mobilier et luminaire
4. Wool Wonder Founded as a wool blanket company, JG Switzer is debuting a wider array of natural-fiber textiles, bedding and home goods, including the Sheep lounge chair in collaboration with Studio Ahead. Each lounge chair is covered in a hand-stitched wool fleece fabric that is biodegradable, sustainable and one of a kind.
The Sequoia pouf by Space Copenhagen. Photo from Fredericia Furniture The Sequoia pouf in fluffy sheepskin, designed by Space Copenhagen for Fredericia Furniture, is a great example of the cushy trend. The eye-catching benches and poufs of the ANZA collection from Please Wait to Be Seated are yet more corner-free proof that the world is becoming increasingly fond of soft spots.
Mirror Ball. Hovering over this custom walnut-and-bronze dining table, in an early 1900s New Mexico home renovated by R Brant Design, are Dixon’s Mirror Ball pendants in all three sizes. Soon after launching his company in 2002, Dixon set out to create a simple reflective light that would disappear into the background. He admits that he didn’t succeed. The Mirror Ball is so shiny that it’s hard to take the eye off the molded transparent plastic sphere, whose interior is coated with a thin layer of vaporized silver or gold metal.
Initially known for his pared-down designs, German designer Konstantin Grcic decided to explore more complex forms when Italian furniture brand Magis in 2002 asked him to create a chair in die-cast aluminum. As Puts did with the Raimond light, Grcic combined triangles to form Chair One’s curves in the seat and back. The collection consists of chairs (stacking four-leg, star-leg and concrete pedestal) and three-leg bar and counter stools. If Grcic ever realizes his dream of designing a bicycle, he could have a couple of takers in these homeowners.
Overhead is the Dear Ingo chandelier — 16 articulated task lamps made of white or black powder-coated steel connected to a central ring. Israeli designer Ron Gilad created it for Moooi in 2003 and named it in homage to German lighting designer Ingo Maurer. With its ability to stretch its arms from 31½ to 94½ inches, Dear Ingo can adapt to many kinds of spaces.
Adler Ceramics The McKenzies’ library, pictured, was designed specifically to hold Steve’s collection of art books and Jonathan Adler pottery. Steve, an artist and the former CEO of custom frame manufacturer Larson-Juhl, says it’s his favorite room in the house. In the family room, a vibrant modern Adler rug mixes happily with traditional wing chairs, enlivening the neutral color scheme.
Globus Chair The Globus is another 1990s stacking chair with a sexy cutout in the back. It’s the creation of Jesús Gasca, founder of Spanish contemporary furniture company STUA, an acronym for solo tengo un amor (I have only one love). The seat and backrest are made of plywood in five finishes or, for the outdoor model, polypropylene in six colors. The indoor frame is matte or shiny chrome or white or black lacquer. The outdoor frame is matte stainless steel.
Tom Vac Chair Arad’s Tom Vac chair actually started out as sculpture. Eager to try his hand at vacuum forming aluminum, he took on a 1997 Milan Design Week challenge from Domus magazine “to explore both novelty and memory in design, art and architecture” and came up with a tower of 100 chairs called Totem. Swiss furniture manufacturer Vitra was so thrilled with the individual component of the sculpture that it asked Arad for permission to produce it in plastic.
Bookworm Shelving A fun display of favorite reads like this is enough to make you give up your e-books and go back to printed versions. Tel Aviv-born Ron Arad designed his Bookworm shelving as a one-off sprung-steel piece and unveiled it at the 1993 Milan Furniture Fair. Italian manufacturer Kartell picked it up and mass-produced it in injection-molded plastic.
Favela Chair The Campanas’ wooden Favela chair of 1991 takes inspiration from the resourcefulness of the Brazilians who built the shantytowns for which it’s named. Low-tech materials — lumber scraps, nails and glue — come together through high craft in furniture rooted in local culture. It’s available from Edra in pine or teak.
