APRIL 2020 *THE STUFF THAT REFINES YOU

APRIL 2020
Global Interiors Australia, Canada, China, Colombia, Finland, Germany, Scotland | BIG’s watch museum | Yrjö Kukkapuro

GERMANY
SPECIAL
The new achievers,
from Berlin to Munich
LASTING
LEGACY
Modern treasures in
Helsinki and Toronto

Global Interiors
The best design from Australia, Canada,
253

China, Colombia, Finland & Scotland

BLACK YELLOW MAGENTA CYAN 93WPR20APR905.pgs 20.02.2020 16:01

 MILANO PARIS LONDON NEW YORK ATHENS BARCELONA BEIJING BUDAPEST CHENGDU CHICAGO DUBAI GENEVA HONG KONG ISTANBUL JAKARTA
LOS ANGELES MADRID MANILA MEXICO CITY MIAMI MOSCOW NANJING OSAKA SEOUL SHANGHAI SINGAPORE TEHERAN TOKYO TORONTO

#MolteniGroup

GREGOR SEATING SYSTEM— VINCENT VAN DUYSEN

danish design by · made by
 APRIL

A PHOTOGRAPH FROM MICHAEL MACGARRY’S KILAMBA KIAXI

SERIES, 2016, LARGELY SHOT IN A DESERTED ANGOLAN CITY
OF THE SAME NAME, WHICH HAD BEEN THE BIGGEST SINGLE
INVESTMENT PROJECT BY CHINA IN AFRICA, SEE PAGE 072

ARCHITECTURE ART

084 Long stay 072 Continental shift

Foster + Partners’ Turkish villa Ekow Eshun on Africa State of Mind,
his new photographic survey
090 Refined coil
BIG’s watch museum for Audemars Piguet DESIGN

112 Water world 094 Finnish lines

A modernist treasure on Lake Ontario Yrjö Kukkapuro, master of chair design

125 117
Photography: Courtesy of Michael MacGarry

Shelf life Made in Africa

Architect John Wardle’s Melbourne home Roo Rogers and Peter Mabeo on creating
Founders Factory’s Johannesburg outpost
192 High level
A house interlocked with nature in Napa FASHION

198 Off grid 078 Angle poise

Maths inspires a unique Greek retreat Tailoring takes a relaxed turn

∑ 021
 APRIL
GERMANY REPORT 2020

143 DESIGN NEWS

From desks to typefaces

147 PATTERN PLAY

Algorithm-inspired jewels

150 UNITED FRONT

Nomos’ neat new space

155 SUPER SENSE

Olfactory lessons in Berlin

159 SPACE ODYSSEY

Architectural round-up

160 FAST TRACK

Forward-looking autos
FINNISH DESIGNER YRJÖ KUKKAPURO IN HIS ‘KARUSELLI’ CHAIR,
CREATED IN 1964 AND STILL PRODUCED BY ARTEK, SEE PAGE 094

170 CASTING CALL

100 Opening moves

Best of IMM Cologne

Statement fine jewellery for

the contemporary gallerist

228 Rear window

We put S/S20 looks in the frame

FOOD

242 Artist’s palate

Hugh Hayden’s cornbread pudding

FRONT OF BOOK

055 Newspaper
Satoshi Kondo on his vision for
Issey Miyake; the Campana brothers’
retrospective in Rio; a guest pod in The Audi A1:Trail, an off-road-inspired concept,
Ghent; and Melbourne Design Week is among our pick of new German cars, see page 160

024 ∑
Steven Meisel
A Show of Hands, 2019 loewe.com
jwanderson.com
 APRIL
212 Subscribers since… 1996
Where Piero Lissoni keeps
his Wallpaper* collection

RESOURCES

240 Stockists
What you want and where to get it

TRAVEL

202 Checking in
Tropical Modernist style in Sri Lanka

205 Dep info

Chinese-American food in San Francisco,
natural wines in Prague and a pared-back
hotel in Hangzhou

TROUSERS, £940, BY ISSEY MIYAKE, SEE PAGE 055

070 The Vinson View

Picky Nicky on the joy of a maniacally
organised desk, and other fastidiousness

INTERIORS

179 Global interiors

The most dynamic new design
from Australia, Canada, China,
Colombia, Finland and Scotland

216 Lobby group

Home comforts in hotel style

MEDIA

206 WallpaperSTORE*
THE CINESPHERE, PART OF THE 1970S ONTARIO PLACE
Refined design delivered to your door COMPLEX IN TORONTO, SEE PAGE 112

030 ∑
Balloon Bag, 2020 loewe.com
VDL Pavilion by Dion & Richard Neutra
Molo Collection by Rodolfo Dordoni
Band Collection by Patricia Urquiola
Half Dome Lamp by Naoto Fukasawa
Cala & Geometrics Rugs by Doshi Levien
DESIGNED TO BRING
NATURE CLOSER
| BM OUTDOOR SERIES | BØRGE MOGENSEN | 1971

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 CONTRIBUTORS
STUDIO LIKENESS
Photographers
Berlin duo Julia Classen and Magdalena
Lepka formed Studio Likeness seven years
ago and have developed a particular approach
to still-life imagery, produced with minimal
digital manipulation. They created surreal
spaces for this issue’s newsstand cover and
German interiors story (page 170), which
they describe as an irreverent combination
of ‘playing and painting’ and ‘a hybrid
of Popeye and Picasso’. They are currently
working on a project about plants and
their global migration.

JOHANN CLAUSEN EKOW ESHUN

Photographer Writer
This month, we asked Johann Clausen The former director of London’s Institute
to apply his precise visual approach to a of Contemporary Arts, Ekow Eshun is
selection of the latest and greatest German championing a new generation of African
cars (page 160). ‘I had the freedom to look photographers who are redefining their
at the cars from a purely aesthetic point continent’s visual language (page 072).
of view and to fully devote myself to the Having curated an exhibition on the same
nuances of forms, lines and materials,’ says subject, currently showing at the Royal
the Berlin-based Clausen, who is currently West of England Academy in Bristol, Eshun
collaborating with a Swiss designer on a is now planning a major exhibition for Les
multimedia project exploring the language Rencontres d’Arles. His book, Africa State of
of tech packaging. Mind, will be published at the end of March.

CRISTA LEONARD
Photographer
After a nomadic childhood in France,
Switzerland and Andorra, and years spent
hopping from Barcelona to New York, Crista
Leonard is now based between London
and Paris. This month, Wallpaper’s Caragh
McKay and Jason Hughes managed to
catch up with her and join forces to imagine
the considered, idiosyncratic jewellery
choices of a gallerist (page 100). Still driven
by wanderlust, next month Leonard will be
travelling to Tibet on a photography trip.

HUGH HAYDEN DAVE LEBLANC

Artist Writer
A rising star of contemporary sculpture, A Toronto native, Dave LeBlanc is
Hugh Hayden recently presented an passionate about his culture-rich city. This
installation at New York’s The Shed month, he guided us through a crumbling
featuring an archetypal suburban home with architectural legend, Ontario Place, a bold
protruding branches, mirrored to form an 1970s structure rising up from Toronto
infinite, barren hedgerow. His exploration Harbour (page 112). It is an unfortunate story
of the American dream and its limitations of neglect, ‘as this once-amazing, futuristic
continues this month at London’s Lisson complex is rusting away and doesn’t seem to
Gallery, where he’s presenting his first solo be a priority to the government’. LeBlanc
UK show. His cornbread pudding, a version is currently developing a number of projects,
of a family recipe, features in our monthly including a book exploring Western Woods’
Artist’s Palate series (page 242). 1950s Trend House programme in Canada.

042 ∑ ILLUSTRATOR: ORIANA FENWICK WRITER: OYIN AKANDE

Spring Summer 2020 loewe.com
 EDITOR’S LETTER

A note on the numeric

inspiration of Finnish
designer Yrjö Kukkapuro
and, from his 1986-1996
series, the ‘Nelonen Z’
chair. See page 094

The Magic Number

Welcome to the April issue! Our Global Interiors round-up
hones in on six rising design powers: Australia, Canada,
China, Colombia, Finland and Scotland; while our 48-page
Germany Report promises horological, sensory and automotive
pleasures, delivered in a typeface by Fabian Fohrer, an alumnus
of Wallpaper’s 2018 Graduate Directory.
We also head to Greece, for Deca Architecture’s
mathematically inspired hideaway on Milos Island, and
to Sri Lanka, for a contemporary take on Geoffrey Bawa’s
Newsstand cover modernism, by Zurich-based architects Daniel Abraha and
Photography: Stephan Achermann. We check up on Toronto’s Ontario Place,
Limited-edition cover
Studio Likeness a modernist marvel with an uncertain fate, discover a proudly by Michael MacGarry
Interiors:
Hannah Jordan made-in-Africa start-up accelerator in Johannesburg, and Johannesburg-based
‘Foster 620’ table,
ascend the Swiss Alps to see BIG’s Audemars Piguet museum. artist MacGarry’s digital
Then it’s all the way back to our beloved Milan, for a private illustration features
£3,600, by Norman
a vision of Maputo,
Foster, for Walter Knoll. tour of Piero Lissoni’s living room and Wallpaper* collection, Mozambique, in 2050,
‘W1970’ chair, from
€400, by Florian Kienast,
in the latest edition of our Subscribers Since... 1996 series. part of his 100 Suns
A real highlight for me is our Design Icon feature on series. MacGarry is
for Wagner Living.
among the African
See page 170 Yrjö Kukkapuro, the maestro behind some of the most beloved photographers featured
and distinctive chairs of the 20th century. Wallpaper’s in our story on page 072
contributing editor Emma O’Kelly hopped over to Finland to Limited-edition covers are
interview Kukkapuro, now 86 and as sharp-minded as ever. available to subscribers,
see Wallpaper.com
Soon after, he asked his daughter Isa to share this story with us:

‘In the Finnish language, nelonen means number 4,

and turned upside down it looks like a chair
(in handwriting). Also, if you fail at school, you get a 4.
When Kukkapuro was young at school, they used to
say that you got a chair, if you failed. In his life,
Kukkapuro just got a lot of chairs…’

Simple, honest and charming. Enjoy!

Sarah Douglas, Editor-in-Chief

048 ∑
armanicasa.com

London, 37-42 Sloane Street. Tel. +44 (0) 20 7079 1930

WWW.LONGHI.IT
Ph Bernard Touillon

R A FA E L by PAO L A N AV O N E

– SALONE dE L MObiLE MiL ANO

2 1 – 2 6 A P R i L / h A L L 10 S tA N d A 0 3 / b 0 1
Showroom
London , Che L Se a harbour de Sign Ce ntre /
m i L a n / Pa r i S / r o m e / C a n n e S

ethimo.Com
 Newspaper
Wallpaper’s hot pick of the latest global goings-on

Jumpsuit, £2,205,
by Issey Miyake

Issey Miyake welcomes Skateboarders in inflated parachute-like head designer for Issey Miyake at
Set design: Katie Barclay

textiles, brightly coloured dresses Paris Fashion Week last September, it

a new head designer
floating onto dancers from the ceiling,
Into the fold criss-crossing models sporting painted
coats and huge papery sunhats in
abstract shapes: when Satoshi Kondo
unveiled his inaugural collection as
was a smile-inducing spectacle filled
with plenty of freestyle bouncing,
twirling and laughing. We caught up
with Kondo at the Issey Miyake
HQ in Tokyo as he was preparing his »

PHOTOGRAPHY: ADAM BARCLAY FASHION: MARIANNE KAKKO WRITER: DANIELLE DEMETRIOU ∑ 055
 SEEN BY CHRIS RHODES

PLEASE DRINK RESPONSIBLY

 Newspaper

Right, Satoshi Kondo

photographed at the
Miyake Design Studio
in Tokyo in February
Below right, dress, £2,070,
by Issey Miyake

sophomore A/W20 collection (since

shown in Paris in March). Leafing
through early sketches in a bright white
showroom (nearby rails of his collection
provide splashes of colour), Kondo says:
‘The first idea I had for S/S20 was
a group of people from different regions,
ethnicities, generations, all enjoying
themselves and having fun together.
I saw each model as a flower, blooming at
the show’s finale. I see this collection as
a reflection of my feelings and emotions,
expressed in the form of clothing. My
designs are connected to a sense of sunao –
the idea of being honest with yourself –
as well as a touch of playfulness. That’s
what I’m trying to add to the brand.’
Kondo joined Issey Miyake as a
designer in 2007. He later became head
designer for both its Pleats Please Issey
Miyake and Homme Plissé Issey Miyake
lines, before joining Miyake Design
Studio three years ago. ‘At Pleats Please,
I loved how much freedom there was
in its material,’ he says.
The ability to balance traditional
craftsmanship and futuristic technical
innovations is a quality that defines Issey
Miyake, and is clearly set to continue
under Kondo, who, indicating a pair of
green and white S/S20 trousers on a
nearby rail, explains how the fabric was
first hand-pleated, in signature Issey
Miyake style, by workers at a factory in
Tohoku, in northeastern Japan, before
being transported to Kyoto. Here,
artisans specialising in itajime, a
traditional Japanese dyeing technique,
clamped and dyed the folded material,
resulting in its geometric green lines.
Kondo’s vision for the brand is not
just fashion-focused. ‘It’s important
to work with people who are not
necessarily from fashion or design
worlds. I remember Mr Issey Miyake
telling me to look at many, many things,
not just related to my world, but on
a wider scale. I design clothes – but
the message goes beyond fashion.
There’s something positive I want to
communicate, and clothing is just a
means to express it.’ isseymiyake.com

PORTRAIT: GO ITAMI ∑ 057

 Newspaper

A dental clinic that hasn’t A trip to the dentist becomes a fun
turned out all white experience at this Barcelona dental
clinic. Created by local architect Raúl
Clean and Sanchez for healthcare brand Impress,
the space was conceived to address the
polished needs and expectations of a younger
audience, putting the emphasis on
new technologies and a fresh design
approach. Moving away from the white,
sterile and austere environment usually
associated with dental practice interiors,
Sanchez opted for bright colours and
playful geometries. The architect took
advantage of the ground level property’s
double-height ceilings to install tall,
pine partitions whose strong shapes
draw on the brand’s smile-shaped logo,
while helping to maintain patient
privacy. Examination rooms are placed
on the ground and mezzanine level,
while a triple-height void at the rear
brings natural light into the basement
that houses storage and facilities for
the staff. raulsanchezarchitects.com

The material palette of the Impress

dental clinic in Barcelona includes
pine partitions set against red sheet
metal cladding and grey beams

exhibition
Celebrating the 35-year career
of Brazilian design duo, the
Campana brothers

A new exhibition at the Museum of

Modern Art in Rio de Janeiro (MAM
Rio) pays tribute to Fernando and
Humberto Campana, the Brazilian
brothers whose works merge furniture,
craftsmanship, social outreach, pop
influences and the everyday vernacular
to produce iconic contemporary designs.
The comprehensive exhibition (designed
by the pair in collaboration with the
Spectaculu School of Art & Technology)
chronicles their innovative 35-year career
and features work from their archive,
The ‘Pirarucu’ armchair, by the Campanas, will be showing new pieces and immersive installations.
as part of their ‘35 Revolutions’ exhibition at MAM Rio ‘35 Revolutions’, 14 March-12 May,
at MAM Rio, Rio de Janeiro, mam.rio

058 ∑ PHOTOGRAPHY: JOSÉ HEVIA WRITERS: ELLIE STATHAKI, ROSA BERTOLI

 Newspaper

A bespoke back garden

folly in Belgium is a bonus
for house guests

Pod almighty
We all hope our house guests have The folly, on the outskirts
a memorable stay, but the owner of of Ghent, is clad in Corten
a home on the outskirts of Ghent steel and constructed from
took the concept one step further by laminated veneer lumber,
creating the feel of a cosy
commissioning a bespoke folly in the
log cabin inside
back garden just for visitors. The
architects, Ghent-based Atelier Vens
Vanbelle, headed up by Dries Vens
and Maarten Vanbelle, worked closely
with their client, a film producer, to
create the sculptural extension, which
serves as part-guest house, part-
screening room and part-lookout tower.
‘The only criterion was that the guests
had to remember their stay forever,’ say
the architects. The team describes a walk
through the addition as a ‘cinematic
experience’. The standalone structure,
which is clad in profiled Corten steel,
is constructed in laminated veneer
lumber (LVL) and was designed as a
single piece of furniture. Inside, the
guest area feels like a cosy log cabin or
grotto, while a spiral staircase leads
down to a dark and moody cinema and
bar room, and up to a quirky watchtower
balcony that overlooks the garden and
surrounding foliage. vensvanbelle.be

incoming Copenhagen wants to be the world’s
first carbon-neutral city in 2025, but
John Weich on the race Melbourne, Reykjavik or The Hague
to be the world’s first might get there first. They are among 14
carbon-neutral city cities that have vowed to achieve carbon
neutrality by 2050, and on the list of the
43 cities granted ‘A-list’ status by CDP, a
not-for-profit ‘global disclosure’ charity.
Labelling cities like refrigerators is a
brilliantly simple way to influence
behaviour and strengthen city brands.
The most sustainable vacation is a
staycation, but if you must travel,
heading to one of these 43 cities is a good
plan B. When you’re there, don’t forget
to thank the locals for eating less meat,
swapping liquid shampoo for bar soap,
and biking more. In this game, there are
no losers, but the smart money is on
Copenhagen to get there first. Game on!

