the upholstery materials. In the basic covers of category X leather, a new extremely soft and pleasantly tactile leather is introduced. Its sensorial qualities make every piece of furniture even more welcoming and attuned to individual desires.
As well as the distinctive symbol of authenticity of the Cassina brand that is shown above (which includes a progressive production number, the signatures of the designers and the Cassina I Maestri logo) found on all models, the Cassina signature will now also be visible on the base of the metallic frames of the LC2, LC3 and LC4 seat.
This logo indicates that Cassina is the only company with exclusive international rights to reproduce Le Corbusier furniture. This is in accordance with Fondazione Le Corbusier and the heirs of the co-designers that, since 1964, have chosen Cassina as their exclusive spokesperson due to its sensibility and respect for the original project, as well as its consolidated production expertise.
Nine designers from Europe and Canada designed twelve out-of-the-ordinary limited edition carpets for Ruckstuhl. The constraints imposed by larger production runs were simply ignored in order to create an exquisite selection of artworks for the floor which bear the distinct signatures of their designers.
The area rugs, designed for residential use, incorporate unusual materials such as crystals, resin, and strips of linen. Various wools – tufted, felted and embroidered – are utilized in some of the designs and each functional piece of art is signed by the designer.
Carpe Diem by Marcello Morandini (2010)
Carpe Diem, the new carpet designed by Marcello Morandini, is distinguished by its unusual yet clearly delineated format. Two intersecting diagonal bundles of lines inscribed within a square sweep out in a semicircle before returning to the square, diagonal once again. The endless loop thus created takes the form of an elongated figure eight, an expression of controlled dynamism. Here, Morandini’s typical black-and-white contrast has been softened into an interplay of dark grey and light grey.
DessusDessusDessous by Atelier Oï (2010)
The Dessus Dessus Dessous carpet, which has been woven from strips of linen, can be traced back to a textile installation entitled “Plier – Entrelacer – Superposer” (Fold – Weave – Overlap) which Atelier Oï created for Designers Saturday 2008 in Langenthal at the invitation of Peter Ruckstuhl. The starting material for this work, which was nominated for the Design Preis Schweiz 2009 award, was provided by the strips of linen that are normally used for the carpet trim. The transformation from an experimental exhibition installation to a product for Edition required both the refinement of technical aspects and an upgrading of the graphic design.
Frisian Wouw by Claudy Jongstra (2010)
Frisian Wouw, the felt carpet which Claudy Jongstra designed as part of Edition Ruckstuhl, is distinguished in particular by its irregular contours and wild, frenzied texture. This can be seen as an allusion to the archaic character of felt. It is not an accident that the yellow colour, which gives the carpet an unbelievably warm and cosy aura, evokes associations with the golden age of Dutch painting, when masters such as Rembrandt used pigments from the mignonette (reseda) plant (also known as dyer’s rocket).
Hypnos by Atelier Oï (2010)
The design of the Hypnos carpet was inspired by “Les Danseuses”, a kinetic installation which Atelier Oï presented in 2009 on the occasion of the grand opening of its new office and workshop building in La Neuveville. Within the circular, ever narrower wavy lines that characterise the carpet’s striking pattern, the installation’s motif of rotating, ornamentally perforated textile umbrellas that instinctively evoked an association with the robes of whirling dervishes has been frozen in place.
Area and Mesh by Fiorella Fasciati (2010)
For the Area and Mesh carpets which were created as part of Edition Ruckstuhl, Fiorella Fasciati made a conscious decision to utilise a production technology in common use at the firm and to explore it to an entirely new manner. With the selection of hand tufting, the carpet’s structure became an obvious choice for the central design theme which, characterised by its interplay of inclusion and exclusion, cannot be perceived in the visual realm alone. This is because the pattern is produced in large part by the use of tufts of varying lengths, lending the carpet a three-dimensional structure and making it a tactile floor experience.
Night Sky by Deborah Moss (2010)
Night Sky, Deborah Moss’s contribution to Edition Ruckstuhl, is by far the smallest carpet in this collection. Its dimensions alone underscore the intimate character of its design, which displays an impressive poetry. The delicate colour gradients on the hand-painted felt depict an authentic image of the infinite expanses of the night sky. Stitched-on crystals create a vibrant contrast to the simplicity of the base material, lending an air of luxury to this carpet.
Pompon by Hugo Zumbühl (2010)
The starting point for Hugo Zumbühl’s contribution to Edition Ruckstuhl was once again a material discovery. The backing fabric for the Pompon carpet with its dense white tuft is made of chenille yarn, a particularly plush wool thread that has practically disappeared from the market. Pompoms stitched in at regular intervals animate the surface structure and provide colourful accents. The result is a spontaneous image of a flowery meadow illuminated only by the light of the moon.
Red Flower And Golden Stripes by Céline Sorigue (2010)
In selecting felt for Céline Sorigue’s Red Flower and Golden Stripes carpets, she has chosen a distinctly simple starting material. As a result, the powerful drawings which she has applied to the felt, and to which she has afforded lasting protection with a coat of transparent synthetic resin, have an even greater impact, making this simple floor covering into a work of art. For Sorigue, the ability to combine traditional craftsmanship with high-tech processes was a significant part of the appeal of producing these designs for Ruckstuhl. The similarities in style to Art Deco and the lacquer work so popular at this time can certainly be seen as an homage to a great epoch in Parisian arts and crafts.
Salor by Jutta Bernhard (2010)
For her Salor carpet, Jutta Bernhard decided to use wool felt – possibly humankind’s oldest textile material. Wool felt represents warmth, protection and security, and has been used to shape rooms for many millennia – one need only think of the yurts used by Asian nomads since time immemorial. Her design was inspired both by traditional Turkmen carpets (specifically their woven edges and primary colour, red) and by abstract art. Her central themes are simplicity, repetition and concentration – typical Ruckstuhl themes if you will – which have been interpreted in an entirely new manner here, underscoring the meditative character of this carpet. Salor is made of strips of felt that have been glued together in such a way that their cut edges comprise the surface. The artist has cleverly capitalised on the fact that the edges of this dyed wool felt exhibit a delicate differentiation of colour, as these variations gently emphasise the striped pattern of the carpet.
Venezia by Ursula Spicher-Waldburger (2010)
The thematic basis for Ursula Spicher’s design for Edition Ruckstuhl is Venice, or rather the special atmosphere of this historic city which is evident most clearly in its colours. The typographic realisation is immediately clear, leaving room for a multitude of associations. The letters, which have been created using complex embroidery, reveal their many nuances on closer inspection
information and images courtesy of Ruckstuhl
Teppichfabrik/fabrique de tapis/carpet factory/fabbrica di tappeti
St. Urbanstrasse 21, CH-4901 Langenthal
Tel. +41 62 919 86 00, Fax +41 62 922 48 70