Knotted Chair Droog designer Marcel Wanders’ Knotted chair made a splash in 1996 for the way it melded art and technology, fragility and strength. Wanders referenced macramé by hand-knotting carbon rope overbraided with aramid (a strong and lightweight synthetic fiber), soaking the structure in epoxy resin and hanging it in a wooden frame to dry and harden. He made a few prototypes himself before Italian furniture brand Cappellini took over production.
Umbo Shelving Along a nearby wall stand shelves and an X-shaped magazine rack constructed from pieces of ABS plastic that snap together in combinations limited only by the imagination. U.S. designer Kay Leroy Ruggles created this modular Umbo shelving system for New York-based Directional Industries, which introduced it in 1970. It came in four colors — orange, yellow, white and brown — and had early success, especially among apartment dwellers. But rising oil prices contributed to the system’s downfall.
Soft Seating Collection The acrylic bases under the fiberglass shells of this sofa, chair and table make the pieces seem to float. They’re part of the 1970s Soft Seating collection, variously attributed to Warren Platner and William Andrus, by Michigan office furniture maker Steelcase. The set forms a seating area in a 1959 house in Dallas.
Shag Carpeting The hand-woven shag rug in Johnson and Kealoha’s living room is part of an eclectic, 1970s-inspired collection of furniture and textiles. It rocks an earthy palette of cream, carbon, taupe and brown New Zealand wool. The shag — both the floor covering and the hairstyle — was a hallmark of the 1970s. Shag rugs trace their origin to the flokati rugs of ancient Greece, which were woven from long strands of goat hair. The name came to encompass carpeting made of any kind of yarn that loops up to form a tall pile. It’s comfortable to sit and walk on but requires frequent vacuuming or — for true period authenticity and energy-bill savings — raking with a vintage rake made for the purpose.
Togo Sofa This gold sofa is part of the famous Togo collection, designed in 1973 by Michel Ducaroy for Ligne Roset, a French manufacturer known for its contemporary furniture interpretations despite getting its start in the 1860s making walking sticks and umbrella handles. The collection was novel for its casual, low-to-the-ground profile, modern materials (foam encased in quilted polyester) and modularity. Armed, armless and corner pieces offer a multitude of configurations. They’re arranged in an L in this living room in Pond House, a weekend retreat in the Arizona desert designed by Will Bruder. The architect trained under Paolo Soleri, who in 1970 began building Arcosanti to explore “arcology,” an integration of architecture and ecology in a new kind of high-density city that conserves resources, reduces pollution and connects people with one another and nature.
Wood Stove Woodsy’s anti-pollution message didn’t quite jibe with well-intentioned Americans’ efforts to reduce their dependence on foreign oil and cut their energy bills in the wake of the 1973-74 oil crisis. Many people who didn’t already have an open fireplace or wanted something that heated the home more efficiently installed airtight wood-burning stoves. They were like the old potbellied stoves in that you could heat a kettle or a Dutch oven on them. But unlike the leaky potbellies, these stoves had openings that could be almost completely closed once the wood was alight, resulting in longer, hotter fires. Unfortunately, these slow burns proved to be smoky and polluting.
Wiggle Chair Fellow Pritzker laureate Frank Gehry created a furniture collection with an environmentally conscious bent years before he designed the Vitra Design Museum, the Guggenheim Museum Bilbao in Spain and the Walt Disney Concert Hall in Los Angeles. He used a humble material for his low-cost Easy Edges line of 1972: biodegradable cardboard.
Caldas Chair Self-taught Brazilian architect and furniture designer José Zanine Caldas relinquished his teaching position in Brasília during a coup and returned to his home state of Bahia, where he was horrified by the deforestation around him. Inspired by local craftspeople who carved boats from felled logs, he began sculpting these 1970s solid wood chairs and other pieces of what he called “outcry furniture” from salvaged wood when possible (and planting trees when not). In doing so, he brought attention to the environmentally destructive practices upon which his industry had been based.