060 ∑ PHOTOGRAPHY: TIM VAN DE VELDE WRITER: ELLIE STATHAKI

Joséphine Splendeur Impériale

C R O W N YO U R LOV E
 Newspaper

Chanel Fine Jewellery’s latest

collection is inspired by the designer’s
love affair with Scottish tweed
Highland queen
Gabrielle Chanel’s style legacy owes as
much to her cultured eclecticism as it
does to her powerful reputation as a
designer. So distinct were her likes and
loves, from pearls and lions to Boy Capel
and the Ballets Russes, that the brand
she created is never short of inspiration.
And so it is to the designer’s love of
Scotland that Chanel Fine Jewellery
has turned for its latest collection,
Tweed de Chanel. The rough, woollen
fabric, traditionally associated with
rugged pursuits and appropriated for
womenswear by Chanel in the 1920s,
makes for a convincing high jewellery
design blueprint. There’s the obvious
graphic potential, but also the muted
tones that reflect Tweed’s Highland
provenance – much of the collection
is created using coloured gemstones to
depict the distinctive criss-cross.
However, it is the dazzling, rhythmic
patterns of the ‘Frange’ (fringe) pieces,
like illuminated teased-out threads, that
has drawn us into the warp and weft of
this particular passion. chanel.com

Model: Justine M at New Madison. Hair & make-up: Cyril Laine at Agence Saint Germain

Above and right, ‘Frange’

earrings and necklace,
both part of the Tweed de
Chanel collection, in 18ct
white gold and diamonds,
prices on request, by
Chanel Fine Jewellery

062 ∑ PHOTOGRAPHY: BENJAMIN VIGLIOTTA WATCHES & JEWELLERY DIRECTOR: CARAGH MCKAY
Composition cabinet with washbasin Elle Ovale + Dafne bath tub: Design Andrea Parisio, Giuseppe Pezzano.
Cielo Hand made in Italy, Milano, New York, Miami. www.ceramicacielo.it
FLAGSHIP STORE - BÄRENGASSE 10 - 8001 ZÜRICH
HIERONYMUS-CP.COM
 Newspaper

Arthur Seigneur (left) and

Adam Goodrum with their
pieces for the ‘Exquisite
Corpse’ exhibition. From left,
‘Longbow’ credenza, ‘Talleo’
tallboy and ‘Archant’ console
feature unconventional shapes
and geometric patternwork,
their parabolic tessellations
inspired by lotus flowers

Three new marquetry pieces,
inspired by a Surrealist parlour
game, make their debut at
Melbourne Design Week
Deadly duo
Taking inspiration from the Surrealist
parlour game cadavre exquis (exquisite
corpse), where a collection of words or
images is collectively assembled,
Sydney-based industrial designer Adam
Goodrum and French straw marquetry
artisan Arthur Seigneur collaborated to
create three whimsical pieces. A tallboy,
credenza and console, which have been
three years in the making, will debut in
their ‘Exquisite Corpse’ exhibition at
Melbourne’s Tolarno Galleries during
Melbourne Design Week.
‘We like to think of the new works
as functional art pieces. The Surrealist
reference relates to our working process,’
says Goodrum, who co-founded Adam &
Arthur with Seigneur in 2015. ‘I come up
with the shapes and surface patterns
while Arthur applies their finish.’
Seigneur sources and hand-dyes rye
straw from Burgundy, then flattens and
deftly splices each stem, affixing the
strands to the birch carcasses to realise
intricate op-art motifs. The surfaces of
the credenza comprise approximately
9,000-10,000 shards of straw. ‘In
labour terms, that’s approximately
four intensive months,’ says Seigneur.
‘There are no shortcuts.’ Two pieces
feature custom hinges and knobs
machined from solid brass.
The units are precision-carved by
CNC machinery, boasting curved and
faceted surfaces that enable light to
pool and dart across their contours
courtesy of the straw’s natural sheen.
Even their undersides, drawers and
cavities are covered. Intrepid colour
combinations add a dimension of visual
intrigue, as do Seigneur’s inclusion of
pearlescent white straw elements that
accentuate the other hues.
Says Goodrum, ‘I usually deal with
budget and design constraints to meet
my initial vision, yet Arthur is pre-
occupied with pushing boundaries with
shapes, patterns and colour schemes.
He has a crazy drive to achieve new
outcomes. We almost take for granted
how amicable our relationship is.’
‘Exquisite Corpse’, from 12-28 March, at
Tolarno Galleries, Melbourne, Victoria,
tolarnogalleries.com, adamandarthur.com

PHOTOGRAPHY: VICTORIA ZSCHOMMLER WRITER: DIMITY NOBLE ∑ 065


The Brazilian architect branching out
into organic furniture design
Natural selection
Brazilian architect Gustavo Neves always struggled
to find pieces that reflected his ambition and aesthetics,
where materials are left in their raw state and their wild
nature respected and enhanced. He started designing
bespoke objects, featuring raw natural materials
alongside manmade elements, for private clients, and
these now form part of a capsule launched by The
Invisible Collection. ‘Gustavo’s designs are powerful
and raw, aesthetically compelling and utterly
uncommon,’ say the brand’s co-founders Anna Zaoui
and Isabelle Dubern. As well as launching the best
pieces from his vast interiors archive, Neves has also
designed a collection of lamps, tables and accessories in
bronze and white selenite. In this collection, entitled
Enso, two distinct aesthetics come together to create a
tension between the rugged and the polished, a balance
which he likens to the relationship between elements
of a tree. ‘The bronze parts would be the trunk and the
branches, while stones and crystals would be the fruits,’
he says. theinvisiblecollection.com
PHOTOGRAPHY: RUY TEIXEIRA WRITER: ROSA BERTOLI
Box; light sculpture;
curved wall lamp; side table;
table lamp, in bronze and
white selenite, all part of the
Enso collection, prices on
request, by Gustavo Neves,
for The Invisible Collection
Newspaper
creative smalltalk
Bodil Blain catches up over a
coffee with Christina Seilern,
the founder of Studio Seilern
BB: Do you drink coffee?
CS: Yes.
Were you a creative child?
At school I was never part of any cliques.
I wanted to be independent and not
follow anyone else. I was terrible at art! I
had a very structured Germanic
upbringing, so the idea of ‘letting go’ was
more difficult. When I started working
with Rafael Viñoly in the US, that was
a complete game changer for me as I was
suddenly working on these enormous
projects with a lot of responsibility.
Who are your biggest influences?
When I was studying architecture at
Columbia, Kazuyo Sejima gave a lecture.
She had very strong architectural ideas.
Her projects weren’t trying to be
beautiful, they just were. I also saw a
lecture by Viñoly. I thought his work was
fascinating. I’ve learned a lot from him.
What was it like working for him?
If you swim, and you swim quite
well against the current, Viñoly picks
up on it and gives you more and more
responsibility. Being given tasks well
beyond your ability was great in terms
of forming you as an architect. On a
personal level, he kept teasing me, saying
I was ‘so Germanic’. He’d say, ‘Wonk it
up a bit, relax a bit, don’t be so rigid’.
One of Studio Seilern’s recently
completed projects was the
Andermatt Concert Hall. How did
it differ from other projects?
I love classical music and I went to
a lot of rehearsals in order to understand
how musicians think and why. We
worked very closely with acousticians so
the moments of silence and reflection
are correct. One of the most important
things is the intimacy between the
performers and the audience.
How does it feel being a female
architect in a very male world?
You have to be strong technically, I think
even more than a man, to convince
people that you have more than just a
‘nice pretty vision’. However, generally
I think it doesn’t matter if you’re a man
or a woman – you just have to do your
job and not overthink it. You need to be
resilient because there are a lot of knock-
downs and disappointments along the
way. If you can pick yourself up and keep
going, then you’ll be able to convince
people and yourself that you can do it.
Bodil Blain is the founder of Cru Kafe
∑ 067
 Newspaper

born again
A previously unreleased chair
by the late Danish designer
Nanna Ditzel sees the light of day

Danish furniture brand Brdr Krüger

is launching a previously unreleased
work by Nanna Ditzel, who died in 2005.
This new addition to Brdr Krüger’s
collection, the ‘Arkade’ chair, was
originally designed in 1983 during a
decade-long collaboration between the
company and Ditzel. The pioneering
furniture designer’s commitment to
traditional craftsmanship and new
materials and techniques made her a
perfect match with the furniture brand,
originally founded as a woodturning
workshop in 1886 and devoted to
reinterpreting midcentury Danish
aesthetics for a contemporary audience.
Ditzel’s fondness for soft shapes and
circular forms are expressed through
her signature postmodern, elegant
geometries in works like her ‘Hanging
Egg’ chair, and the combination of
materials and techniques in the ‘Arkade’
chair (woodturning, steam-bent wood,
metal and upholstery) articulate the
designer’s love for decoration and
colour. The chair is available in Kvadrat’s
‘Hallingdal’ fabric, originally designed
by Ditzel in 1965, but the material can
be modified with different finishes to
allow for customisation.
‘Arkade’ chair, price on request, by Nanna
Ditzel, for Brdr Krüger, brdr-kruger.com

The child-safety car seat BabyArk, an all-new child-safety car seat

is recast with a new look concept designed by Frank Stephenson,
uses cutting edge materials, new
Heir defence technology and an organic simplicity.
To automotive aficionados, Stephenson’s
name is associated with BMW’s new
Mini, the revived Fiat 500, and high-
profile work for Ferrari, Maserati and
McLaren. BabyArk is a new departure.
The child-safety car seat market is
relatively routine, with a plethora of
products differing only in colour and
trim. BabyArk combines natural forms
with high-tech materials and techniques,
such as seamless docking, lightweight
plastics and 3D-printed carbon fibre.
Everything on the seat can be recycled
and reused, including the core
technology, an impact-absorbing spiral
tube that adds a hidden layer of
protection. frankstephenson.com

068 ∑ PHOTOGRAPHY: MICHAEL RYGAARD WRITERS: IZY YAP, JONATHAN BELL

 Outdoor furniture made for life

+33 1 4 7 03 05 0 5 – w ww.t ecton a . f r

 Column
THE VINSON VIEW
Quality maniac and master shopper Nick Vinson on the who, what, when, where and why
01 Perfect harmony
Wallpaper* readers know the joy of getting their freak on
I got talking to an investment banker at this
year’s Art Basel Miami Beach who told me
he’d been reading Wallpaper* since the very
first issue. He always buys a newsstand copy,
which he selects carefully, and a subscription
one, and keeps them all in order in mint
condition at his home in Vienna. I could so
relate to his maniacal attention to detail.
Over the years, I’ve paid close attention
to the workspaces of Wallpaper* colleagues.
There was the photography director whose
desk only ever sported, aside from his
computer, a bottle of water and his mobile
phone, and the interiors director whose
desk was piled high with brochures and
catalogues that were perfectly aligned at
right angles (whenever I deliberately
meddled with his towers, they would be set
right in the blink of an eye). Then there’s
the fashion director with a thing for hiding
cables, coiling them neatly behind phones
and laptops, and a managing director with a
low tolerance for coats on the back of chairs
(offending garments were photographed
and an email immediately fired off ). In my
own office, three iMacs sit side by side,
evenly spaced, with screensavers in the
same shade as the pink paint on the walls
and desktop files routinely policed.
Everything at architect (and Wallpaper*
subscriber) Glenn Sestig’s office in Ghent
aligns; anyone leaving any paper on their
070 ∑ ILLUSTRATOR: DANAE DIAZ
desk at night is called back in, books must
be straight, and all computer desktop filing
must be in the same order on each and
every device. Anya Hindmarch issues office
rules that include desks being clear every
night, a ban on Post-it notes on screens and
walls, no coats on the back of chairs, and
only white lever arch files and mugs.
There is a similar maniacal obsession
with the contents of fridges, both in my
own house and Sestig’s, where all labels
must face forward – although, he says, his
fridge ‘still never looks like it does in the
Gaggenau photos’. Bathroom products are
another area to organise; thankfully, Chanel
recognises this, producing magnetic lids
so that the intertwined CCs can only be
twisted to face forward in its Les Exclusifs
and Bleu de Chanel ranges.
I heard that, in the 1980s, Rei Kawakubo
would place four fingers between hangers
in her stores to make sure the rail spacing
was uniform, behaviour that really appealed
to me. On Giorgio Armani’s yacht Main,
all sunloungers come with a basket so that
guests’ suncream, bags, books, sunglasses
cases and other paraphernalia can be kept
tidy and out of Mr Armani’s sight. Never let
it be said that the average Wallpaper* reader
is an organisational maniac, but being
neat, meticulous and obsessed with minute
∂
detail are qualities that refine us.
AN ORGANISATIONAL MANIAC...
Takes pleasure in writing lists and takes
even more in striking them off
Experiences satisfaction in the sound the
To Do app makes on a completed task
Instructs post office staff where to attach
stamps and stickers on parcels
Fills the dishwasher in a regimented order
to make emptying easier
Has towels and tea towels ironed, folded
and hung in a particular way
Has only one type of coat hanger in all
closets, which all face the same way
Loves order in closets, cupboards, kitchens,
drawers, pantries and luggage
Has their preferences noted in hotels
and restaurants
Always arrives on time – never late, never early
Is a Wallpaper* Subscriber Since 1996, but
also personally selects newsstand issues
so as not to miss out on acquiring both covers
02
Fair and square
First produced in 1918, Bottega Ghianda’s
set square, handmade using dovetail joints
in pear or walnut, is perfect for alignment
fanatics. €180, bottegaghianda.com
03
Fantasy find
Henning Koppel’s 1978 sterling silver
and ebony desk set for Georg Jensen
is the one of my dreams. It can still
occasionally be found at auctions.
 Nature. Form ed.
THE CURVE COLLECTION

W W W.G E O R G J E N S E N .C O M

CO P E N H A G E N • STO CK H O LM • LO N D O N • N E W YO R K • SY D N EY • TO KYO • MU N I CH • S I N GA PO R E • TA I P E I
 Continental shift
Africa’s changing landscapes are beautifully captured by
a new generation of home-grown photographers, introduced
here and in a new book by Ekow Eshun

Mozambique: People washing their clothes in the swimming pool of The Grande, a once-luxurious hotel in Beira, 2013, by Guillaume Bonn

072 ∑

Algeria: Rochers Carrés, 2008, by Kader Attia, courtesy of the artist and Galerie Nagel Draxler
In 1960, Nigeria declared independence,
freeing itself of British colonial rule. At the
time, Lagos, its main urban centre, was a
modest coastal city. Cars were sparse on the
road and you could drive out of town with
ease, low buildings giving way to fields,
forests and scattered villages as you went.
Two generations on, Lagos has undergone
a breathtaking transformation. Now one of
the ten largest cities on the planet, it is a
vast sprawling conurbation that covers more
than 1,000 sq km, with a population that has
expanded 100-fold, from under 200,000 in
1960 to over 20 million today. By 2100, it’s
estimated Lagos will be the largest metropolis
on Earth, with some 100 million people.
Breakneck growth, though, comes at a cost.
As more and more people flood into the
city, an already overwhelmed infrastructure
system struggles to cope. Fewer than ten
per cent of residents have access to public
running water or sanitation. Two thirds live
in slums. Traffic jams (‘go slows’) choke the
streets and fill the air with noise and exhaust
fumes. Yet life goes on. From the vast open-
air markets to the street vendors hustling
their wares amid the stationary traffic, the
city buzzes with barely containable energy.
Photographer Andrew Esiebo was born in
Lagos, and his pictures seek to capture the
metropolis in all its cacophony and unlikely
beauty. In his images, the city’s apparent
Photography
disorder of traffic and people, of construction
sites and shantytowns, resolves itself into
mesmerising shapes and patterns and colours.
What emerges is a place of exhilarating, if
exhausting, dynamism. A city making and
remaking itself in the image of its growing
population. As Rem Koolhaas once noted
wonderingly, Lagos ‘inverts every essential
characteristic of the so-called modern city.
Yet it is still – for lack of a better word –
a city; and one that works.’
Esiebo’s pictures of Lagos are featured in
my latest book Africa State of Mind, which
gathers the work of an emergent generation
of photographers from across the African
continent and its diaspora, each of whom È
 AN EXCLUSIVE COLLECTION BY JUMBO GROUP

