Liquid Glacial Table by Zaha Hadid
At first sight this table made me shiver with the sensation I normally experience from dipping my toe in the cold lake water before an early morning swim. Its form is spare – practically invisible, yet the emotion it stirs are deep and and the stories it inspires one to reminisce about are personal. It is transcendent.
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Susan covered Maison et Object for AAD. Check out the amazing design she spotted at this high-end trade fair out side of Paris!
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Louis Vuitton have joined forces with 11 designers to create unique objects for their Objets Nomads Collection. Each designer was asked to create an object – whether compact, foldable or portable – that could be taken travelling. We love the bell lamp by British designers BarberOsgerby. They have reimagined a modern-day lamp using Venetian Murano glass and incorporating pioneering technology which allows it to recharge by sunlight as well as conventionally. Edward Barber says: ‘We began with the idea, then the function. First came an exploration of the technological possibilities to ensure that the lamp was both portable and sustainable. Ease of carriage and the way the lamp’s solar and lighting technology work informed the shape. Our method is reductive, hence the simplicity of form.”
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We had the opportunity to meet with design thinker Gabriele Pezzini a few years ago in his Paris studio. He inspired us with his facility to communicate his process of exploration and questioning that results in an object – whether a light, a bench or a boat.
His highly intellectual approach combined with an exquisite aesthetic sensibility results – to this authors mind- in practical objects that deliver highly emotional experiences.
Luxury Culture recently published and article on him mentioning this set of knives, ‘couteaux-orfevre’. They describe them as able to ‘serve and seduce’. Yes! That is it. They are certainly luxurious but this luxury is purposeful, which to me makes all the difference. They are designed to fulfill the technical requirements of a chef and made of steel and rosewood, which is known for its resistance to water.
image courtesy of gabriele pezzini
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This past fall designer Azzedine Alaïa transformed a 300 metre 17th Century Parisian building into three separate 100 metre apartments designed for short-term stays. Located on the Rue de Moussy in the bobo-chic district of Le Marais near his boutique and personal residence. We read that guests are treated to morning meals cooked up by the designer’s private kitchen.
Counter to his tendencies in fashion, which incorporate a lot of black, complicated and very feminine influences such as corsets, these interiors are built upon clean white walls an polished cement floors using a minimalist color palate occasionally accented with a red Marc Newson chair for example. There is a large presence of Prouvé, which isn’t super inspiring any more in our view, and a forever chic four-light Serge Mouille lamp over one of the beds.
Photography by Alexandre & Emilie.
Please have a look at our latest article for AAD! This month we explored the Musée des Arts Décoratifs, which is showing a Star Wars exhibition at the moment alongside a magnificent display of Van Cleef & Arpels jewels. However, the permanent collection is what really impressed us the most.
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At the Waldorf Astoria in Rome last week we spotted this glorious spiralling 1960s light by Franco Albini (1905-1977), the Italian Neo-Rationalist architect and designer. It dominates the terrace lobby with its graceful and sophisticated form and was made specifically for its position in the centre of the circular staircase. Albini began his professional career working for Gio Ponti before opening his own design and architectural company in 1930.
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This incredible, sleek desk, designed by Michel Roux Spitz(1888-1957) in 1930 for the Salon des Artistes Decorateurs, became his personal desk in his offices at 33 Rue Octave Feuillet in Paris. It is now in the Musee des Arts Decoratifs. The lamp is by Jean Perzel (1882-1986). An architect by training, you can see the reference to his architectural works in the horizontal lines of the draw handles, the brass plinth at the base and the overall geometric form of this desk. This building in the 9th arrondisement in central Paris was designed by Roux Spitz for the Ford Exhibition in 1929-30, the same year as the desk.
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