Stehleuchten GEORGE FLOOR / REFLECTOR - Kollektion von Tobias Grau Product Description Tobias Grau GmbH Product Specifications Sold By TobiasGrau.Company Category Lighting Style Contemporary At Houzz we want you to shop for Stehleuchten GEORGE FLOOR / REFLECTOR - Kollektion von Tobias Grau with confidence. You can read real customer reviews for this or any other Lighting and even ask questions and get answers from us or straight from the brand. When you buy Stehleuchten GEORGE FLOOR / REFLECTOR - Kollektion von Tobias Grau or any Lighting product online from us, you become part of the Houzz family and can expect exceptional customer service every step of the way. If you have questions about or any other Lighting for sale, our customer service team is eager to help.
Le Klint 172 Pendant Light The Klint family made traditional straight-pleated lampshades that were reminiscent of George Nelson’s plastic Bubble collection and Isamu Noguchi’s paper Akari collection of the 1950s. Then Danish architect-designer Poul Christiansen threw the Le Klint company a curveball by using the mathematical principles of sine waves to fold sheets of polyvinyl chloride origami-style into ethereal light sculptures. Here his most famous design, Le Klint 172, hangs over a vintage teak-and-laminate dining table in a 1920s Tudor home in Portland, Oregon, from Risa Boyer Architecture. The Succulent wallpaper, by Portland graphic design collective Makelike, is hand-screened with water-based ink on recyclable paper. The floor is rift-sawn white oak.
Balans Chair About the same time, Norwegian industrial designer Peter Opsvik and his colleagues began taking an interest in ergonomics, the science of arranging the workplace to the user’s needs. Research of the era pointed to the benefits of forward-tilting chairs that allow the user to move around and change positions. By 1979, the Norwegians had exhibited several Balans chair prototypes at the Scandinavian Furniture Fair and had license agreements with several manufacturers.
Tripp Trapp Chair Opsvik achieved earlier success with his innovative Tripp Trapp chair, which he created in 1972 because he couldn’t find a chair that pulled close enough to the table to allow his 2-year-old son to sit comfortably with the rest of the family. Interior designer Sonia van der Zwaan-Barrigas
Akari Lights Isamu Noguchi’s Akari collection has the sculptural look and diffused light of Nelson’s Bubble collection. But instead of forging ahead with a metal cage and a cutting-edge plastic shade, the Japanese-American sculptor harked back to bamboo and mulberry paper — the traditional materials of Japanese lantern making. In so doing, he revived a centuries-old handicraft that is still going strong today in Gifu, Japan (where there happens to be an exact replica of Juhl’s personal house in Denmark). The rectangular components of this UF4-L10 model, one of the largest in the collection, echo the backrest of the walnut-and-cane chair designed by Paul László circa 1950.
Artichoke Pendant Light Poul Henningsen didn’t have electricity growing up in Denmark, and while designing his ingenious light fixtures, he fondly remembered the soft glow of the gas lamps of his youth. He experimented with concentric tiers of metal bands in an effort to direct light to just the right spot, distribute it evenly and reduce glare. The work resulted in his highly successful PH collection for Louis Poulsen. His elaborate Artichoke pendant light of 1958 illuminates the kitchen island in this new custom house in Vancouver, British Columbia, by design-build firm Kerr Construction and Design. In the seating area to the left is a glimpse of a sofa that Danish architect-designer Finn Juhl created in 1951 for Michigan’s Baker Furniture. Juhl was inspired by abstract painters and often worked with teak. The wood — inexpensive and readily available at the time due to military clearing exercises in Southeast Asia — is a hallmark of Danish modern furniture.
n the late 1950s, Jacobsen tackled his largest project: the SAS Royal Hotel, Copenhagen’s first major skyscraper. He designed everything from the exterior facade to the restaurant cutlery. At 22 stories, the hotel has long been surpassed by other structures; its curvaceous Egg, Swan, Drop and Pot armchairs, though, have stood the test of time. Jacobsen used a new technique of steam-molding polystyrene beads to a fiberglass base. The Egg chair and ottoman seen here nestle between a Girard silk-screen panel and an Eames walnut stool in Highfield House, a Mies van der Rohe-designed building in Baltimore. Architect Robert Berman renovated the condo for himself.