WWW.JUMBO.IT | INFO@JUMBO.IT | PH. +39 031 70757

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JUMBO GROUP NEW YORK | D&D BUILDING | 979 THIRD AVENUE, NY

Nigeria: Tafawa Balewa Square bus stop, Lagos, 2015-19, by Andrew Esiebo
has a unique perspective on what it looks like,
and how it feels, to live in Africa today.
It’s a timely moment to be looking at
Africa. Popular perceptions of the continent
may still be dominated by stereotypes of war,
corruption and starving children, as typified
by photos of grinning celebrities posing with
undernourished children for Comic Relief
and Donald Trump’s dismissal of the place
as a collection of ‘shithole countries’. But
African photographers are increasingly
telling their own stories of the continent and
its people in compelling imagery rich with
poetry and nuance. Contributors to the book
include internationally celebrated figures
such as Hassan Hajjaj, Pieter Hugo and
Zanele Muholi, the subject of a major solo
exhibition at Tate Modern this April, as
well as rising stars including Senegal’s Omar
Victor Diop and British-Nigerian fashion
photographer Ruth Ossai, who last year shot
the campaign for Rihanna’s Fenty collection.
With the share of the continent’s
population living in cities set to pass 50
per cent by the end of this decade, Africa
State of Mind devotes considerable space
to the urban environment. Here we see a
world in the midst of perpetual change.
Photographers such as Michael Tsegaye and
Hicham Gardaf chart the changing face of
Photography
cities such as Addis Ababa and Casablanca,
amidst the wave of hectic development
sweeping large parts of the continent.
François-Xavier Gbré’s pictures of incomplete
or abandoned buildings in West Africa
illustrate how dreams of progress can be
quickly stymied by sudden shifts in the
economic or political climate. And in Angola,
Michael MacGarry shows how the impact of
oil wealth and foreign money is reshaping the
urban landscape (see W*238 and overleaf ).
His photos document life in Kilamba Kiaxi,
a $3.5bn new city that represents the largest
single investment by China in Africa. The site
was built to accommodate a quarter of a È
∑ 075
 Photography

Angola: Kilamba Kiaxi, 2016, by Michael MacGarry, courtesy of the artist

million residents, but Angola’s petro-dollar- scarred environment he encounters, he finds OUR LIMITED-EDITION
fuelled economy has pushed rents beyond the his way to moments of transcendence: a COVER, AVAILABLE TO
SUBSCRIBERS, FEATURES
reach of most ordinary people. The result is a joyously crowded beach in Mozambique; a A VISION OF MAPUTO,
ghost town of deserted roads and empty woman draped in striking crimson robes MOZAMBIQUE, IN 2050,
apartments, a place that looks like it’s at the entering the bombed out shell of a cathedral BY JOHANNESBURG-
BASED VISUAL ARTIST
end, not the beginning, of its existence. in Mogadishu. In Bonn’s pictures, and those
MICHAEL MACGARRY.
Inevitably the book also considers how of the other 50-plus photographers in the A DIGITAL ILLUSTRATION,
colonialism and past independence struggles book, we see Africa through African eyes. IT FORMS PART OF
continue to impact the continent. Travelling The continent revealed as a place of paradox HIS 100 SUNS SERIES.

the coastline of East Africa, Guillaume Bonn
charts how regional battles have left their
mark in burnt-out buildings. But Bonn grew
up in Kenya and Djibouti, and even in the
and possibility and everyday wonder. ∂ FIND OUT MORE
AT WALLPAPER.COM
Africa State of Mind (£40), available from
26 March, is published by Thames & Hudson,
thamesandhudson.com

076 ∑
 Angle

poise
Relaxed tailoring makes a stand
PHOTOGRAPHY: CASPER KOFI FASHION: JASON HUGHES

078 ∑
 Fashion

THIS PAGE, JACKET, £350;

SHIRT, £85; TROUSERS,
£165, ALL BY REISS. SHOES,
£675, BY CROCKETT & JONES
‘ANOTHER’ CHAIR, £495,
BY ANOTHER COUNTRY
OPPOSITE, FROM LEFT,
XAVIER WEARS JACKET, £560;
TROUSERS, £335, BOTH BY
MSGM. SHOES, AS BEFORE
ETHAN WEARS SUIT, £1,200,
BY PAUL SMITH. SHIRT,
£130, BY PINK SHIRTMAKER.
GLASSES, £420, BY LINDBERG.
SHOES, £170, BY GEOX
TAKUYA WEARS SUIT, £3,150, BY
BRUNELLO CUCINELLI. SHOES,
£675, BY CROCKETT & JONES
‘LUCANO 3’ STEP LADDER,
£299, BY METAPHYS,
FROM THE CONRAN SHOP.
CHAIR, AS BEFORE
making
places
colourful

Configure your
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in Bern, Hamburg, London, Munich, New York, Paris, Tokyo
 Fashion

TOP, FROM LEFT, XAVIER

WEARS COAT, £740, BY
HERNO. TROUSERS, £585,
BY JIL SANDER. SHOES,
£1,020, BY EDWARD GREEN
TAKUYA WEARS JACKET,
£385, BY OLIVER SPENCER.
TROUSERS, £170, BY ACNE
STUDIOS. SHOES, £675,
BY CROCKETT & JONES
ETHAN WEARS JACKET, £1,221;
TROUSERS, £731, BOTH BY
ROCHAS. SHOES, £170, BY GEOX
BELOW, FROM LEFT, ETHAN
WEARS JACKET, £1,580; SHIRT,
£650, BOTH BY LORO PIANA
XAVIER WEARS JACKET,
£1,250, BY TOD’S

∑ 081
 Fashion

ABOVE, FROM LEFT, ETHAN

WEARS JACKET, £695, BY
GRENFELL. TROUSERS, PRICE
ON REQUEST, BY DEVEAUX.
SHOES, £170, BY GEOX
XAVIER WEARS COAT, £1,900;
TROUSERS, £625, BOTH BY
DOLCE & GABBANA. SHOES,
£1,020, BY EDWARD GREEN
TAKUYA WEARS COAT, £13,900;
JACKET (WORN UNDERNEATH), Models: Xavier at Select
£2,200; TROUSERS, £595, Model Management,
ALL BY HERMÈS. SHOES, £675, Takuya Ebihara at Models 1,
BY CROCKETT & JONES Ethan at People File
‘LUCANO 2’ STEP LADDER, Casting: David Steven Wilton
£199; ‘LUCANO 3’ STEP LADDER, at East
£299, BOTH BY METAPHYS,
FROM THE CONRAN SHOP Grooming: Chris Sweeney
at One Represents using
RIGHT, SHIRT, £285, BY Bumble and Bumble and Sisley
MARGARET HOWELL. COAT,
£375; TROUSERS, £335, Interiors: Mihaela Berbecar
BOTH BY MHL BY MARGARET Photography assistant:
HOWELL. SHOES, £675, Fola Abatan
BY CROCKETT & JONES Fashion assistants:
FOR STOCKISTS, SEE PAGE 240 Aylin Bayhan, Josefin Forsberg

082 ∑
 HAUTE NATURE
¨

© 2020 Antolini Luigi & C. S.p.a. - All Rights reserved.

Quarzite Charme (Quartzite)

Antolini believes in the power of what is real. Mother Nature’s tremendous

force distilled into astonishing creations. A fragment of the stream of life, the
heartbeat of the ages, the skin of our planet. It is purity in its most perfect
form: design, colors and pattern handed to us by history.
Designed by nature, perfected in Italy.
antolini.com
 LONG STAY
Foster + Partners takes an expansive approach to
this Aegean-facing private holiday villa near Bodrum
PHOTOGRAPHY: NIGEL YOUNG WRITER: CHARLOTTE MCMANUS

084 ∑
 Architecture

O
n the coast of Turkey’s Muğla province, 30 minutes The south, sea-facing façade with its dramatic, undulating roof.
from Bodrum by boat, a sloping plot of rugged, To the left are the living and dining areas, as well as a guest
wing and office; to the right are family quarters, including a
sun-baked land, alive with greenery and bordered by master bedroom, a family bathroom and a gym on the lower
beaches, runs down to the Aegean Sea. Approaching level, and children’s bedrooms upstairs
from the northern, land side, it takes a moment to
spot the building that has recently been completed
here, so artfully does it complement the landscape.
Built between 2015 and 2019, SZ Villa is the work of
Foster + Partners. The studio’s projects are typically
large-scale and high-profile, making this holiday home,
luxurious as it is, all the more intriguing (the firm’s »
 Architecture

Above, the main living space’s double-height glass doors pivot

and fold away to let the sea breeze in during the summer
Left, the spiralling Portuguese limestone staircase appears to
float thanks to an innovative use of post-tensioned cables

last published private residence was Leedon Park

House in Singapore, completed in 2006).
When you arrive, a fragrant Mediterranean-styled
garden, carefully cultivated with plants, herbs and
olive trees, leads to what at first glance appears to be
a single-storey building topped with a simple straight
roof, almost hidden among the foliage. Crossing the
main threshold reveals the structure’s true dimensions –
two levels, not one – which follow the natural contours
of the sloped terrain. While the west side contains areas
for living and dining, the east is dedicated to family
quarters. A spiralling central staircase connects the
two aspects, in addition to an open bridge towards
the back of the building. To the south lies the sea.
‘There’s a real split between the public forum
and the private. Meanwhile, a sense of discovery –
a richness of experience – comes through in the way
the architecture changes as you walk through the
site,’ says Foster + Partners’ Niall Dempsey, who,
alongside the practice’s David Summerfield, acted as
project architect. The pair designed SZ Villa around
the idea of ‘opaque to open’. This is evident in their »

∑ 087
 Architecture
conscious effort to blur interior and exterior space.
Shaded courtyards effectively ‘bring the landscape into
the house’, while the façade can be fully opened by
manoeuvring double-height glass doors that pivot and
fold away. ‘As it gets incredibly hot locally, we wanted
the building to be able to breathe even if the air
conditioning is switched off,’ says Summerfield, adding
that other doors can be opened to the courtyards at
the back, allowing cool air to flow from one side of the
villa to the other. Such natural ventilation neatly
enhances the villa’s green credentials.
Outside, a spacious terrace offers panoramic coastal
views. On the edge of the rectangular infinity pool,
a sunken ‘conversation pit’ is designed to let the client
enjoy a game of backgammon while surrounded on
three sides by water. Looking back at the villa, the eye
is drawn to the rooftop, which from this viewpoint
is rippling rather than rigid. The undulating structure
features handcrafted solid oak beams resting on
steel columns, in turn supporting a substantial
cantilever that is the same depth as the living room,
reinforcing the inside/outside feel and offering
pockets of exterior shade.
Foster + Partners was also charged with the villa’s
interior design and went to great lengths to procure the
majority of materials, fixtures and features from within
088 ∑
A Jaume Plensa sculpture overlooks the terrace, shaded by the
7.5m cantilever of the undulating roof, made from handcrafted,
precision-engineered laminated solid oak beams by Swiss
specialist Blumer-Lehmann, and supported by steel columns
Turkey. The team took their lead from the location –
specifically the landscape’s white-and-brown hued
bedrock – and natural textures dominate inside and
out. Tactile surfaces include stone walls, wooden
flooring and the woven bamboo of the sunset pavilion
roof. The hammam-style family bathroom, a soothing
space with curved slabs of pale marble from Istanbul,
is a highlight.
The architects describe the ‘great fun’ they had
sourcing the skills and pieces, including those from
nearby Bodrum. As Dempsey puts it, ‘working with
local people and developing bespoke items, from the
internal joinery to the detailing of the doors – that’s
been the most rewarding part of this project for me’.
Accordingly, examples of Turkish artisanship can
be found throughout the building, from clay pots and
glazed tiles to hefty stone vanity units and wooden
tables. But as sophisticated as the interiors are,
Summerfield’s thoughts stray back to the initial beauty
of the site. ‘We were fascinated by the landscape.
The fact that it can flow through the project, and
effectively disguise the building, has been very
successful,’ says Summerfield. ‘Also the use of natural
ventilation. These are simple ideas, put together
in what we hope is quite an elegant way.’ ∂
fosterandpartners.com
 www.armaniroca.com

BAIA
 Architecture

REFINED COIL
BIG’s watch museum for Audemars Piguet in Switzerland is a poetic glass swirl
PHOTOGRAPHY: JAMES REEVE WRITER: CARAGH MCKAY
Above, the spiralling museum coils up from the landscape in Switzerland’s Vallée de Joux
Left, globe-shaped watch display cases in the central exhibition space
Designing a museum in the sublime form
of a shimmering peel of glass unfurling
from a mountain in a tiny Swiss village is one
thing. But, as architect Bjarke Ingels now
knows, actually building it in the remote
Jura Mountains is most definitely another.
Yet six years after his practice BIG won
the competition to design the Audemars
Piguet Founder’s House Museum in the Swiss
village of Le Brassus, the doors are finally
open. Created in association with museum
experts HG Merz, engineers Lüchinger+
Meyer, and landscape specialists Muller Illien,
BIG’s poetic glass swirl exists despite the fact
that construction was predestined to be
difficult: whipped by mean north-east winds,
temperatures in the Vallée de Joux can fall
severely in the long winter months. The glass
used in the project was designed to withstand
extreme temperature fluctuations, but also
proved so tough that it is load-bearing
enough to negate the need for other walls.
‘It’s a complicated building. At first, we
thought it was crazy, then we just thought,
let’s do it,’ says a smiling Jasmine Audemars,
chairwoman of the board of directors at
Audemars Piguet. ‘We make complicated
watch designs and we like to complicate our
lives.’ Now in her seventies, the great-
granddaughter of founder Jules Audemars has
inherited the family knack for taking the long
view and doing the wrong thing brilliantly.
Her father, Jacques Louis Audemars, was,
after all, the man who backed the most lauded
watch designer of all time, Gérald Genta,
when, in 1970, Genta proposed a new ‘luxury’
watch that eschewed gold in favour of steel
but that was no less expensive. Beautifully
finished and polished, the humble metal took
on a precious quality. The result was the
groundbreaking Royal Oak watch. Initially
derided, it is now hailed as a design classic
and remains Audemars Piguet’s bestseller.
The decision to build a world-class
architectural structure in the protected
environs of the watchmaker’s valley home,
lay, ultimately, on Jasmine Audemars’
shoulders. A trained economist, and 12-year
editor-in-chief of the Journal de Genève
newspaper (now known as Le Temps), she took
the helm of the family-owned business in
1992. Perhaps, then, it’s no surprise that she
says the decision to invest in a specifically
ambitious architecture commission was
‘simply because today we have the time and
the means. The museum is an extension of
my grandfather’s house, where the business
was established in 1875. Yes, there have been
problems, surprises, but this is our legacy
for the next 200 years. And, if you divide
the investment by 200 years – it’s cheap!’
When the yellow winter sunlight swathes
the museum’s layers of thick glass in
a reflective golden haze, illuminating
its spaceship-like watch vitrines and
architectural twists and turns, the effect is
kaleidoscopic. But, while that otherworldly
atmosphere, heightened by the museum’s
quirky mechanical installations, is a magical
visitor experience, the unhampered sunlight
had threatened to overheat the on-site
watchmakers. The solution was to wrap a
steel-and-brass honeycomb veil around the
exterior that provides shade at pertinent
times in the day. ‘The shape and the glass of
the museum design mean you immediately
discover the landscape, the changes in the
light across the valley – you can see where »
∑ 091
 Architecture

the watches come from,’ says Audemars. ‘It

really was love at first sight for BIG’s design.
Bjarke got the spirit of what, who and where
we are but in a global way. It’s a very distinct
building but it’s discreet.’
What it does boast is a compelling interior
design, where a carefully curated exploration
of 145 years of Audemars Piguet’s horological
and technical innovation gets the balance
between its past and future vision just right.
Another aspect of the brief was
highlighting the work of the Audemars
Piguet Foundation, established in 1992. And
so, in one corner of the museum atrium, a
carefully cultured linden tree grows. ‘The
Vallée de Joux is surrounded by magnificent,
protected forests, mostly untouched by
civilisation, so tree and forest conservation
were a natural subject for the Foundation
back then. We wanted to contribute to and
enable communities around the world to
benefit from forests as beautiful as ours.’
The Foundation is also testament to the
strong survival instincts of her family
business. ‘We have strong roots in the valley –
we have survived wars and crises, and this
new museum is our vision for the future.
The people of the valley deserve it. It’s a Right, a brass honeycomb veil
is wrapped around part of
celebration of all our culture. It is not ruining
the landscape but adding a new tradition.’ ∂ the structure to provide shade
Below, Jasmine Audemars,
The Founder’s House Museum is accessible by
appointment only, audemarspiguet.com, big.dk
chairwoman of the board of
directors at Audemars Piguet BIG on detail
User movement, context and the site’s
harsh climate were key drivers in the design
development of the Audemars Piguet
museum. By placing the new building as
a separate – but visually linked – entity
among the watchmaker’s existing campus,
the architects were able to work with a
spiral, low-profile form, which encourages
a particular route through the museum, while
also allowing for flexible, lateral movement,
and referencing the hairspring – the coil
that delivers constant energy – in mechanical
watches. ‘Both with watchmaking and
architecture, the form is the content,’ says
Bjarke Ingels. ‘There is no separation
between ‘software’ and ‘hardware’; that’s
what makes them both intriguing. We are
also both seeking to get the maximum
amount of impact with the minimum amount
of material.’ The façade’s carefully designed
curvature ensures the super-insulated glass
expanses (created by Frener & Reifer and SFL
Technologies with Lüchinger+Meyer) are also
load-bearing, impressively carrying the whole
roof, even during the snow-heavy winter
months. Meanwhile, strategically-placed gaps
where different surfaces meet can absorb
changes in temperature. A system of thin
brass ribbons protects the makers’ workshops
from the sun, but also discreetly ‘disappears’
if you look at it from different angles. So well
received was BIG’s concept that the studio
is now working on a further project for
the brand: a hotel, currently in construction
a few steps along the road. Ellie Stathaki

