Summer is coming and DOMO have a number of outdoor furniture collections available to designers and architects at a great discount. Those working in the industry can take advantage of the sale happening from 10-14 October. To participate simply visit your nearest Domo Showroom and ask to speak to your local Trade Representative.
At the MAISON et OBJET show in PARIS this September, a host of outstanding new designs were released onto the market for both indoor and outdoor settings.
At the Pierantonio Bonacina stand with its distinctive Magnolia green wall designer Piero Lissoni released his Pumpkin and Stave range of sofas and benches, as well as the Pallette summer sun lounger.
Piero Lissoni who is one of Italy’s most prolific architect and designers is also the creative director of Group Matteograssi.
In Australia Classique distribute Pierantonio Bonacina and Matteograssi along with brands including xO by Starck, EGO Paris and Classique outdoor and custom projects.
A sheep station in Gibbston Valley is where New Zealand print maker and sculptor Kristin Peren lives and creates. This month in Habitus 13, Andrea Stevens speaks with Kristin artist about her practice, visits her home and discovers a sense of humour that cuts through to some serious issues.
Top: 1 Bullet proof Bottom: Meat part of Kristin Peren’s False Trophies series (2006). Photographer Youngae Kim
Kristin Peren is concept-driven driven artist and has a range of expression in her art practice. In a large public commission for the Frankton Events Centre in Queenstown Papakura (2005-2008), she created three enormous resin pieces backlit by 22,000 LED lights. And in a photographic series entitled Light Lands (2010) she took stills of a rolled up wire fence rolling down the hill at night threaded with LED point lights. The results are quite diverse, often playful and alluring.
Animal carcasses are another sorry sight on her Gibbston Valley farm, and in her False Trophies series 2006-2007 (pictured), she assembled deer antlers, merino sheep and goat horns into wry representations of hunting prizes, mocking intensive farming and irresponsible introductions of “game” meat.
Five cents worth is part of Kristin's False Trophies series (2006). Photographer Youngae Kim
Inside the farmhouse, a warm and eclectic art and furniture collection reflects her and her husband's interests. Amongst Kristen’s own art, is work by her daughters; New Zealand artists such as Gordon Walters, Michael Parekowhai, Phil Price and Stephen Bambury; and work by contemporary Japanese print makers and potters. Their furniture is mostly mid-century, with a large dining table Kristen designed herself on which she makes a lot of her work.
Bonehead is part of Kristin's False Trophies series (2006). Photographer Youngae Kim
For the full story on Kristin Peren get Habitus issue 13 out now.
Designed By: Kawakami
Made By: Nissin, Japan
My Category: Furniture
I am: A stool with a shoehorn.
Award-winning Japanese designer Kawakami has always preferred smart-looking lace-up shoes over loose-fitting slip-ons. For this reason, whenever he heads out, he first sits down and uses a shoehorn to put on his shoes. It was while doing this that he had a light bulb moment: to merge a shoehorn into the structure of a chair! Step Step was the result. Best of all, Step Step is a breeze to assemble using the traditional wooden screw system, which means there is not need for tools.
Kawakami designed Step Step for Japanese brand Nissin, which is based in Gifu’s northern city of Hida, an area known for its production of simple, modern furniture, crafted using traditional, sophisticated techniques handed down through the generations.
Nissin’s furniture pieces are comfortable, light, sturdy and designed to last. Importantly, the company believes strongly in sustainability and environmental conservation. They plant their own trees and place strict controls on the timber.
Designed by: BassamFellows
Distributed by: Living Edge
I am: A day bed
About: Like the stool and bench, the daybed is designed to create flexible seating options. Fully adaptable in its function, the solid brass backrest mechanism adjusts to three different positions allowing the daybed to be used as a bench or for lounging or general seating.
Constructed entirely of solid wood, the slim elegant frame holds leather seating cushions. The wood’s richness of color and grain serves to punctuate the daybed’s simple shape.
Each cushion is hand sewn from four separate panels of leather using an inverted or “invisible” seam. Padded with all natural down filling for softness and dense foam for sharpness, the seat profile is extremely light yet supremely comfortable. Separate headrest cushion is detachable.
BassamFellows hand selects the finest hides from the best tanneries in Europe. The leather used in the daybed is the same quality leather used to make luxury handbags. Unlike most leather used in furniture manufacturing.