Jacobsen Chairs Like the Eameses, Wegner compatriot Arne Jacobsen experimented with molding plywood into three-dimensional forms, and in 1952 he created the evocative Ant chair (pictured in this 1956 house in Washington state) for a company cafeteria. The architect-designer was so confident about his creation — a pinch-waisted single piece of veneered plywood attached to three legs — that he promised his skeptical Danish furniture manufacturer that he would buy every chair that didn’t sell. But Fritz Hansen never had to collect. Light, stackable and easy and cost-effective to make, the Ant chair has been in production ever since (though Hansen later added a fourth leg). Jacobsen then followed up with his similar Series 7, one of the most popular chairs ever.
Wegner Chairs After World War II, designers in Saarinen’s native Finland and other Nordic countries made a concerted effort to promote their minimal, natural and functional aesthetic abroad. Frederik Lunning, the Danish‐born owner of the Georg Jensen store in Manhattan, established the annual Lunning Prize for young Scandinavian designers in 1951, the same year the Scandinavian Design for Living exhibition opened in Heal’s department store in London. The Design in Scandinavia exhibition solidified the look’s popularity when it toured North America from 1954 to 1957.
Tulip Table and Chair The Miller House’s custom dining table evolved into Saarinen’s Tulip table and chairs, issued by Knoll in 1956. The design was his solution to clear up what he called “the slum of legs in the U.S. home.” This vintage Tulip set and a built-in banquette form an eating nook in a late-1800s California wine country farmhouse remodeled by Bevan + Associates.
Tulip Table and Chair The Miller House’s custom dining table evolved into Saarinen’s Tulip table and chairs, issued by Knoll in 1956. The design was his solution to clear up what he called “the slum of legs in the U.S. home.” This vintage Tulip set and a built-in banquette form an eating nook in a late-1800s California wine country farmhouse remodeled by Bevan + Associates.
Miller House and Girard Textiles In 1952, Nelson hired Alexander Girard to direct the fabric division of Herman Miller. Having studied architecture in Rome, London and New York, Girard had a globalist view of design: “The whole world is hometown,” an Italian proverb he liked to quote, guided him as he created textiles and collected folk art. A year later, industrialist J. Irwin Miller for the second time commissioned Saarinen and Girard to design and decorate a residence. The first commission was a vacation cottage on an Ontario lake; this time, the request was for a modernist home for the family of seven in Columbus, Indiana. The Miller House’s square conversation pit, pictured, is one of its defining features, in part because of Girard’s brilliant pillows and slipcovers, which are changed seasonally. One side of the pit looks out on grounds designed by Dan Kiley. Another side takes in Girard’s 50-foot-long storage wall, which he artfully arranged with books, sculpture and other objects from all over the world. He also designed the rugs and curtains.
Diamond Chair Technological advances since Marcel Breuer turned tubular steel into chair frames in the 1920s brought about thinner gauges of steel in the 1950s. Harry Bertoia, who learned jewelry making upon immigrating to Detroit from Italy (and later made Ray Eames’ wedding ring), took advantage of this to create a collection of wire-lattice chairs for U.S. furniture manufacturer Knoll. Their intricate design required them to be made by hand, but even so, they were such a commercial success that Bertoia was able to devote himself to sculpture from then on.
Marshmallow Sofa The playful 1956 Marshmallow sofa, now attributed to Nelson associate Irving Harper, was ahead of its time: The idea — to combine 18 prefabricated, interchangeable disks in an array of colors on a standardized metal frame — outpaced both the available technology and the nascent Pop Art sensibility. Since the foam rubber cushions couldn’t be mass-produced, the expensive piece had few buyers until its reintroduction in 1999. It’s right at home with Andy Warhol art in this 1962 San Francisco Bay Area residence designed by Jones, built by Eichler and restored by Gary Hutton.