092 ∑
THIS PAGE, FROM TOP, ‘COLOR
EXPERIMENT’ CHAIR PROTOTYPE,
2016; ‘A500’ LOUNGE CHAIR
PROTOTYPE, 1985; ‘NELONEN
TITAN’ CHAIR, MADE WITH ICE
HOCKEY STICKS, AND ‘NELONEN Z’
CHAIR, BOTH MADE IN KUKKAPURO’S
WORKSHOP IN THE 1990S
OPPOSITE, YRJÖ KUKKAPURO
IN HIS KAUNIAINEN STUDIO,
IN FEBRUARY 2020. THE UNIQUE
SOFA WAS PAINTED BY HIS
FRIEND PINO MILAS IN THE 1970S
Finnish lines
Yrjö Kukkapuro’s studio near Helsinki
is a temple to the art of sitting down
PHOTOGRAPHY: FELICIA HONKASALO WRITER: EMMA O’KELLY
Dense rows of fir trees punctured by frozen
lakes and oxblood red cabins; children in
snow boots navigating icy pavements; crystal-
tipped grass that crunches underfoot. The
journey to the studio of Yrjö Kukkapuro on
the outskirts of Helsinki is fittingly Finnish.
But once inside, all Nordic clichés end.
Rows of chairs with colourful legs and graffiti-
splattered backs are stacked in seemingly
random groups; books, paintbrushes, sketches
and models occupy every surface; sunlit
walls are crowded with images and cuttings,
and in the middle of it all sits 86-year-old
Kukkapuro in his canary yellow cap.
If anyone has a design back catalogue that
sums up the artistic movements and global
economic shifts of the past century, it is
Kukkapuro. He qualified as an industrial
designer in the 1950s, a golden age in Finnish
design thanks to Alvar Aalto, Kaj Franck and
the like; he witnessed the plastic revolution
of the 1960s, the postmodern rebellion of
the 1980s, and the ascent of CNC-cutting
technology in the 1990s – and embraced
them all. In the 1990s, he saw his production
shift to China, and found fame there from
the 2000s onwards, reaping the benefits
of the digital revolution and the onset of
globalisation. Every new decade serves to
further his reputation and cement his legacy
as one of the grand masters of modern design.
Almost every school, doctor’s surgery,
museum and airport in Finland, at one time
or another, has featured Kukkapuro’s chairs.
Some still do. Helsinki’s Central Library
Oodi, completed by ALA architects in 2018,
has his ‘CNC’ chairs and ‘A500’ rocking
chairs in its second-floor reading lounge;
his ‘Karuselli’ and ‘Moderno’ chairs fill
the city’s Kaisa Library. That these live
on, decades after they were first designed,
is a source of great pride to Kukkapuro.
‘To create a bestseller, it’s the dream,’ he says.
His daughter Isa sits next to him and
guides us through the interview. His only
child, she is tasked with documenting all her
father’s work and assembling his archive –
currently a pile of papers overflowing from
box files behind his desk. His wife Irmeli,
a graphic artist, plucks at her mood board on
the other side of the studio, too sick to paint
anymore. Her decline has been devastating.
After an hour of conversation, the colour
has drained from his face, and Kukkapuro
apologises. He needs a rest. He signals Irmeli
and they shuffle off, holding hands, to the
house next door where they now live. ‘It is
a very difficult moment,’ says Isa.
Yrjö and Irmeli met when they were both
students at Helsinki’s Ateneum art school
and married in 1956. Kukkapuro was studying
furniture design and was the only one on the
course who knew how to make prototypes.
This was thanks to a childhood in eastern
Finland, building boats and bicycles with his
father (a builder and a painter), and sewing »
Design Icon

∑ 095
 Design Icon
LEFT, DETAIL OF ‘COLOR COMPOSITION’ CHAIR, 1993
BOTTOM LEFT, ORIGINAL MODEL OF ‘FYSIO’ OFFICE
CHAIR, 1976, IN PRESSED BIRCH PLYWOOD AND FABRIC
BELOW, ‘SCULPTURE LAMP BLUE SHADE’, 2019, UNIQUE
PIECE MADE BY KUKKAPURO FOR AN EXHIBITION
IN ESTONIA; AND ‘NELONEN PROFILE’ CHAIR, 1990S

with his mother (a tailor). On graduation,
he set up a workshop, called it Moderno,
and created range after range of settees,
beds and sofas with a typically Nordic look.
A commission from an architect to create
a chair and footstool for a new shoe shop
in Helsinki led to the Moderno series.
Over the years, this stretched to six pieces
and became Kukkapuro’s breakthrough
collection. It is still produced today by Lepo
Product in Finland and Avarte in China.
‘Sitting in a Kukkapuro chair is like
therapy,’ says Juhani Lemmetti, Kukkapuro
collector and founder of gallery Lemmetti in
Helsinki. ‘He designs with the lower back in
mind.’ Kukkapuro recalls that it was a lecture
on ergonomics that influenced his approach.
‘It made me see that making furniture had
a physiological and scientific dimension and
that has been part of everything I’ve done
ever since.’ This obsession with posture,
comfort and the body means that a chair
can take years to fine-tune.
While researching his ‘Karuselli’ chair,
Kukkapuro wrapped himself in chicken
wire, made a plaster cast of his body in a
lounging posture, sculpted around it until he
was satisfied with its form, and then built
a prototype in glass fibre. The result of four
years of experimentation, the ‘Karuselli’
chair went into production in 1964 and was
an instant success. Terence Conran hailed
it the most comfortable chair he had ever
sat in, and it is still in production with the
Finnish manufacturer Artek.
Irmeli, too, has always been ‘a good testing
model. She is smaller than me so we can
compare how a chair feels,’ says Kukkapuro.
‘But it has always been important for me to be
close to her, to see colour the way she does.’
The pair built the studio, with its concrete
wave-like roof, in 1968, on a plot of land given
to them by Irmeli’s father, and have worked
together, side by side, for 52 years.
Nowhere was Irmeli’s input more valuable
than with the 1980s Experiment collection, a
series of birch plywood and steel chairs, tables
and sofas with armrests and legs in bold
colours. Kukkapuro saw it as an exploration
into ‘decorative functionalism’ and welcomed
postmodernism as a joyous break from the
functional, workspace trends of the 1970s.
Since 2015, Kukkapuro has collaborated
with Lemmetti to create limited editions
of two chairs and a table for the new Color
Experiment series. Lemmetti has been
collecting Kukkapuro chairs for 30 years È

∑ 097
 Design Icon
FEATURING A CURVED CONCRETE ROOF, KUKKAPURO’S
STUDIO ON THE OUTSKIRTS OF HELSINKI WAS
BUILT BY THE DESIGNER AND HIS WIFE IRMELI IN 1968
Almost every school, museum and airport
in Finland has featured Kukkapuro’s chairs
and has amassed more than 40 prototypes,
experimental and production pieces. ‘Yrjö
thinks about everything – form, function,
ergonomics, colour. He’s imaginative, but
practical, too. For me, he is one of the most
important designers in the world,’ he says.
A fourth Color Experiment chair launches
this spring at the gallery, and with such a
wealth of prototypes in stock, it’s not hard
to imagine future collaborations.
In the middle of the studio is a unique
three-seater sofa painted with a mountain
scene. It is the result of a chaotic visit in
1972 from Pino Milas, a graphic design pal,
in need of some R&R, who was tasked by
Kukkapuro to decorate it. Life in the atelier
was unconventional. Friends, assistants and
collaborators came and went with frequency.
Isa’s bedroom was a small annexe off the tiny
kitchen; Kukkapuro and Irmeli slept in a bed
partitioned off behind a bookcase and the
bathrooms were two fibreglass pods with
showerheads. Kukkapuro won many prizes,
and trips abroad for lectures and exhibitions
098 ∑
were also common; the three of them once
piled into their Mini Clubman, packed a tent
in the boot, and hit the road for four months.
A prototype called the ‘Simple’ chair is
wheeled in (we are its first audience). It has
been shipped from China and is the first
version of what Kukkapuro hopes will be ‘the
simplest chair in the world’. It has a black
leather seat, a black plywood back and a steel
frame and looks suitably straightforward.
Kukkapuro walks around it, shaking his head.
It’s a bit too high, and, he thinks, the steel
arms might be nicer in ash. It will go back
to Avarte, which has produced his pieces for
20 years, to be tweaked.
Kukkapuro first went to China in 1997,
at the invitation of architect and scholar
Fang Hai, to give lectures on contemporary
design in universities. It was the start of a
new chapter. There, he worked with master
carpenter Yin Hongqian to create the East
West Collection, a series of chairs that
combine clean lines with lacquered bamboo
and Chinese joinery. These, along with
historical pieces manufactured by Avarte,
flooded the Chinese market and Kukkapuro’s
fortunes were transformed.
At the same time, Finland was recovering
from the recession of the late 1980s and the
focus at home had shifted to eco-design.
Kukkapuro created a solid wood collection
in unpopular, overlooked elder. It bombed.
When he took it to a fair in Berlin, a visitor
congratulated him on having such a strong
Finnish style. ‘I was crushed. There I was,
thinking I was an international designer!’
Thus, when Helsinki’s design museum
invited him to create a series of ‘visually
exciting’ chairs in 1993, Kukkapuro called on
a friend, the late Finnish graphic designer
Tapani Aartomaa, and together they created
Tattooed, a collection of plywood chairs
decorated with bold slogans and eye-popping
motifs of trees, dragons and tigers.
Colour also made it onto his ‘CNC’
chairs, designed in 2008 for his retrospective
at the museum, to celebrate the potential of
computer-controlled machinery. ‘The idea
was to show how efficiently technology can
be used on materials.’ How many chairs has
Kukkapuro made in his lifetime? ‘I don’t
know,’ he says. ‘Around 100? One day I shall
have to count them.’ ∂
yrjokukkapuro.com
www.baxter.it
 Opening
Fine Jewellery

moves
Jewels drawing on ancient crafts and contemporary
arts are a choice fit for the modern gallerist
PHOTOGRAPHY: CRISTA LEONARD WATCHES & JEWELLERY DIRECTOR: CARAGH MCKAY FASHION: JASON HUGHES

100 ∑
This page, ‘A Girl’s Best
Friend’ gold, sliced- and
beaded-diamond earrings,
by Suzanne Syz. ‘Fouet’
gold, spinel and diamond
necklace, by Hermès.
Pair of horn, titanium,
and diamond bangles; pair
of buffalo horn, titanium,
brown and white diamond
cuffs, all by Glenn Spiro
Dress, €1,280, by Atlein
Ascender, 2019, price on
request, by Christopher
Kurtz, courtesy of Sarah
Myerscough Gallery
Opposite, gold, rubellite,
black and white
diamond necklace,
by Ara Vartanian
Dress, £750, by MSGM
Photo Andrea Ferrari

EDEN
DESIGN RODOLFO DORDONI
RODAONLINE.COM
IG: RODA.OFFICIAL
 Fine Jewellery

Gold, white, brown and black diamond, and warthog tooth necklace, by Fabio Salini. Cultured black South Sea pearl, fire
opal, diamond and gold pendant, by Mikimoto. ’Bacchette’ bronze, leather and chalcedony bracelet, by Fabio Salini.
Diamond, dumortierite and gold ring, by David Morris. ‘Niloticus Lumière Simple’ black jade, gold and diamond ring, £9,150,
by Hermès. ‘Monochrome Y’ gold cuff; ‘Black Flats’ gold and onyx chain bracelet, both by Alexandra Jefford. Dress, £3,000,
by Hermès. Sisal Bench, 2019, price on request, by Fernando Laposse, courtesy of Sarah Myerscough Gallery

∑ 103
Fine Jewellery
This page, emerald, gold and
diamond earrings, by Graff.
‘Calame’ necklace with blue
chalcedony, diamonds,
sannan-skarn and turquoise,
by Cartier. ‘Reef’ coral,
chrysoprase, onyx, diamond
and gold necklace; ruby,
diamond and gold ring,
both by David Morris.
Opal, diamond and gold
bracelet, by Boghossian
Dress, £2,840, by Akris
Charred Pod I; Charred
Pod II, both 2017, price on
request, by Alison
Crowther, courtesy of
Sarah Myerscough Gallery
Opposite, ‘Fougère’ gold
and diamond necklace,
£270,000, by Boucheron.
‘Dragonfly’ platinum,
diamond, emerald, ruby
and gold brooch; South Sea
pearl, diamond and gold
belt, both by Hirsh London.
Diamond Twister ‘RM 51-02’
tourbillon watch with
alligator strap, £875,000,
by Richard Mille. Gold,
tourmaline, rubellite,
and black and white
diamond ring, £8,850,
by Ara Vartarian
Dress, £1,850; skirt
(underneath), £545, both
by Dolce & Gabbana
Cocoon Cabinet, 2018, price
on request, by Marlène
Huissoud, courtesy of
Sarah Myerscough Gallery
∑ 105
SALONE DEL MOBILE.Milano
16.21 June 2020
hall 3 stand D23 E20

special opening Flagship Store:

Via della Moscova, 53 MILANO
rugiano.com
16.21 June 2020
10am_10pm

PIERRE sofa

Flaghship Store:
4 NE 39th street,
MIAMI DESIGN DISTRICT, FL
Tel 786 888 2290
rugiano@rugiano.it
 Fine Jewellery

‘Medusa’ gold, carbon fibre, diamond and coral earrings, by Fabio Salini. Bactrian carnelian
bead, diamond and gold necklace; gold, walnut and diamond ring, both by Glenn Spiro.
‘Trésors d’Afrique Ronde de Pierres’ gold, sapphire, garnet, spinel, emerald and diamond
bracelet, by Chaumet. Roll-neck, £550, by Pringle of Scotland

∑ 107
 Fine Jewellery

‘High Jewellery’ titanium, and white and black diamond earring, by De Grisogono. Cultured Akoya keshi
pearl, gold and diamond necklace, by Mikimoto. ‘Crush for You’ aluminium, gold and diamond bracelet, by
Suzanne Syz. Sapphire cabochon, gold, diamond and opal ring, by Boghossian. Dress, £1,290, by Victoria Beckham.
Flower Infused Vessel 06, 2018, price on request, by Marcin Rusak, courtesy of Sarah Myerscough Gallery

108 ∑
 Fine Jewellery

Leather, gold and

cornelian tusk choker, by
Fabio Salini. ‘The Burmese
Bouddha’ gold, amethyst,
spinel and diamond
brooch, by Suzanne Syz
Jacket, £369; skirt,
£219, both by Boss
Untitled (Dish), 2019,
price on request, by
Jim Partridge and Liz
Walmsley, courtesy of
Sarah Myerscough Gallery

All jewellery pieces are price

on request unless stated.
For stockists, see page 240
Model: Madeleine Blomberg
at Established Models
Casting director: David Steven
Wilton at East
Hair: Cathy Ennis using
Bumble and Bumble
Make-up: Mirijana Vasovic
using Armani Beauty
Manicure: Saffron Goddard
at Saint Luke using Chanel
Le Vernis Sargasso and
La Crème Main
Interiors: Olly Mason
Photography assistants:
Andreas Klassen, Louise Oates
Fashion assistants:
Aylin Bayhan, Kris Bergfeldt
Production assistant:
Josefin Forsberg
Special thanks to Sarah
Myerscough Gallery, London
SW13, sarahmyerscough.com

110 ∑
Designed to be designed.
Choose the spout, handles and finish
from this curated collection to suit your
style. The Components™ bathroom
faucet and accessory collection.
Created by Kohler. Designed by you.