BassamFellows never “paints” or coats the leather to mask quality imperfections. Leather is tanned using all-natural vegetable processes. The result: more transparency and “life” in the leather, and longer lasting, natural beauty.
Materials: Solid Ash, Walnut, Teak or Santos Rosewood oil finished with vegetable-tanned leather.
Dimensions: 11 ¾ “ h x 76 3/8” w x 33” d
About me:•Roofing made from COLORBOND® steel is the thermally efficient roofing material that keeps your home cool in summer due to Thermatech® technology which reflects more of the sun’s heat, leaving the roof space, and therefore the home, cooler. In hot summer weather, it can keep un-insulated buildings up to 5ºC cooler. In insulated homes, Thermatech® can help to reduce the amount of air conditioning needed
Design Hunters™ create their own possibilities. They love the ongoing adventure of discovering design, and consciously use it to express their personality and values. They are educated, informed,assured individuals – regardless of age, gender or occupation. They are not interested in what other people tell them is the 'latest' or 'best'. Instead, they make their own connections and have a unique economy of value, which combines both quality and meaning. They are free-thinkers, savvy self-specifiers, positive collaborators, valued opinion leaders and loyal friends. Their eyes and ears, hearts and minds, are wide open.
Habitus magazine is indispensable for Design Hunters™ and their individual ways of life. The design decisions that they make – from the architecture and interiors to the landscaping, artworks, technology, even the clothes they wear and cars they drive – express a deeply felt, deeply personal way of living.
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Roll & Hill make the kind of light fittings and fixtures everyone wants to own. Famous for statement pieces that complete an entire room, Roll & Hill products embody a distinctly American aesthetic. Jason Miller is best known for his ubiquitous Superordinate Antler Lamps, a product that has been widely credited with starting the back-to-nature movement in design.
When meeting Jason Miller, CEO and founder of Roll & Hill, I was curious to know exactly what constitutes an ‘American design aesthetic’.
“My answer on one level is simply that, I don’t know,” says Miller who gives a short laugh before qualifying his response. “Primarily most of the design we get exposed to in the States comes from Europe, and that aesthetic is much more minimal, much more streamlined, clean and pure than it is here. I think what appeals to the American market, what constitutes the American design aesthetic is something much richer, much deeper that has a degree of depth and texture to it,” Miller says.
The designer who has his studio in Greenpoint, Brooklyn has been a big part of the emerging ‘Made in Brooklyn’ design scene that has developed a broad reputation for independent, often artisanal designers over the last 6 years. In 2007, he was named one of the “Best Breakthrough Designers” by Wallpaper* magazine and in 2010 Jason was named “Young Designer of the Year” by the Brooklyn Museum.
The way he describes his design style recalls the distinctive lights he manufactures. They share a pared back, industrial feel with a distinctively quirky edge. There are nautical baubles jauntily tied up on a rope (Knotty Bubbles), pale pine antlers dotted with flame tip bulbs (The Superordinate) and ethereal square tubes lights that fuse a junk and fine art (Endless lamp).
For Jason Miller, who spent 10 years working as contemporary visual artist before getting into product design, the blurry line between art and popular culture hasn’t always been fused.
“When I was in art school in Indiana I wasn’t goofing around, I was studying very hard and I had every intention of becoming a painter. I was painting a series of interiors in my own home, around 1998, when I suddenly realised that I was more interested in the objects in the paintings than the paintings themselves,” Miller says.
His epiphany was later crystalised when the curator of an art show at Mixed Greens (http://mixedgreens.com/) art gallery in Chelsea, asked him to contribute a sculpture that fused urban and rural elements. That’s when Jason Miller’s uber-successful Superordinate lighting fixture was born and he put his first product design into manufacture.
“The first one was made for an exhibition that was mixing the urban and rural design forms, so the curator put out a call to make a product that looked at that idea, and I took a very traditional rural form - the antler chandelier - and decided to make it in a contemporary, urban kind of way,” Miller says.
“It was definitely a very commercially successful product. It was a hit but I had no idea it would be a success, I sort of went into it very naively,” he says.
The success of the Superordinate range led to fresh collaborations with up-and-coming lighting designers in and around Brooklyn. In January 2010, Miller started Roll & Hill to license designs and fabricate new lighting products.