Coconut Chair Herman Miller design director George Nelson and his associates also produced distinctive seating in the 1950s. With clutter contained in streamlined storage walls, “the only place left for furniture is out in the open. Hence silhouette becomes important,” Nelson wrote in Chairs in 1953. The 1955 Coconut chair — a chromed steel tripod topped with a plastic shell encased in foam rubber and leather or fabric — is now attributed to Nelson associate George Mulhauser. It resembles both a coconut segment and architect Eero Saarinen’s Kresge Auditorium at the Massachusetts Institute of Technology. Its informal shape suits this family room in a Southern California home that Laidlaw Schultz Architects expanded with midcentury modern architecture in mind.
Eames Lounge Chair and Mouille Three-Arm Ceiling Lamp The Days, with their shared studio and decadeslong careers, are often compared to American designers Charles and Ray Eames, who followed up their molded plywood chairs of the 1940s with their iconic plywood-and-leather Lounge chair and ottoman, introduced by Herman Miller in 1956. The set adorns the living room of this Victorian house in London that was designed by Cinzia Moretti. The ceiling light, with its three angular arms and breast-shaped reflectors, is a 1958 design from Serge Mouille, a gifted Parisian metalsmith who was reacting against the overly complicated Italian lighting of the time. One day, actor Henry Fonda showed up at his studio and vowed not to leave until Mouille promised to make him a lamp — the first to reach U.S. shores. Now Mouille’s designs are a favorite in renovated brownstones in Brooklyn, reports New York magazine, which traces their path to ubiquity in its April 29 issue.
Saratoga Sofa, Propeller Table and Ultima Thule Glassware A throw pillow in a more recent Marimekko print, Kanteleen Kutsu by Sanna Annukka, rests on a white lacquer sofa from the Saratoga collection by Italian architects (and New York City subway map designers) Lella and Massimo Vignelli for Poltronova. The sofa and the Propeller coffee table, by Knut Hesterberg for German manufacturer Ronald Schmitt, are the same 1964 vintage as the Vancouver, British Columbia, home. The candlesticks on the mantel and the lustrous bowl on the table are from Tapio Wirkkala’s 1968 Ultima Thule collection for Finnish glassware manufacturer Iittala. A trained sculptor, Wirkkala worked in many media and traveled extensively, even briefly living in New York for a stint in Loewy’s office to learn about mass production and modeling techniques. But he would always retreat to his hand-built log cabin in northern Lapland to drink in the frozen landscape, capturing the beauty of ice in the rifts and melting-icicle rim of his iconic Ultima Thule glass.
Marimekko Fabric The master bedroom features a wood platform bed with bedding from Marimekko, established by Armi Ratia in Finland in 1951 but not really a household name in the U.S. until Jacqueline Kennedy sported the label’s bold A-line dresses during the 1960 presidential campaign. When Ratia announced that the company wouldn’t come out with any floral prints because “flowers should only bloom in nature,” Marimekko designer Maija Isola rebelled. Isola’s Unikko poppy pattern of 1964, pictured with a pillow in her earlier Kivet stones pattern, is the most popular Marimekko textile, illustrating the power of the flower.
Cone Fireplace The freestanding conical fireplace, often enameled in a vibrant pop art color, is another quintessential style symbol of the ’60s, stoked by the construction of prefab housing. It offers the focal point and gathering spot of a traditional masonry fireplace with the advantage of heating quickly and emanating warmth all around. Of the three major manufacturers — Preway, Majestic and Malm — only Malm, founded in 1960, remains in business. The California company provided this relatively sedate model for the living room of an experimental California house designed by architects A. Quincy Jones and Frederick Emmons; built by developer Joseph Eichler; and restored by homeowner Marty Arbunich, builder Craig Smollen and interior designer Lucile Glessner.
Snoopy. The Castiglionis used the white marble base again for their Snoopy lamp, issued by Flos in 1967. The black enameled reflector was inspired by the profile of the beloved beagle in Charles Schulz’s popular comic strip. It serves as a piano lamp in this home in Vancouver, British Columbia.