KOHLER.COM
 Architecture Icon

Originally designed as
an exhibition centre,
Ontario Place is raised
on pilotis in the calm
of a man-made lagoon,
specially created by sinking
three freighters, at the
edge of Lake Ontario

112 ∑
WATER
WORLD
Ontario Place, Toronto’s
lake-defying 1971 showpiece,
is a modernist marvel
with an uncertain future
PHOTOGRAPHY: ANDREW ROWAT WRITER: DAVE LEBLANC

‘The lake, it is said, never gives up her dead / When the

skies of November turn gloomy,’ sang Gordon Lightfoot
in 1976’s ‘The Wreck of the Edmund Fitzgerald’.
Canada’s most famous living folkie (Leonard Cohen
RIP) knew that November is not the best month
to visit North America’s Great Lakes region. The first
icy winds blow, battleship-grey clouds win the arm
wrestle with the sun, and the five enormous lakes,
so vast they’re ocean-like, churn up some very
wicked weather. Indeed, the Witch of November
(as locals call the strong wind across the lakes) can
produce 140km/h gusts and 11m-high waves. And
the SS Edmund Fitzgerald’s 29 lost souls – the boat had
sunk a year before Lightfoot’s commemoration – was
just the latest in a long list of the lakes’ casualties.
The Great Lakes Storm of 1913, for instance, sent 12
ships and around 250 sailors to their watery graves.
Inserting five futuristic pods and some artificial
islands into the third deepest of those lakes might be
seen as foolhardy. Bauhaus-trained Eberhard Zeidler
(born 1926) and Briton Michael Hough (1928-2013), the
two émigrés responsible for Ontario Place, certainly
had buckets of nerve to think that they could drop
something smack-dab into the choppy soup of Toronto
Harbour back in 1968. ‘It’s crazy, Eb and Michael
saying: we’re going to take on those forces and build
something,’ laughs Toronto-based architect and
heritage advocate Catherine Nasmith. ‘What were they
thinking? People had so much nerve in that period.’
At the time, Toronto, then Canada’s second-largest
city, was smarting over the fawn-fest that was
Montreal’s Expo 67, a World’s Fair built on man-made
islands in the St Lawrence River and which saw more
than 50 million people seduced by Canada’s ooh-la-la »
 Architecture Icon
Below, Ontario Place’s francophone city. In the summer of 1968, the Ontario
Cinesphere, a triodetic dome government announced it would build a similar, albeit
built to house the world’s
first permanent IMAX movie
smaller, architectural showpiece in Toronto. Ontario
theatre. The only part of Place would be home to Expo-like exhibits trumpeting
the complex to have been the province’s achievements in technology, industry,
renovated, it is still used
for screenings
and culture.
Plans for a few water-facing pavilions on the
grounds of the existing Canadian National Exhibition,
however, soon morphed into a quintet of diamond-
shaped pods suspended over the water, along with
the Cinesphere, the first permanent IMAX movie
theatre, in a triodetic dome, as imagined by Zeidler.
When Zeidler discovered that 90 per cent of his
budget would be eaten up by the massive underwater
pilotis required to withstand lake forces, the idea
was almost abandoned. A holiday in the Bahamas
alerted him to the wave-breaking action of barrier
Ontario Place should be to Toronto
what the Opera House is to Sydney
reefs. Placing his buildings in a calm, man-made lagoon
would call for much slimmer pilotis, bringing their
cost down to ten per cent of his budget; with columns
so thin, a floating-over-the-water effect could be
achieved by hanging some of each pod’s weight
from steel cables.
‘It’s a glimpse into the future,’ wrote Zeidler in
his autobiographical Buildings Cities Life (Dundurn,
2013), ‘like the Eiffel Tower in Paris, or the Crystal
Palace in London were’ (while Zeidler is still alive,
Alzheimer’s has robbed him of memory).
When landscaper Hough and his staff were added
to the team in 1969, only the decision to sink three
Great Lakes freighters to create a breakwater had been
made. Zeidler and government officials had ‘concluded
that few people would visit the pavilions or Cinesphere
114 ∑
more than a few times a year’ unless there was more
for families to do. The creation of two islands from
subway-construction landfill, and the programming
of those 21 hectares of new land fell to the expanded
team, says Hough’s former partner, Jim Stansbury.
‘And so we began to develop a series of canals,’
Hough told a University of Manitoba landscape
architecture class in 1979. ‘So at no point – and this
became a basic design principle of the programme –
would you be unaware of water; sometimes it would
be noisy and very powerful, like on the outer edges,
and in other cases it would be sheltered and protected.’
On a mild November afternoon in 2019, a
meandering trumpeter swan illustrates Hough’s
imagined idyllic setting perfectly as Hough’s widow,
Bridget, along with Nasmith, architect William
Greaves, and Zeidler’s oldest child, Margie, peer into
one of those canals. The fallen tree trunk dipping its
half-century-old branches into the murky water
illustrates its current state of neglect.
Built over two years for C$29m, Ontario Place,
which included an open-air, 3,000-seat concert venue,
The Forum, under a hyperbolic paraboloid roof, opened
with great fanfare in May 1971. In 1972, the wildly
successful Children’s Village playground opened. While
attendance peaked at more than three million a year
in the 1970s, that number was halved by the 1990s
and plummeted to well under a million by the 2000s.
This, our little group postulates, can be blamed on a
loss of focus in Ontario Place’s offering, which shifted
from Expo quality to carnival rides.
Shut down by the provincial government in 2012,
the grounds and its innovative, modernist buildings
have faced an uncertain future ever since. The
Children’s Village is gone, as is the beloved Forum,
which was replaced by a behemoth called the Molson
Amphitheatre. With government changing twice
since – currently Doug Ford, brother of the late,
notorious, crack-smoking Toronto mayor Rob Ford,
is premier of Ontario – there has been no shortage of
visioning exercises, committees, rumours of a casino,
and a plan to finally bring a much-needed subway stop
to the site, which today hosts events such as winter
light shows and art workshops, as well as screenings
at the Cinesphere, the sole part of the complex to be
restored in 2017.
‘It’s unfortunate but we have no information to offer
the public at this time,’ laments Eriks Eglite, Ontario
Place’s director of special projects. ‘Everyone that
I know, that I’ve had a beer with, asks: so what’s going
on? And, unfortunately, we’re all waiting.’
Meanwhile, Ontario Place does the ‘listicle’ walk
of shame: Heritage Canada Foundation’s Top 10
Endangered List in 2012; Docomomo US in 2014; and,
thanks to the efforts of Greaves, the World Monuments
Fund 2020 Watch.
Ontario Place should be to Toronto what the
Opera House is to Sydney. Under the surface rust,
Zeidler’s jewel still shines. ‘And this is where we get
back to the maintenance,’ says Margie as she ponders
a temporary food service structure plunked right
in front of one of her father’s small, crystalline-shaped
restaurant buildings. ‘You need the same visionary
people that designed it to be running it, you know?’
‘That’s very hopeful, but yes,’ agrees Bridget. ‘It’s
like Michael said in that lecture, once you hand it over
∂
to the client, it’s theirs.’
wmf.org/project/ontario-place

ROO ROGERS, CEO OF FOUNDERS FACTORY
AFRICA, AND BOTSWANA-BASED DESIGNER
PETER MABEO. ROGERS COMMISSIONED
MABEO TO DESIGN THE ACCELERATOR’S NEW
JOHANNESBURG OFFICE AFTER A TIP-OFF
FROM DAVID ADJAYE
MADE IN
AFRICA
Entrepreneur Roo Rogers and designer Peter Mabeo
on creating an of-its-place home for the Johannesburg
arm of start-up accelerator Founders Factory
PHOTOGRAPHY: RUAN VAN JAARSVELDT WRITER: NICK COMPTON
Design
Roo Rogers had a problem, an unusual
disturbance in team cohesion. A problem
that, given everything else he has to contend
with, he could have well done without.
Rogers is the son of architectural nobility,
Richard Rogers and River Café founder
Ruth Rogers. Tacking away from his
bohemian upbringing, he has pursued a
career in technology, serial entrepreneurship,
social enterprise, and now acceleration and
incubation. He was a partner in Yves Béhar’s
Fuseproject, founded five successful start-ups,
including a film production company and
eco-friendly car service in New York, and
established the Spring accelerator that has
helped grow business across Africa and Asia. È
∑ 117
 Design

LEFT, MABEO’S TEAM HANDCRAFTED

BLEACHER SEATING FOR THE OFFICE’S
EVENT SPACE
ABOVE, A SMALL TIMBER-BUILT MEETING
ROOM IS CLAD IN SHEET METAL

Last year he launched an African offshoot of
the UK-based start-up accelerator Founders
Factory. Rogers and his team are committed
to birthing and backing 140 new tech-based
start-ups across Africa over the next five
years. Founders Factory’s USP is its reliance
on blue-chip corporate investment rather
than funding from VCs and other smaller
speculators. And tapping the corporate
well in Africa means being in Johannesburg,
the city where many of the international
giants have established beachhead HQs.
Rogers wants to provide hothouse
conditions for his new businesses, drawn
from across Africa. ‘We have a makers lab.
We have technicians, designers, engineers,
who can rapid-prototype ideas. And then
we have space for the incubator. And we have
space for all the other support people.’
For Rogers, it was important not just how
Founders Factory operated but how it looked;
how of its place it appeared, how much it was
understood as rooted rather than an outside
act of benevolence, or worse, opportunism.
‘You always ask yourself, what is a truly
African approach to this? What does an
African office look like? The answer here
normally is glass and steel but I didn’t want
to do that.’ Doing something different turned
out to be more difficult than he imagined.
The right location was important: ‘I didn’t
want to be in some secure business park
with a Starbucks. We need to be among the
people we are trying to reach, to be built
into the fabric of Johannesburg. We looked
around and took 7,000 sq ft in this fantastic
1970s brutalist building in Braamfontein.’
An area in Johannesburg’s troubled CBD,
Braamfontein is not the obvious spot to
land a new beacon for emerging African
businesses. But Rogers was making a
statement and the space was relatively cheap.
He then set out to find a designer for
his new space. ‘I asked everybody in my
Johannesburg group to find me an interior
designer. And the designers showed me
their work. And it was all very nice, really
well designed, but vanilla. I wanted the office
to be aspirational, but to a lot of people
aspirational means New York. We just said
to them, “Come back and show something
that feels like it is from here.” They returned
with pictures of the same houses but with
a zebra in the background. I was driving my
team nuts because they wanted a decision,
they just needed an office space. So I picked
up the phone to David Adjaye.’
The British-Ghanaian architect is now
largely in Accra, where he heads a 50-strong
practice and is about to get Ghana’s National
Cathedral out of the ground. And he is
committed to the idea that better versions of
everything from affordable housing to office
buildings can be developed in Africa, if the
time and space can be found for that process
in the continent’s rush to develop. He was a »

118 ∑
Some things light up a room
even when they are switched off
Discover the Vipp lamp series at vipp.com

vipp.com
 Design
LEFT, MABEO COVERED THE
WALLS OF THE OFFICE’S SERVER
ROOM WITH HAND-CUT WOODEN
TYPE THAT WAS THEN BURNED
BELOW LEFT, A TEAM DINING TABLE
WITH VARIOUS PIECES FROM THE
MABEO RANGE, INCLUDING DESIGNS
BY LUCA NICHETTO, AS WELL AS
NEW PIECES MABEO HAS DESIGNED
FOR FOUNDERS FACTORY

smart option for advice. ‘David put me

‘It’s not about new aesthetics; it is a way
to give people an opportunity to be involved’
in touch with Peter Mabeo,’ says Rogers.
‘I called Peter and knew he was the right
person within ten seconds. I told him
what I wanted and he said, “I get it, I’ve
always wanted a client like this.”’
Mabeo established his eponymous studio
and brand in Gaborone in Botswana in 2006
after a decade of creating bespoke designs for
commercial clients in the country. He works
with a pool of local craftspeople, including
carpenters, woodworkers and embroiderers,
but has connected them with international
designers such as Patricia Urquiola,
Claesson Koivisto Rune and Luca Nichetto.
For Mabeo, the Founders Factory project
was not just about establishing some kind
of new paradigm for African design but
involving African craftspeople; it was
a matter of inclusion: ‘It’s not really about
a new aesthetic or new typologies, though
that’s all important. It is a way to give
people an opportunity to be involved.’
He brought craftspeople with him from
Botswana, as well as a choice selection of
existing Mabeo furniture and new pieces
created specifically for the office, and
commissioned a contractor from Soweto to
work on the acoustic folding doors for a small
auditorium. ‘It really adds to the conversation
if you have craftspeople coming from
Botswana working with a guy from Soweto
who is a very technical kind of artisan.
‘We did pretty much everything. One of
the meeting rooms is made out of a timber-
frame that is nailed together and outside it
you have this metal sheeting that is beaten
by hand. We’ve used hand-cut wooden type
on the walls of the server room and then
burned the wood using a Japanese method
so it has this kind of three-dimensional
topography.’ He still has to deliver some soft
seating and padding for the walls of some the
meeting rooms, incorporating embroidery.
But Mabeo’s recruitment and perhaps
more slow-moving methods brought to
a head fundamental tension in Rogers’ team.
There were those who insisted that for
African businesses to compete internationally,
they had to walk and talk international.
And that the spaces they presented to clients
should be glass, steel, marble, slick, generic,
serious. And there were others who agreed È

120 ∑
MIL ANO DESIGN WEEK_21-26 APRIL
HALL 24 | STAND E21/F14
 Design
‘Instead of trying to measure up to some
Western model, we can do things differently’
CLOCKWISE FROM ABOVE, ANOTHER MEETING
ROOM WITH HAND-BEATEN SHEET METAL;
A ‘LEBONE’ FLOOR LAMP (2018) BY MARSEILLE-
BASED DESIGNER INÈS BRESSAND FOR THE
MABEO COLLECTION; THE FOUNDERS FACTORY
OFFICE IS HOUSED ON THE 14TH STOREY
OF A BRUTALIST BLOCK IN BRAAMFONTEIN
122 ∑
they should be distinctly, proudly African
(accepting that this can never be one thing).
‘One guy said to me, “You are trying to
build an internationally recognised African
accelerator. To do that we need to get
African entrepreneurs, and African
entrepreneurs don’t find African design or
African designers, like Peter, aspirational.” It
just totally divided my group. It was intense.’
Mabeo is no stranger to large-scale
projects. He has helped kit out hotels and
HQs in Europe and Africa and he is a serious
supplier of contract furniture. But he has also
developed his business with an accent on
craft and sustainability, on inclusion and
on a serious questioning of the ways Africa
pushes to ‘catch up’ with the developed world.
Here that debate was raging around him.
In some ways, this was a very local
difficulty. Mabeo suggests that Johannesburg,
in its rush and push to ‘measure up’ to the
other financial powerhouses, is in danger of
forgetting something fundamental, of
potential getting lost in the process. ‘People
have become so process-oriented that they’ve
forgotten what the process is for. Timelines
and project deliverables and all those things
are important, but they’re not the end in
itself. It’s more important to make sure that
the vision is put across. And I think the
young people who come here should get it,
if we talk about the whole idea.’
Rogers knows that some of his corporate
backers might question his commitment
to, and investment in, truly African design.
‘They might walk into my office and say
“What is this? I can’t believe you spent your
money on this.” Or they might not. They
might walk in and go, “This is brave and it’s
amazing.” And I know I’m at a stage of my life
where I would rather do something brave.
‘And, of course, you can go to Africa and
say, “You have to work this way.” But if you
want to do well, and I hope this is a lesson
that comes off, you can’t impose process.
Sometimes poetry comes out of serendipity
and surprise. I think what we are doing here
is going to be really beautiful.’ And for Mabeo,
the Founders Factory office is part of a far
wider project: ‘It’s about saying that instead
of trying to measure up to some prescribed,
pre-packaged Western model, we can do
things differently and contribute something
to humanity. We can do things that tackle
ecological degradation and artificial divisions.
We can put things back together again.’ ∂
foundersfactory.com
Design Centre - Chelsea Harbour samuel-heath.com Made in England
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NEOLITH UK SHOWROOM: Business Design Center, 52 Upper Street, London | NEOLITH WAREHOUSE: Lovet House, Lovet Rd, Harlow CM19 5TB
 In Residence

SHELF LIFE
Rebuilt from the ground up, Australian architect
John Wardle’s Melbourne home is designed to
accommodate and display his vast curio collection
At the age of 12, John Wardle went exploring the
banks of the Barwon River in New South Wales,
Australia. He stumbled across a building site. An old
farmhouse was being torn down. But, in the centre of
the demolition stood, like an oasis, an ancient home.
‘I remember seeing, right in the middle, this beautiful,
original, timber-shingled, single-room cottage,’ Wardle
says. The farmhouse had been built in stages over
generations around the timber cottage, like a Russian
doll. ‘They must have been adding and building
around it again and again over the generations.’
As the bulldozers and diggers lay hulking and
dormant, the young Wardle crept into the building site
to stand in the middle of the timber room. He spotted,
still in situ, the lock to the door of the original cottage,
and took it home with him. The lock remains in his
newly refurbished home today – and marks the Top, overlooking the leafy garden is a timber-lined study
beginning of the great Australian architect’s lifelong space. Its shelves are packed with Wardle’s collection of
ceramics from Australia, Northern Europe and Japan
personal collection of curios.
Wardle founded the Melbourne-based practice Above, the Wardles commissioned local artist Natasha
Johns-Messenger to create a horizontal periscope.
John Wardle Architects (JWA) in 1986. He now employs The work plays with perception and space, allowing
more than 90 people, looking after a wide range of È glimpses of the city beyond