Roll & Hill currently work with seven designers including Lindsey Adelman, Jonas Damon and Paul Loebach. Recent stand out designs from design collectives include quirky monogram lamps by Partners and Spades and the popular Excel light range from Rich, Brilliant and Willing (pictured above).
If Roll & Hill are at once contemporary and timeless, then Jason Miller doesn’t even try to explain the mash up.
“When I have time off, I try to get out of the city, but I also take photos and I draw as a way of developing designs. My influence as a designer from the iconic people like the Eames’ and from contemporary industrial designers like Konstantin Grcicc. I’m also influenced by the area in which I live in – and by that I mean Brooklyn, Greenpoint and Southern Brooklyn,” Miller says.
Christina Caredes, General Manager at Space Furniture says Roll & Hill caught her eye when the company launched in New York early last year. “Their collection is a breath of fresh air and represents a point of difference to our current lighting collection and to the Australian market in general. Jason Miller, the founder and designer, has a belief in supporting up and coming designers and this is something that resonates with Space. We think this is a brand to watch,” she says. Miller’s next collection for Roll & Hill will be released in New York this coming April.
“The next collection is mainly ceiling mounted lights. I don’t want to give any hints but it really fleshes out the Roll & Hill range while staying close to the bone of what we do,” he says. The 2011 collection from Roll & Hill includes designs from Lindsey Adelman, Jonah Takagi and Lukas Peet. The Roll& Hill range is eagerly anticipated. To view products in the flesh, visit the Space Furniture showroom. Roll & Hill is also distributed throughout Asia in countries including China, Hong Kong, Taiwan and Thailand
Herbst Architects, a New Zealand based architecture firm founded in 2000 by Lance and Nicola Herbst were presented with a site for this beach house, that was 90% covered in mature Pohutukawa trees (commonly known as the New Zealand Christmas tree). The site was situated smack in the middle of a continuous belt of forest that edges the road along the beachfront. Piha is a popular summer beach spot, located just one hour from Auckland on the North Island.
“The circumstances not so much allowed but dictated a poetic and sensitive response,” says Lance Herbst, fondly remembering the process of conceiving the design. “It was important that the house co-exist with the natural environment and not require the destruction of a large number of mature trees,” he says.
To do this Herbst Architects looked to the trees themselves to provide the cues they needed. They separated the brief loosely into private and public components, and this helped by providing smaller individual masses with which to articulate the forms.
“The private bedrooms and garage are housed in two towers which are figurative stumps - construed as freshly sawn blocks that recall the trees that were removed,” says Lance Herbst. "To allude to the bark of the stumps, the skins of two the towers are clad in blackish brown stained irregular battens and the interior spaces are carved out to look like freshly cut wood,” he continues.
After overcoming the tree issue, Herbst Architects put their minds together to design the interior. Warm woods were used on the walls and furniture with a complementary colour scheme of oranges, tans, and browns chosen to give the interior cohesion with the dark exterior architecture. “We achieved this through detailing with the walls and ceilings in contrasting, light coloured timber,” Lance Herbst says.
The living room is the featured space of the home, with its large ceilings, fireplace, furniture, and lighting all designed to be welcoming to guests and provide a space for hours spent talking and story telling.
“The public space connects the two towers and attempts to engage with the surrounding Pohutukawa forest, by defining a crossover between the natural environment and the built form. A walkway links the towers at the upper level to allow engagement with both the natural and man made canopies," says Lance.
“The primary structure holding up the roof is a series of tree like elements which allude to the trunks and branches of trees but are arranged in a rigorous geometric pattern to suggest the ordering of nature. The dark roof seems to disintegrate from a rigid plane and melt away into a frayed edge. The edges are designed to filters the light in a similar way to the leaf canopy.
"The plane of the roof pins off the towers to engage with the continuous tree canopy. The height of the public space, with its light glass division is a response to the height of the surrounding trees. And the roof plane is partially glass to allow the full extent of the trees to be felt as they lean over the building,” Lance says.
The Pohutukawa home is the perfect getaway from the city, secluded and open it offers guest a chance to re-connect with nature.
View more work by Herbst.
Read the article on Nicola and Lance Herbst in issue 9 of Habitus magazine. Contact us to order a copy.