Castiglioni Lighting Arco. The floor lamp pointing its modern satellite-like shade toward the Platner dining set in this Manhattan apartment by David Stern Architecture is the Arco. Achille and Pier Giacomo Castiglioni, architect brothers from Italy, recognized that chandeliers and ceiling pendants don’t always cast light where it’s needed. So in 1962 they designed the Arco to give the effect of a ceiling light with the portability of a floor lamp, for fledging Italian manufacturer Flos. A hole in the traditional Carrara marble base accommodates a broom handle for easier lifting.
Platner Table and Chair This table, part of Warren Platner’s wire furniture collection introduced by Knoll in 1966, is more accessible and very popular. As the American architect-designer considered the aesthetics of the era, he saw an opportunity: “I … felt there was room for the kind of decorative, gentle, graceful design that appeared in a period style like Louis XV.” The base of the collection’s tables, chairs and stools looks like a standing sheaf of wheat, except that it’s composed of many slender steel rods connected to steel hoops with hundreds of welds for a shimmering moiré effect. The top comes in glass, stone or wood.
Model 5301-2 Chair and Table Monogold Danish couple Nanna and Jørgen Ditzel made their famous elliptical suspended seat, the rattan Hanging Egg chair, in 1959. After Jørgen passed away in 1961, Nanna explored newer materials like fiberglass and foam. In this Manhattan home by Apsara Interior Design, two white Model 5301-2 chairs from her fiberglass collection for Danish retailer Domus Danica team up with a dazzling Monogold table by Yves Klein. Klein was a French conceptual artist best known for painting canvases — and naked models who then rolled around on his canvases — in an ultramarine that he had specially formulated to retain its luminosity, intensity, depth and granularity, and registered with the Paris patent office in 1960 as International Klein Blue. He made his first and only foray into furniture design, completing two prototypes of the cocktail table, just before succumbing to a heart attack in 1962 at age 34.
Astro Lamp The lava lamp became lighting’s shape-shifting dorm counterpart to the beanbag. British accountant and naturist Edward Craven Walker put two liquids of different densities — one waxy, one watery — in a rocket-shaped bottle with a lightbulb, whose heat caused the waxy liquid to rise and fall in mesmerizing patterns as it warmed and cooled. He called it the Astro lamp when it came out in 1963. He knew he had a winner when he heard that Beatles drummer Ringo Starr had bought one. These lava lamps in the computer nook of a colorful Chicago house from Morgante-Wilson Architects are undeniably far-out, but whether they’ll encourage studying or daydreaming is open to question.
Email Save Ball Chair A onetime favorite Playboy cover prop, the Ball chair works as both a communal pod and a private cocoon. Aarnio designed it as a place where he could cuddle with his wife and two young daughters, but he also put a phone in his personal Ball chair because of its impressive sound insulation from the outside world.
Sacco Chair and Bubble Chair The alternative lifestyles of a new generation called for alternative seating. The slouchy Sacco chair, left, is filled with polystyrene pellets that respond to the body. Introduced in 1968 by Italian friends Piero Gatti, Cesare Paolini and Franco Teodoro for Italian furniture manufacturer Zanotta, it was the stylish harbinger of common dorm room beanbags.
Tongue. Paulin’s establishment-defying Tongue chair sprawls out on the floor of a bedroom in a London house remodeled by McLean Quinlan. “I had tried to appeal to the lifestyle of young people.
Paulin Chairs Orange Slice. Another “mobi boom” designer, Pierre Paulin is best known for his sculptural 1960s chairs for Dutch manufacturer Artifort. Their names — Oyster, Orange Slice, Globe, Mushroom, Butterfly, Tulip, Ribbon, Tongue — stem from nature, whose rounded shapes Paulin often liked to render in metal, latex foam and bright jersey fabrics that stretched around the chairs’ contours for a skintight fit.