PHOTOGRAPHY: TREVOR MEIN WRITER: TOM SEYMOUR ∑ 125

 ph. marco ghilarducci a.d. emiliana martinelli, massimo farinatti

MARTINELLILUCE.IT
MARTINELLI
EMILIANA
DESIGN
COLIBRI Q

LIFE
LIGHT *

FOR
 In Residence

‘I’m an avid and ill-disciplined

collector. I enjoy finding
commonality among things’

commissions, from private residences to office, cultural

and educational works. His office is also where he used
to keep what he calls his Museum of Stolen Objects,
a collection of artefacts that have piqued his curiosity –
mostly inexpensive, but all precious, each collected on
his travels or gifted to him by fellow makers and artists.
The Museum of Stolen Objects now has its own
private gallery of sorts – Wardle’s newly completed
home. ‘I’m an avid and very ill-disciplined collector of
things,’ Wardle says. ‘But I’m interested in prototypes
or experiments as much as finished objects.’ And with
that comes a weakness for flea markets. Every Sunday
morning, wherever in the world he finds himself,
Wardle will be up at sunrise scouring the Formica
tables for things some of us might think of as junk.
His collection contains countless items found in
markets from London to Ljubljana, São Paulo to Tokyo.
At his new home in Melbourne, Wardle has
fashioned spaces where such varied pieces can have a
dialogue with each other. ‘I enjoy the process of finding
commonality among things,’ Wardle says. ‘In how
things can become associated through arrangement –
even if, very often, they are disparate things.’ This,
he says, speaks to his identity as a proud Australian:
‘We are very much a society of hybrids.’
An impertinent type might suggest Wardle’s
collecting habits are eccentric to the point of obsessive.
A fan of Stanley Kubrick’s A Clockwork Orange, Wardle
developed an obsession with the moment Malcolm
Above, designed to sit between two ancient elm trees, the steel-and-
McDowell’s Alex jumps from a window to escape the glass house cantilevers out over Wardle’s 1963 Lancia Flavia Zagato
torture of listening to Beethoven’s Ninth Symphony. Below, custom-made Japanese Inax tiles and ‘Nivis’ washbasins
Kubrick filmed the scene 19 times on a Bolex movie by Benedini Associati, for Agape, in the en-suite bathroom
camera. So, for a period, Wardle scoured the earth to
collect Bolex cameras (he found 12).
Ceramics also have a particular place in his heart.
On a visit to the UK, he once took his two daughters
and wife to Stoke-on-Trent, once a pottery powerhouse,
to show them a bottle kiln used for traditional pottery
(the kiln’s unique shape later influenced JWA’s design
for Monash University’s Learning and Teaching
Building). ‘I’m fascinated by the processes and the
societies and the people that make important objects,’
Wardle says. ‘The skill-sets that were developed in a
particular place at a particular time. I love to know who
made things; when, how, where and why it was made.’
Wardle is walking through the foothills of
Melbourne as we talk. Arriving home remains a novel
experience; the renovations took more than 18 months,
only reaching completion just before Christmas 2019.
The house was first built in 1951 amidst three enormous
Scottish Elms, planted in the 1870s. The home
‘threads and moves and merges around the trees’, says
Wardle, who bought it with his wife in 1990. In 1999,
Wardle ‘sliced the front third of the house off ’ È

∑ 127
 In Residence
Above, the main living room, with a ‘Take a Line for a Walk’ armchair
by Alfredo Häberli, for Moroso; ‘Bandas’ rug by Patricia Urquiola, for
Gan; artwork by Australian artist Gareth Sansom; coffee table design
by John Wardle; and ‘Gentry’ sofa by Urquiola, for Moroso
Below, a Moon Jar sculpture by Japanese ceramicist Akiko Hirai is
displayed in an alcove – ‘almost like a little gallery for one piece of
work’ – in the Victorian ash staircase that leads to the main bedroom
128 ∑
during a major renovation. Eighteen months ago, ‘we
pulled the whole lot out and started again’, he says.
‘There’s now nothing left of the original house.’
Wardle has not merely extended his home. He has
created a unique architectural blueprint that provides
a specific space for each component of his collection;
bespoke corners, built-in shelving and niches for each
and every thing he holds dear. An angular timber
wall feature has been created as a home for a favourite
painting – it’s a picture frame that also forms part of
the architecture of the home. Wardle worked closely
with Melbourne craftsman Chris Overend, who runs
‘a rare set-up’, Wardle says – a construction company,
where joinery and fabrication is maintained in-house –
and was employed to create the home’s cabinetry.
‘We worked to create areas of inventive precision
and extraordinary quality,’ says Wardle. In the open-
plan kitchen, Wardle has designed a dining table,
fabricated by Andrew Lowe of Lowe Furniture, of
two interlocking circles – a tribute to his daughters,
who recently left home to study and work abroad.
The domestic designs and displays have been a long
time in the planning. Wardle spends his summers at
Waterview, a working sheep farm on Bruny Island,
Tasmania, where he has turned an old shearing shed
and an aged farmstead into Shearers Quarters and
Captain Kelly’s Cottage. These two projects can be
seen as drafts; practice runs before he took on the task
of transforming the main family home in Melbourne.
The house, in that sense, is a tribute to the life of
a man now recognised as one of his country’s leading
architects. Wardle has got there via a lifetime built
absorbing, piece by piece, everything of interest he
finds. Now he has melded them into one original,
unique and beautiful space. ∂
johnwardlearchitects.com
S A LVAT O R I _ O F F I C I A L
 147

160

GERMANY
143 DESIGN NEWS

147 MUNICH JEWELLERS

150 WATCHMAKING

REPORT
155 OLFACTORY TOUR

159 ARCHITECTURE

160 OUTSTANDING AUTOS

170 BEST OF IMM COLOGNE

2020

170
Timeless by
Tradition

The SieMatic style collection PURE has been enriched by an

outstanding kitchen concept: the new SieMatic SLX, awarded
with the ICONIC AWARD 2020, Best of Best. The focus is
on the newly developed recessed grip, whose filigree design
and the batten luminaire integrated into the shadow gap make
the worktop appear to float.

SA LONE DEL MOBILE + EUROCUCINA | April 21 to 26, 2020 | starting daily at 10:00 AM
SieMatic Monte Santo | Porta Nuova | Viale Monte Santo 8 | 20124 Milan

SIEMATIC ST YLE COLLECTION PURE | siematic.com/slx

 THE M2
BY FUTURA 2000

BMW M2 Competition:
Fuel consumption in l/100 km (combined): 10.0 [9.2]. CO2 emissions in g/km (combined): 227 [209].

The figures in brackets refer to the vehicle with seven-speed M double-clutch transmission with Drivelogic. The model shown includes optional equipment. The values of fuel consumptions, CO2 emissions and energy consumptions shown were
determined according to the European Regulation (EC) 715/2007 in the version applicable at the time of type approval. The figures refer to a vehicle with basic configuration in Germany and the range shown considers optional equipment and the
different size of wheels and tires available on the selected model. The values are already based on the new WLTP regulation and are translated back into NEDC-equivalent values in order to ensure the comparison between the vehicles. [With respect
to these vehicles, for vehicle related taxes or other duties based (at least inter alia) on CO2-emissions the CO2 values may differ to the values stated here.]. The CO2 efficiency specifications are determined according to Directive 1999/94/EC and the
European Regulation in its current version applicable. The values shown are based on the fuel consumption, CO2 values and energy consumptions according to the NEDC cycle for the classification. For further information about the official fuel
consumption and the specific CO2 emission of new passenger cars can be taken out of the „handbook of fuel consumption, the CO2 emission and power consumption of new passenger cars“, which is available at all selling points and at https://
www.dat.de/angebote/verlagsprodukte/leitfaden-kraftstoffverbrauch.html. All vehicles, equipment, combination possibilities and varieties shown here are examples and can differ in your country. In no way do they constitute a binding offer by the
BMW M GmbH. Visit your local BMW website or see your authorised BMW M Retailer for accurate details on the offers in your country. Link to our Magazine: https://www.bmw-m.com/en/topics/magazine-article-pool/bmw-m2-by-futura.html
Made in Germany

Rolf Benz VOLO | labsdesign

German Design Award 2020

Winner

International Flagships:
Berlin, Hamburg, Cologne, Zuerich, Vienna, Graz (April 2020), Tokyo, Beijing, Hangzhou, Shanghai, Taipei, New York, New Delhi
nothing but wunder ba r.
DESIGN AND QUALITY
MADE IN GERMANY

EDITION 90 www.keuco.com
 DESIGN
NEWS
Germany’s creative zeitgeist,
expressed in chic desks,
cubist chairs and bold type

‘UNIT’ DESK
by Aesthek →
Aesthek’s new ‘Unit’ desk is a modern
update of the secretary desk, a traditional
staple of the early home office and study.
The Cologne-based company has
covered all bases with its reinterpretation,
creating a desk that works in any space,
office or domestic, while also serving as
a room divider, or as part of a modular kit.
Designers Sebastian Netz and Jochen
Ruderer used power-coated or galvanised
steel for the frame, wrapping the end
result in a heavy-duty Kvadrat fabric for
almost infinite customisation. The first
five examples of ‘Unit’ (as pictured here)
were developed in collaboration with
the Berlin-based artist Michaela Zimmer.
Limited-edition ‘Unit’ desk, €1,800,
aesthek.com

‘EDITION 2020’ PLATES

by New Tendency ←
KPM Berlin is a porcelain manufacturer
with centuries of history and a reputation
for peerless quality. With a manufactory in
the heart of the city and stores throughout
the country, it has moved into contemporary
work under the auspices of chief designer
Thomas Wenzel. The company, also known
as the Royal Porcelain Manufactory Berlin,
has teamed up with local studio New
Tendency to create the ultimate expression
of modernist, minimalist porcelain design:
a dinner plate. The ‘Edition 2020’ sees
New Tendency’s Manuel Goller, Sebastian
WRITER:JONATHAN BELL

Schönheit and Christoph Goller applying

their Bauhaus-inspired aesthetic to produce
a plate that can be stacked on a simple
base, formed from two semicircular ridges.
Perfect geometry meets meticulous finish.
‘Edition 2020’ plates, price on request,
kpm-berlin.com, newtendency.com

GERMANY / DESIGN 143

‘N-04’ CHAIRS
by Yellow Nose Studio →
The N-04 collection by Yellow Nose Studio
has a monumental appearance that belies
the peaceful, crafted approach of its
designers, Hsin-Ying Ho and Kai-Ming
Tung. The Taiwanese duo, who share
a background in architecture, set up their
Berlin studio in 2017. Their products are
shaped by a love of raw materials and
a desire to represent slow living through
design; their ‘N-04’ chairs are the latest
in a series of conceptual explorations of
material combinations. Stone, raw clay
and charred wood are combined to create
pieces that are as much freestanding
sculptures as chairs. ‘We want to show
the calmness and simplicity of the objects
we create,’ explain the duo.
‘N-04’ chairs, price on request,
yellownosestudio.com

SIDE TABLES
by Max Neustadt ↑
Industrial designer Max Neustadt’s two
new side tables, ‘Manta’ and ‘Pico’, offer
dual functionality. The former is both
furniture and tray – the folded sheet top
can simply be lifted off its bent wire base -
with a subtle green finish that is both
utilitarian and luxurious, while the latter
features a circular steel top that sits above
an ash support and a concrete base. The
support doubles as a handle, allowing ‘Pico’
to be carried around, even when laden with
drinks. There are no permanent fixings, just
four simple elements. Neustadt is based
in Munich and set up his studio four years
ago following a masters degree from ÉCAL,
an apprenticeship as a cabinetmaker and
a stint at Stefan Diez’s studio.
Side tables, price on request, maxneu.com
WG*
Spl
Мn
❷53←
‘PLAID’ TYPEFACE
by Fabian Fohrer ↑
Having first appeared in our pages as
a talented Konstanz University alumnus
in Wallpaper’s 2018 Graduate Directory,
Fabian Fohrer now runs Tightype, a type
collective, with his friend Fabian Huber.
His 2018 ‘Plaid’ typeface, which gets
wider as it gets heavier, has been used
throughout our Germany section.
tightype.com

144 GERMANY / DESIGN

 TOUR DU MONDE

DEDON COLLECTION RILLY

Design by GamFratesi www.dedon.de
TURANDOT
E A S T
M E E T S
W E S T

www.rosenthal.de
PATTERN
PLAY
A pair of Munich architects bring algorithms
and artistry to jewellery design
As career changes go, a move from
architecture to jewellery design is not as
incongruous as it may first appear; and
for Antonia Frey and Simon Vorhammer of
Sian Design, it was a natural progression.
Both disciplines are inextricably concerned
with space and light, geometry and texture,
and these are just as carefully considered
in miniature as they are on a large scale.
A move from Sydney, where they worked
as architects, back home to Munich, where
GERMANY / JEWELLERY
STILL-LIFE PHOTOGRAPHY:ADAM BARCLAY
PORTRAIT:HUDSON HAYDEN
WRITER:HANNAH SILVER
Left, all in yellow gold,
‘Iva’ bangle (texture on
outside), €2,600; ‘Avi’
bangle (texture on inside),
€2,600; ‘Nio’ earrings,
€1,400; ‘Nio’ rings
(thinner), €900; ‘Iva’
ring (thicker), €1,400
Above, ‘Neta’ pendant
in yellow gold, €2,400
their jewellery is now crafted, sparked
a desire to create on a smaller scale.
‘Complex geometries and structures are
so much easier to implement in jewellery
than in architecture,’ Frey and Vorhammer
agree. ‘Also, there is no direct client. We
can very much do what we are interested in.’
The pair’s architectural skills have been
transposed and updated. They refer to
themselves as ‘digital native’ designers and
professionally they move between the »
147

‘For each design, a computer algorithm
is created, defining the geometrical
dependencies between all elements’
virtual and physical worlds. Working with
both 3D-modelling and physical prototypes,
combining digital and analogue methods,
is central to their creative process.
And the use of digital technology goes
deeper into the design process. ‘For each
design, a computer algorithm is created,
defining the logic and the geometrical
dependencies between all elements,’ Frey
says, giving them the opportunity to explore
several potential geometrical formations.
A negative mould, 3D-printed layer by layer
in wax, then becomes a vessel in which
to pour precious metal, which in turn is
meticulously reworked by their goldsmith.
Frey and Vorhammer focus on one
material per piece, and emphasise the
juxtaposition of textures. This approach
is reflected in their first collection,
where shells of intertwined webs twist
on pendants, working together but never
touching. Rings and bangles are a twist
of smooth gold on the inside and tightly
packed grids on the outside; sometimes, the
jewellers reverse the smooth and the rough,
148
Left, Simon Vorhammer
and Antonia Frey in their
Munich studio
Below, ‘Sana’ bracelet
in black polyamide, €195
so the bangle becomes a deceptively simple
loop of gold. Only on closer inspection can
thick bonds of an inner lattice be glimpsed,
a teasing border of fine stitching along the
edges the only clue to the delicate filigree
detailing inside. The majority of the pieces
are in gold, but the pair have experimented
with light black polyamide and black PVD
coating, hinting at future directions.
The duo are revelling in the relatively
rapid journey from idea to realised design
that their technology allows. In traditional
architecture, as they point out, concept
to realisation can take several years – here,
design variants and prototypes can be
established very quickly. ‘It’s perfect timing
that we now have access to a technology
that gives us the opportunity to realise our
ideas. This wouldn’t have been possible ten
years ago,’ says Frey. Obstacles barely faze
them, instead opening up new avenues of
creativity: ‘Throughout our careers, we have
learned that the one perfect solution does
not exist, but many.’ ∂
sian-design.com
GERMANY / JEWELLERY
“MO RE T H A N A FAUC E T, E AC H PRO D UC T
IN THE AXOR EDGE COLLECTION IS
A JEWEL, A MASTERPIECE, A UNIQUE
A RC H I T E C T U R A L O BJ E C T.“

― Jean-Marie Massaud

axor-design.com

FORM FOLLOWS PERFECTION

Nomos Glashütte’s new
building in Schlottwitz,
just outside its main base
in Glashütte, is designed
to blend in with its
surroundings. The facility
centralises production of
almost all components for
the brand’s 13 movements,
and enhances its integrated
approach to watchmaking

UNITED FRONT
Discreet and efficient, Nomos Glashütte’s new production facility reflects its founding values
PHOTOGRAPHY:MAX CREASY WRITER:JAMES GURNEY

150
Talking about Nomos Glashütte, it’s
tempting to start with the watch company’s
design office, Berlinerblau, in Berlin’s
Kreuzberg district. Located in a former
button factory built in the early 1900s,
the studio is all it should be: light flooding
onto whitewashed walls covered in colour
swatches, design details and mood boards,
with Frank Gehry ‘Cloud’ lamps up above.
But, as Michael Paul, the company’s head of
design, insists, everything here refers back
to how the watches are made. So you really
have to start in Glashütte, 230km south
of Berlin. It’s here that the making happens
and where the soul of the brand is found.
A one-industry town, Glashütte is
celebrating 175 years of watchmaking.
Nomos Glashütte, 30 years old, is in storied
company. Glance out of its offices in the
old railway station and see A Lange & Söhne
and Glashütte Original across the road,
while Moritz Grossmann’s atelier is up the
hill. The town’s first wave of watchmakers
was part of a government attempt to
relieve poverty after the failure of the local
silver mines. Nomos Glashütte was founded
in 1990 by Roland Schwertner as »
GERMANY / WATCHES
 Left, the brand’s main
office in Glashütte’s old
railway station
Below, Tangente Neomatik
41 Update, £3,200, in white
and ruthenium dial versions
with Nomos Glashütte’s
DUW6101 self-winding
movement. The movement
shows the winding rotor,
‘three-quarter’ plate
and Nomos Glashütte’s
‘swing system’ balance
and escapement
Below left, prototype
dials at the Berlin design
studio show a distinctive
approach to colour

facility just up the road from Glashütte in

state-owned industries unravelled following
the collapse of East Germany. It was a bold
move for an IT expert and photographer
from Düsseldorf with no prior experience
of watchmaking (save for childhood visits to
family in the town).
Nomos Glashütte has since grown to
become the town’s largest maker by volume,
producing 20,000 watches a year. It has
gained a strong following in the US, and
won design and product awards including
the Grand Prix d’Horlogerie de Genève.
The brand is built around an industrial
design philosophy that traces its roots
back, via the Bauhaus, to the Deutscher
Werkbund movement of the early 20th
century, modelled in turn on the British
Arts & Crafts movement. The Deutscher
Werkbund is still active and Nomos
Glashütte joined in 1992, recognising shared
values of honesty, quality, affordability and
design that is detached from fashion. As the
brand’s own tome, Nomos Glashütte - The
Great Universal Encyclopaedia, puts it ‘the
Werkbund aims to promote designers and
use modern technology to create products
that are both beautiful and affordable’.
The movement also emphasises the
interplay between art, industry and craft
and the equality of value each should have.
In practice, you can see this in both the
details of Nomos Glashütte watches and the
way they are made. ‘We work together at
eye level,’ as a production manager puts it.
Recent growth has seen the brand’s
component production centralised in a new
Schlottwitz. The timber-clad exterior blends
with the forested valley. Inside, the facility
has everything needed to produce the
whole suite of components that go into the
brand’s 13 movements, save for the jewel-
bearings and balance springs, which are
sourced externally (electro-plating also
happens off-site, to avoid contamination of
a nearby river). The staff can quickly react
to feedback from the watchmakers back
in Glashütte, a real advantage when working
at tolerances measured in fractions of a
millimetre. But the building also works as
an expression of the Deutscher Werkbund
approach: state-of-the-art, multi-axis
cutting machines sit next to equipment from
the 1950s; finishing is by hand, but quality
control uses the latest optical gear; every
last filing is recycled and the climate control
employs heat exchangers.
The brand’s movements are designed to
get the best out of the production system;
escapement components (the wheel,
balance spring, pallets and anchors at
the heart of a watch) are made in minutely
different sizes, so a balanced assembly
can be made from parts at hand, rather
than through adjusting each part to fit.
Back at the Berlinerblau, Paul
emphasises the equality of production with
design: ‘Design and mechanics have to be
considered together.’ He says the Nomos
Glashütte approach is to make watches for
daily life, and in terms of design inspiration,
‘it’s not a question of looking for details
to use, but of sensing the mood, what’s in
the air. This is why the design office is in
Berlin rather than Glashütte.’ That said, the
watches still follow many design traditions
of the brand’s hometown, such as the
three-quarter mainplate and blued hands.
‘It is where we are from, our origins, and
we must respect that,’ says Paul. ∂
nomos-glashuette.com

152 GERMANY / WATCHES

PARROT
Portable Light
Battery 8 – 100 h
Touch Control
Smart Charge
Height-Adjustable
warmDIM

tobiasgrau.com
Garden of Beauty by Michel Comte

Fashion and Lifestyle Shopping since 1881.

It’s beautiful.
SUPER
SENSE
With a new work exploring
togetherness through smell,
Berlin artist Sissel Tolaas
is leading us by the nose
PHOTOGRAPHY:ADRIAN ESCU
WRITER:CHRISTOPHER STOCKS
Sissel Tolaas sniffs where others fear to tread. ‘When
other people start throwing up,’ she says, ‘that’s
when I start to work.’ The self-professed scientist
of smell has created cheese from David Beckham’s
sweat and finds the odour of ordure far more
fascinating than what she calls ‘cover-up perfumes’.
But she has also recreated the scent of extinct
flowers and encapsulated the life story of a Douglas
fir tree in a Dinesen plank.
Though she’s long been based in Berlin, Tolaas
was born on the west coast of Norway, where, she
recalls, ‘we always looked west, to America’. The
young Tolaas, by contrast, looked east. At 17 she left
squeaky-clean Scandinavia, first for Poland and then
for Russia, to study organic chemistry and linguistics.
‘I need to be somewhere I feel uncomfortable,’ she
says, ‘so I had to get away from the safety of home.’
For this, she couldn’t have chosen a better time and
place; she arrived just as the old Soviet Union was
coming apart at the seams. ‘Everything in Russia was
GERMANY / ART
so political,’ she recalls. ‘Even in church, the priests Sissel Tolaas in her Berlin
would be preaching politics, not religion.’ laboratory, where her
research into smell spans
It was partly to get away from the supercharged science and art
politics of the day that she started thinking about
non-verbal communication, and that led, eventually,
to her obsession with smell. Tolaas does mean smell,
not perfume. Her view is that we now experience far
too much via sight and sound, and that we’ve lost an
essential component of our humanity as a result. ‘We
breathe 24,000 times a day,’ she says. ‘Every breath
tells us something about the world, yet we have,
essentially, forgotten how to smell.’ Not only that, but
over the last century a vast industry has grown to
sell products that actively suppress what we’ve been
taught to think of as dirty smells. The result is what
Tolaas calls ‘blandscapes’ – sanitised cities, their
natural odours scrubbed and sprayed to extinction.
It may seem ironic that, since 2004, her work has
been supported by International Flavors & Fragrances
(IFF), one of the biggest global players in ‘cover-up »
155
perfumes’, whose perfumers have had a hand in
everything from high-end fragrances for Frédéric
Malle to the stuff you squirt down your sink. Yet the
hook-up makes sense, since in the end, Tolaas and
IFF are interested in the same things. ‘When I first
met their CEO I’d already been researching smell for
years,’ Tolaas says, ‘but my research was completely
hermetic: I knew nothing about the fragrance
industry. Luckily, they saw the potential of my work,
and that changed my life. Their support enabled me
to set up my research studio in Berlin, and it’s been
fantastic to have access to their R&D.’
Her research has taken her all over the world,
and involved intriguing collaborations. Her ‘celebrity
cheese’ project with synthetic biologist Christina
Agapakis investigated the differences between
‘clean’ and ‘dirty’ smells. Based on the premise that
the bacteria that turn milk into cheese are similar to
those that live on our skin, Tolaas used sweat from
David Beckham’s Adidas trainers to make cheese,
which was served to VIPs at the London Olympics.
More recently, she was commissioned by
Balenciaga to create the smells of blood, antiseptic,
petrol and money for its S/S20 show, and by Dinesen
156
to help tell the story of its products through scent. Smell molecules soaking
She collected samples from Douglas fir trees in the in nano beads (top left) and
seaweed awaiting analysis
Black Forest, as well as from the Dinesen sawmill at (top right) are among the
Jels in Denmark, including the workers. From this works in progress as Tolaas
archive she developed a scent, DD-2, launched at the uses chemicals to recreate
smells. Her shelves are
2019 London Design Festival and shortlisted for a lined with bottles containing
2020 Wallpaper* Design Award. ‘It got people talking diluted smell molecules (above)
about people rather than just about planks,’ she says.
For her latest collaboration, at London’s Science
Gallery, she’s worked with audiovisual artist Jenna
Sutela and New York-based writer Elvia Wilk on
an installation entitled nnother, part of the exhibition,
‘Genders: Shaping and Breaking the Binary’ (until
28 June). The project, a take on the mother-child
relationship, explores the effects of the hormone
oxytocin, and includes a scent embedded in the walls,
intended to give visitors a feeling of togetherness.
Bringing people together is what Tolaas’ work is
all about, and bringing us back to our senses. ‘People
don’t use their noses, because marketing took over
and science stood back,’ she says. ‘Relearning to
smell is difficult, you have to work hard at it, but the
moment I learned what the nose can do it gave me
great joy and freedom.’ ∂ london.sciencegallery.com
GERMANY / ART
Discover clear, linear aesthetics:
villeroyboch.com/memento2.0
 SPACE
ODYSSEY
We’ve roved around Germany
in pursuit of inspired
new architecture projects

VILLA SCHATZLMAYR, PASSAU

by Philipp Architekten →
This house for a fashion designer is an
impressive study in framing space. Set on
the banks of the Danube, the façade of
this low-lying villa is rigorous but low-key,
with little hint of what’s within. The
accommodation is arranged horizontally,
bisected by an infinity pool set at right
angles to the house. A spacious master
suite with courtyard garden lies at one
end, while the living and dining area is the
central focus. The other wing houses an
office and two guest rooms. Finishes are
largely minimal with white walls and dark
wood; colour is saved for the shocking pink
guest bathroom and the polychromatic walls
of the underground garage that houses the
client’s car collection. philipparchitekten.de
EINFAMILIENHAUS,
GARTENSTADT-TRUDERING
by Studio Rauch ↓
In a leafy suburb east of Munich, this grey
wood-clad house is placed end-on to
its neighbours. Architect Stephan Rauch
deployed this ‘narrow and reserved’ gabled
PHOTOGRAPHY:JUDY STOLL, BERNHARD TRÄNKLE, SEBASTIAN SCHELS, FLORIAN HOLZHERR.

façade to minimise the perceived scale of

the property. The interior reveals complex
spatial planning, with a light-filled ‘wellness
centre’, complete with sauna and private
high-level terrace, a split-level attic and
WRITER:JONATHAN BELL. ADDITIONAL WRITING:LEIGH THEODORE VLASSIS

an impressively soaring stair vault, which

partly oversails the lofty living space.
studiorauch.com
FIRE STATION, KAUFBEUREN ERKLÄRANLAGE CENTRE, BERNGAU
by Dasch Zürn + Partner ↑ by Max Otto Zitzelsberger ↑
This impressive new fire station in the This low-cost classroom, built on the site
southern German city of Kaufbeuren of a former sewage treatment plant, has
replaces an existing structure with the transformed a ruin into a socially valuable
goal of futureproofing the service for space. The Bavarian town of Berngau has
many decades to come. Home to the a policy of integrating those with learning
local volunteer fire-fighting brigade, the difficulties into the wider community, and
6,000 sq m station includes space for the classroom for local schools forms part
15 vehicles, a control room, workshops, of a new complex that includes facilities
administration and training, all crowned for pupils with special needs. Max Otto
by a prominent 23m-high hose tower. Zitzelsberger’s new timber pavilion is
Concrete walls, as well as red metal treated as the focal sculptural element,
cladding and doors, create a consistent and the additional buildings are connected
sense of place. Green roofs collect to an existing school via a new bridge.
rainwater, while a geothermal heat ‘The central idea is to celebrate the state
pump allows the station to minimise its of incompleteness,’ says the Munich-based
energy needs – although it has its own architect. ‘Imperfect spaces are always
emergency generator, just in case. more interesting for children.’
dasch-zuern-architekten.de maxottozitzelsberger.de

GERMANY / ARCHITECTURE 159

 FAST

The futuristic Porsche

Taycan 4S realises the
marque’s electric ambition
in distinctive style.
Details include a seamless
rear glass light strip (this
page) and four-point LED
headlights (opposite)

GERMANY / CARS
TRACK
German auto brands are still the master crafters of conceptual promise,
previewing the design and technology that’s just around the corner
PHOTOGRAPHY:JOHANN CLAUSEN WRITER:JONATHAN BELL

161
THE POWER
TO FIRE THE
IMAGINATION
The BMW Motorrad Concept R 18 blends the essence of the classics with a
modern custom-build approach to create an exceptional concept bike. Discover
what the future will look like at bmw-motorrad.com/conceptr18
The aerodynamic sports EV
(above) doesn’t compromise
on performance, while the
interior (right) includes
a number of touch screens
and Porsche’s signature
dash-mounted stopwatch

PORSCHE
TAYCAN 4S

The Taycan is a concept come to life, a pure electric sports car

that’s probably the most significant statement of intent ever
made by a traditional car company. Every manufacturer is feeling
threatened by EV upstarts, most notably Tesla, whose market
valuation recently exceeded even that of Volkswagen’s, at $100bn.
Thus far, only Porsche has been able to muster the (significant)
resources to create a credible challenger, one that doesn’t dilute
any of the qualities that the sports car maker is famed for. The
Taycan is an elegant four-door saloon that began life as the 2015
Mission E concept (even more kudos for Porsche for not taking
the ‘easy’ route and creating an electric SUV). In production form
it’s lost none of its svelte futurism and, most notably, the Taycan
manages to blend Porsche performance with an impressive range.
Porsche Taycan 4S, from £83,367, porsche.com

GERMANY / CARS 163

GERMANY / CARS
BMW’s ‘i’ design team have
given the Concept i4 a crisply
detailed visual vocabulary,
with facets and sharp creases
and careful attention to
functional detail. For example,
the angular aluminium blades
on the wheels (top right)
improve aerodynamics

BMW
CONCEPT I4

BMW’s recent conceptual forays have swung between wild

visions and utterly practical design previews. The Concept i4
is more of the latter, a near-complete showcase of what will be the
Bavarian company’s most significant launch of the decade. While
the outgoing i3 and i8 electric models never lost their futuristic
lustre, BMW believes that greater EV uptake will only come with
familiar forms. Hence the i4, an electrified version of the upcoming
4 Series GT and coupé. These cars share a huge amount under
the skin, with a big, bold reinterpretation of the kidney grille to draw
attention. For the all-electric i4, the grille becomes an information
centre that houses the copious sensors required for autonomous
driving. The four-door fastback also features lighting, forms and
detail design that is sufficiently distinct to keep the ‘i’ cars special.
BMW Concept i4, production version due 2021, bmw.com

165
 MERCEDES-BENZ
VISION EQS

Mercedes has a long history of grandiose conceptual visions, many

of which have paved the way for future models. With so much at
stake in the industry right now, it’s not surprising to find the brand
covering all bases, from far-out sci-fi visions and retro-inspired
designs to proposals for tomorrow’s luxury. The Vision EQS, unveiled
in late 2019, pushes the form of the marque’s traditional S-Class
limo in new directions. Physically, there’s a different stance, a much
longer wheelbase allowing for hugely expanded passenger space.
The interior inspiration comes from yacht design, while the design
team is proud to emphasise the use of recycled plastics and
artificial leathers. Like all Mercedes concepts, the EQS is awash
with light, inside and out, with front and back grilles shaped by
a matrix of LEDs. The (hypothetical) electric powerplant has a
proposed range of 700km. The current S-Class probably won’t have
an all-electric successor, but there are clearly elements of this
concept that are close to production. Above all, the EQS edges this
legendary limo towards new proportions, lighting and interiors.
Vision EQS, concept only, mercedes-benz.com

The traditional ‘three box’

form of upmarket saloons
is gradually giving way to a
more unified, one-box shape.
The Vision EQS showcases
these changing proportions,
with its large passenger
cell providing an ample
interior for four, and lighting
emphasising shape and form

GERMANY / CARS
167
 Below and left, with off-
road sorties in mind, the
semi-autonomous concept
prioritises passenger
experience, its wraparound,
helicopter-style glass cabin
maximising views. Copious
storage caters to both rural
and urban adventurers

AUDI
A1:TRAIL

The design team at Audi has a penchant for far-future ideas that
shake up the conventional image of the automobile, and the
A1:Trail is exactly that – an otherworldly, all-electric off-roader.
Blending the company’s emerging ‘one-box’ design approach
with chunky wheels and raised suspension, the A1:Trail is essentially
a way to showcase a different take on packaging. Tomorrow’s
small Audi will blend semi-autonomous driving with this kind of
airy passenger compartment; the A1:Trail’s glassy interior is paving
the way. Slim seats, copious places for storage, and an angular,
wraparound glasshouse are all elements that signal the next
generation of electric cars. The future Audi city car might not
have this kind of high-riding ground clearance, but chances are
it’ll be a big leap forward.
Audi A1:Trail, concept only, audi.com

168 GERMANY / CARS

 by Stefan Diez

Move your life.