TangForm chair by Nikolaj Thrane Carlsen The Join exhibition by Norwegian Presence at Salone del Mobile promoted well-made sustainable and durable furniture. A major theme of the RHS Chelsea Flower Show was the regeneration of landscapes in the face of climate change. New sustainable materials — such as textiles made of recycled plastic waste and furniture crafted from seaweed or mushroom fibers — appeared at the German fairs, the Stockholm Furniture & Light Fair, Salone del Mobile and the 3 Days of Design festival (Copenhagen, Denmark,
TangForm chair by Nikolaj Thrane Carlsen The Join exhibition by Norwegian Presence at Salone del Mobile promoted well-made sustainable and durable furniture. A major theme of the RHS Chelsea Flower Show was the regeneration of landscapes in the face of climate change. New sustainable materials — such as textiles made of recycled plastic waste and furniture crafted from seaweed or mushroom fibers — appeared at the German fairs, the Stockholm Furniture & Light Fair, Salone del Mobile and the 3 Days of Design festival (Copenhagen, Denmark,
E la Nave Va sofa by Atelier Oï for Alias
Aisuu side chairs by Ginger Zalaba for Walter Knoll
Spinwood table by Hasegawa USA And in a useful new product for apartment dwellers, Hasegawa has launched a bookshelf that converts into a dining table. The shelves stay parallel to the floor as the bookshelf transforms.
Apollo sofa by Galanter & Jones San Francisco brand Galanter & Jones, the world’s first manufacturer of heated seating, at ICFF previewed its new Apollo line, which starts at $900 and will be ready to ship in early 2020. “We’ve been working to bring manufacturing costs down without compromising the aesthetic, quality and functionality,” said creative director and founder, Aaron Jones.
WoOL Amsterdam’s acoustic hanging. Photo by Hugo Thomassen This photo shows a wool felt panel from WoOL Amsterdam, a brand founded by Dutch architect and designer Ingrid Heijne. Like Quinn’s work, the panels have artistic as well as functional properties.
Machina & Manus chaise lounge in imbuia by Guto Indio da Costa
Meridiano wood sideboard from Ginger & Jagger
Ostinato V dining table and Ostinato Tower cabinets by Materia
Mikado table in French oak by Ethnicraft
Parrot by Timon and Melchior Grau for Tobias Grau
Salt & Pepper light by Tobias Grau
Haeru by Nendo for Flos Haeru is a table lamp designed by Nendo for Flos. The basic structure is a three-legged table with a built-in battery, and users can change and add tops, legs and lights. “Through the combination of these elements, it is possible to choose between different options and freely assemble your own configuration,” says designer Oki Sato, founder of Nendo. “The word ‘haeru’ means ‘to grow’ in Japanese, since it looks like the lamps are ‘growing’ from the tables.”
Butterfly Chair As was his way, Wright designed the furniture for Fallingwater himself, calling for much of it to be built-in or, as he described it, “client-proof.” But that didn’t keep the Kaufmanns from putting their own mark on the house with personally chosen pieces. And those included one of the first butterfly chairs (aka the BKF or Hardoy chair). The chair’s designers — Antonio Bonet, Juan Kurchan and Jorge Ferrari Hardoy — had met as assistants in Le Corbusier’s studio in Paris and formed their own group in Buenos Aires. They based their 1938 design on a folding wooden sling chair created in the 1850s for use by the British military. When they introduced their residential version — a leather sling suspended on a base of curved tubular steel — at an exhibition, it attracted the attention of Edgar Kaufmann Jr., then head of the industrial design department at New York’s Museum of Modern Art. He requested one for the museum and one for his parents’ house.
Table: Smalto by Edward Barber and Jay Osgerby for Knoll
Armchairs: Ice-Dream by Fabio Novembre for Sammontana
Bioplastic chests of drawers: Componibile by Anna Castelli Ferrieri for Kartell
Chair: Halo by Studio Philipp Hainke
Scandia Nett lounge chair by Fjordfiesta, part of the Join project by Norwegian Presence. Photo by Trine Hisdal
7. Sculptural Chandelier If you’re looking for a dramatic light fixture that has the scale and heft of of a traditional chandelier but the sculptural lines of a modern fixture, the Guston by James Dieter might be one to consider. The light fixture is constructed of curved flat bands interlocking at right angles. The fixture is available in a black anodized metal finish with white glass diffuser discs (as seen above) or in a brass or sterling-silver-plated finish with optional colored glass diffuser discs.
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