THE
HOW DO
YOU WORK
INVENTION
TOMORROW? OF CASUAL
SEATING
TORTONA DESIGN
WEEK – MILANO
21.04. – 26.04.2020

visit Wagner at
via Tortona 28, More information and a special support for professionals:
20144 Milano wagner_living www.wagner-living.com
‘Flying’ light (from above,
framing main picture), £1,472,
by Tobias Grau. From left,
‘Pilotis’ sofa, from €3,494,
by Metrica, for Cor. ‘Leyasol’
bar stool, price on request,
by Birgit Hoffmann and
Christoph Kahleyss, for Freifrau

GERMANY / SPACE
CASTING
CALL

We’ve pieced together our pick of star performers from the IMM Cologne fair
PHOTOGRAPHY:STUDIO LIKENESS INTERIORS:HANNAH JORDAN

171
 From left, ‘Taut’ table,
€3,434, by Klemens Grund,
for Zeitraum. ‘520’ chair,
from £785, by Marco Dessi,
for Thonet. ‘Liv’ sofa, from
€8,577, by Luca Nichetto, for
Rolf Benz. ‘Ayno’ light, price
on request, by Stefan Diez
and Lina Fischer, for Midgard.
‘Grace’ chair, from €2,395,
by Gino Carollo, for Draenert

GERMANY / SPACE
173
 BAR

BAT H S E R I E S ACCESSORIES LIGHTING MIRRORS

Salone del Mobile Milan 21.– 26.4.2020

www.decor-walther.de
 From left, ‘Tado’ shelf, from
€4,000, by Kaschkasch, for
Interlübke. ‘Amanita’ table,
from €985, by Christian Haas,
for Schönbuch

GERMANY / SPACE 175

 From left, ‘Sediment’ table,
from €1,085, by Studio
Besau-Marguerre, for Favius.
‘K5’ table, from €385, by
Thomas Schnur, for Tecta.
‘Plissée’ floor lamp, €1,588,
by Sebastian Herkner,
for ClassiCon
For stockists, see page 240

176 GERMANY / SPACE

www.draenert.de

ADLER - ESSTISCH AUS OROBICO BLACK (KALKSTEIN) I STUHL - DEXTER

MANUFAKTUR AM BODENSEE
„ LACQUER EPITOMISES HISTORY,
CULTURE, AND STYLE;
IT GIVES THE OBJECT DEPTH.“
SEBASTIAN HERKNER

CHAIR 118
SEBASTIAN HERKNER

thonet.de
 Global
Interiors

We’ve scouted and secured the standout

successes from six design hotspots. Take a trip with
this year’s all dark and handsome discoveries
PHOTOGRAPHY: BAKER & EVANS INTERIORS: OLLY MASON

Above, from left, ‘Hex’ chair, C$2,800, by Geof Ramsay (Canada). ‘Mirrors for Gold’ mirror,
price on request, by Simón Ballen Botero (Colombia). ‘Fold’ floor lamp, A$2,100,
by Ben-Tovim Design (Australia). ‘Helmi’ side table, price on request, by Mikael Mantila (Finland).
‘Rare Earth’ sculptural object, from £500, by Mella Shaw (Scotland). ‘Hiding Behind Glass’ vase,
price on request, by Yuxun Ye (China). Paint and flooring, see next page

∑ 179
 China

180 ∑
 Global Interiors
From left, ‘Null’ bench, $10,000,
by Studio Buzao, from Gallery All.
‘Mazha 2.0’ lighting system, £3,500,
by Mario Tsai Studio. ‘Capture the
Light’ candleholder, price on request,
by Yuxun Ye. ‘Cradle’ armchair, £2,497,
by Neri & Hu, for Arflex. ‘Xian’ vases,
from $240 each, by Open Object.
‘Synthesis Monolith’ stool, $8,500,
by Studio Hongjie Yang. ‘T’ floor lamp,
CNY6,800 ($975), by Wuu. Paint in
Off-Black (throughout), £48 for 2.5
litres, by Farrow & Ball. Vinyl flooring
in Black (throughout), £29 per sq m,
by The Colour Flooring Company
 Canada
From left, ‘Mers’ console, $4,350,
by Henry Norris, for New Format.
‘Thread’ lamp, price on request,
by Jamie Wolfond. ‘Compound’ bowl,
C$450 (£261), by Geof Ramsay.
‘Nacre’ coffee table, £2,700,
by Yabu Pushelberg, for Glas Italia.
Encased neon lights, from £1,070,
by Kemp London. ‘Aether’ shelving
unit, C$4,500 (£2,612), by Origins.
‘Bead’ vases, from C$172 (£100),
by Calen Knauf. ‘Atelier Sainte’
pendant lights, from €6,400,
by Lambert & Fils and Rachel Bussin,
for Lambert & Fils. ‘28t’ table light,
£448, by Omer Arbel, for Bocci.
‘Column’ chair, $3,500, by Christian
Woo. Paint; flooring, both as before

182 ∑
Global Interiors
 Australia
‘Everything is Golden No.7’ mirror,
$11,550, by Hava Studio. ‘Sister
Lounge’ armchair, A$2,970 (£1,543),
by Tom Hancocks, for Dowel Jones.
‘Chameleon’ table, A$1,295 (£673),
by Adam Goodrum, for Nau, from
Cult Design. ‘Hemera’ lamp, price
on request, by Ross Gardam, for
New Volumes, from Dodds & Shute.
‘Soigne’ armchair, A$5,500 (£2,859),
by CJ Anderson. ‘Formation’ linear
pendant, A$2,760 (£1,435),
by Ben-Tovim Design. ‘Yee’ storage
system, £3,406, by Metrica, for SP01.
‘Good Morning’ board, A$230 (£120);
cup, A$50 (£26); and vase, A$60 (£31),
all by Daniel Emma, for Jam Factory.
‘Mies’ vase, £650, by Greg Natale.
Brass vases, from A$240 (£125),
by Kenny Son, for Studiokyss.
‘Scandal’ staggered wall sconce,
£7,800, by Articolo. ‘Memento Mori’,
A$2,300 (£1,196); ‘Render’, A$2,000
(£1,040); ‘Honne’, A$5,100 (£2,652),
all part of the Objects for Self
collection, by Callum Campbell.
Paint; flooring, both as before

184 ∑
Global Interiors
 Finland

186 ∑
 Global Interiors
‘Bastone’ sideboard, £5,800,
by Antrei Hartikainen, for Poiat.
‘Leimu’ lamp, £416, by Magnus
Pettersen, for Iittala. ‘Vieno’ vase,
450; ‘Pulmu’ vases, 280 each, all by
Katriina Nuutinen. ‘Urna’ vase, £200,
by Carina Seth-Andersson, for
Marimekko. ‘Muddus’ mirror, price
on request, by Studio Finna. ‘Atelier’
chair, £394, by TAF Studio, for Artek,
from Viaduct. ‘Nude’ chair, 500,
by Harri Koskinen, for Made by Choice.
‘Akademia’ chair, £436, by Wesley
Walters and Salla Luhtasela, for Nikari,
from Viaduct. ‘Linssi’ light, price on
request, by Mikael Mantila. Paint;
flooring, both as before
 Colombia

188 ∑
 Global Interiors
From left, ‘01’ chair, price on
request, by Studio Sayso. ‘Banquito’
stools, from COP540,000 ($158),
by Danilo Rojas, for Zientte.
‘Barichara’ table, $3,000, by David
Del Valle for Tu Taller Design.
‘Nellim’ metal desk, $483, by The
Blue House. ‘Suelo Orfebre’ vases,
prices on request, by Simón Ballen
Botero. ‘Andes Chamba’ vases,
from $400, by David Del Valle,
for Tu Taller Design. ‘Madrre’ chair
and ottoman, 525, by Rafael Zuñiga,
for Tucurinca, from Omarcity.
‘Foam’ coffee table, price on request,
by Chris Wolston, from The Future
Perfect. ‘Reflector’ floor lamp,
$220, by The Blue House. Paint;
flooring, both as before
 Scotland

190 ∑

This page, from left, encased
neon lights, from £1,070,
by Kemp London. ‘Cùram’
chair, £395, by Namon Gaston.
‘Room for Irregularities’ mirror,
£8,400, by C A Walac. ‘White Lies’
table, €6,400, by Nick Ross.
‘SX’ table, £385, by Daniel Brophy,
for Studio Brophy. Paint;
flooring, both as before
Global Interiors
Opposite, from left, ‘Talking Time’
chair and table, £3,500, by Derek
Welsh. Sycamore bowls, from £65,
by Emily Stephen. ‘Lighthouse’ carafe,
£60; ‘Crucible’ cups, £18 each, all by
Scott Crawford. Wooden objects,
from £8, by Daniel Brophy, for Studio
Brophy. ‘Rare Earth’ sculptural objects,
from £500, by Mella Shaw. ‘Contained
Box (Soft Oblong)’, £6,250, by Andrea
Walsh. Concrete and glass sculpture,
£2,500, by Harry Morgan. Paint;
flooring, both as before
For stockists, see page 240
 Bibendum’s multiple levels take
advantage of the sloped site.
Punctuated by monolithic
pillars, the living room pavilion
features uninterrupted red
elm-clad ceilings that overhang
to provide shade

192 ∑
 Architecture

HIGH LEVEL
Stone, wood and glass combine in a house at one with its natural
setting in California’s Napa Valley
PHOTOGRAPHY: JOE FLETCHER WRITER: SHONQUIS MORENO
 N E W E X P R E S S I O N S F O R I N T E R I O R D E C O R A T I O N

wallanddeco.com
design Draga&Aurel.

adv D+ / ph Federico Ciamei


T
he road to private house Bibendum narrows and winds
uphill through California’s Napa wine country, past
ancient oaks and green shoots coaxed to the surface
by recent rains. Almost invisible during the approach,
the house emerges suddenly, a study in counterpoint:
its intersecting planes of low-slung stone contrast with
the surroundings while, at the same time, appearing
cradled by the slope and woven into its foliage.
Designed by San Francisco-based architect
Daniel Piechota during his partnership in Sagan
Piechota (he has since founded Piechota Architecture),
Bibendum is the home of two veterans of Silicon Valley
venture capitalism. Piechota had previously renovated
the couple’s copper-clad house in Big Sur, which is now
their second home.
Their new residence is a 12,000 sq ft five-bedroom
house, with three linked pavilions – living, guest and
private quarters – that step back diagonally to share
their views of the wooded hills and valleys snaking
into the distance. Inside, nature asserts itself through
long, glazed corridors and treehouse-like offices,
while an underground wine cave/entertaining space
is accessed through a 265ft-long concrete tunnel.
The architecture alternates between monolithic
Floating staircases and glazed hallways lead to the bedrooms
and courtyard gardens. The landscaping, by Ground Studio,
features granite slabs separated by thick pom-pom tufts of
indigenous grass and carefully arranged Chinese pistache trees
and featherweight, opaque and transparent, intimate
and expansive. ‘It creates many moments,’ Piechota
says. ‘The house is not a one-liner.’
The architect favoured a limited palette, its tonal
harmony making the richness of the house’s layered
levels and views easier to absorb. Dramatic dark bronze
panels clad a two-storey wall that supports a staircase
and lift well, but the house otherwise employs
a subdued range of stone, steel, glass and light woods,
such as elm, teak, anigre hardwood and walnut.
Wood artisan Evan Shively, of timber firm Arborica,
salvaged diseased red elm trees for use in uninterrupted
expanses across the ceilings; provided the claro
walnut for a suspended walkway above the foyer; and
created furniture from rescued wood, including a
5,000-year-old swamp tree.
Inside, the warm tones of Peruvian travertine are
cross-cut on the floors and vein-cut on the walls.
Stonemason Edwin Hamilton used the same travertine
for the interior and the exterior in a pattern designed
by project architect Jason Greer, who perfectly aligned
the seams on the outside with those on the inside,
so that what are actually two-inch thick cladding
tiles appear to be solid blocks of stone. »
∑ 195
 Architecture

Above, in the main bedroom, Peruvian travertine floors and walls

and a bed by Gregory Hay Designs
Below, the plunge pool (the house also boasts a lap pool and
a spa basin) offers views of the rolling hills and vineyards

The impression is that windows were built around the

stone, rather than vice versa, giving the house some
of its visual gravity. ‘I wanted the house to look like it
was part of the land, like rock outcrops, and as if it
had been there for a very long time,’ explains Piechota.
The weight of the stone, however, is balanced by
fields of glass that combine views with tightly framed
detail shots. The brief evolved over the six years of
design and construction, but the goal was always to
capture the landscape: the clients said they wanted
‘to be in Napa and not let the house get in the way’.
The studied integration of topography and
architecture is a reminder that Piechota once worked
for organic architect Mickey Muennig. Early in
Piechota’s career, he lived in a converted school bus and
worked in a glass teepee on Muennig’s land in Big Sur,
before helping create the Post Ranch Inn’s cliffside
boltholes. Most recently, he completed the rigorously
sustainable Silver Oak winery near Healdsburg.
Today, his work mimics the landscape somewhat
less than Muennig’s and contrasts with it more.
‘Bibendum was about using the building as a foil
against the landscape,’ he says. Where a typical person
sees structure and nature, Piechota tends to see the
seams where the two meet, the hard lines of the house
against the soft filigrees of the site. Architecture and
nature should ‘interlock’, he says, dovetailing the
fingers of both hands as if they together could become
a single seamless join. ∂
danielpiechota.com

196 ∑
Taking care of light
 OFF GRID
Green roofs, oculi and a maths-inspired layout add up to
a unique retreat within a private estate on Greek island Milos
PHOTOGRAPHY: YIORGIS YEROLYMBOS WRITER: ELLIE STATHAKI
A decade ago, the Athens-based practice Deca
Architecture received an enquiry about one of its
projects, a house on the tiny Greek island of Antiparos.
A visitor to the island was looking for a holiday home
in the Aegean, and was impressed by the design
strength and quality of Deca’s work. It was the start
of a conversation that would lead to one of the
studio’s most extensive projects to date: a villa on an
87,000 sq m site on the Cycladic island of Milos.
Based in Athens’ chic Kolonaki neighbourhood,
Deca was founded in 2001 by Peru-born Greek
Alexandros Vaitsos and Mexican Carlos Loperena,
who met while studying architecture at the University
of California, Berkeley. Their work is rooted in an
intellectual rigour that means that even the most
seemingly carefree commission – such as this holiday
home – involves site-specific research and rich layers
of conceptual narrative. Their plans for the Milos site
drew on the Voronoi diagram, a mathematical formula,
198 ∑
defined by 19th century mathematician Georgy
Voronoi, that is used to partition geometric planes into
organic grids. Using this method, the practice created
the limestone-clad Immersion Corral residence for
its client, and so the story of Voronoi’s Corrals, as the
whole development is now known, began.
Above, the new Hourglass
Deca went on to add three other guest houses Corral villa features exposed
to the estate: Orchard Corral, set in the island’s largest concrete beams that cantilever
olive grove; the bijou, hand-built Isolation Corral; beyond the stone façade to
create shading canopies. Its
and Preservation Corral, set in a fruit grove. The gardens and green roofs are
word ‘corral’ in the projects’ names signifies a sort of planted with a selection of
natural barrier, explain the architects. ‘The site is so Mediterranean species used
to produce essential oils
extensive that it contained within it both areas of
Right, a bird’s-eye view of the
wilderness that have an incredible biodiversity, as 87,000 sq m Milos site, with,
well as productive agricultural land,’ says Loperena. from top, the Hourglass Corral,
‘The corrals define the boundary between these two Isolation Corral, Preservation
environments for their mutual protection.’ Corral and Orchard Corral
guest houses, and the site’s
Three years ago, the client turned to Deca again, main residence, the clifftop
asking for a large guest house, the biggest building È Immersion Corral
Architecture
 Architecture
so far, on the northern part of the plot. He spends
at least a quarter of the year in Milos, and all the
guest houses, apart from his own villa, are used to
accommodate his friends and extended family. For
this latest project, Hourglass Corral, the architects
followed the same principles in order to determine
the structure’s layout and positioning. ‘We took
the challenge to work rigorously with the Voronoi
diagram logic. We composed the architecture through
parametric design, creating each cell according to
views and spatial needs,’ says Loperena.
The house, conceived as a place for entertaining
and socialising, includes a flowing living space,
which spills out across extensive outdoor terraces,
and three en-suite bedrooms. A swimming pool sits
at the very top of the plot. While the structure seems
low, nestled partially into the landscape in order to
200 ∑
Top left, visible from the swimming pool terrace
of Hourglass Corral, the planted roofs are
dotted with oculi and feature exposed concrete
outlines that clearly defined the programme’s
sculptural cells
Left, the open-plan living room and kitchen.
Each space features a conical ceiling with,
at its centre, a circular skylight and chandelier
Top right and above, the oculi, which can be
opened to help with natural ventilation, are
also fitted with a bespoke blackout mechanism
similar to the shutter of a camera lens
feel in harmony with the surroundings, the interiors
are spacious and light-filled. A palette of exposed
concrete, white plaster walls and stone from the nearby
island of Sifnos creates a sense of uncluttered calm.
This may be a house fully in tune with its
environment, but make no mistake, it is also every inch
the luxury property, featuring tailor-made details and
bespoke fittings to respond to its unusual geometries.
‘Attention was given to everything from the scale of the
landscape to the detailing of materials,’ says Loperena.
Deca’s passion has paid off, as its long-term vision for
the site is coming into fruition. ‘The olive trees have
matured and provide excellent quality olive oil,’ he says.
‘The limestone has gained the patina of the local cliffs;
there is a level of delight in the experience of the place,
which has become amplified through time.’ ∂
deca.gr
Salone Del Mobile 2020 16 – 21 June 2020, Milan Stand D21-E24 Hall 11
www.rossana.com
 MOON
SHINE
A Sri Lankan beach hotel
channels Tropical Modernist
style with a hint of Swissness
WRITER: SOPHIE LOVELL PHOTOGRAPHY: RASMUS NORLANDER

Just above a beautiful little palm-fringed surfers’

beach on Sri Lanka’s southern coast, Mond (German
for moon) is a new four-room hotel with real pull.
Masterminded by Jessica Fernando and Renato Kümin,
who upped sticks from Zürich to be closer to the
ocean and to pursue a more socially and ecologically
sustainable lifestyle, the property is, says Fernando,
‘a place for people to connect, experience and co-create.
It is not an ordinary hotel.’ With that in mind, the duo
tasked Zürich-based architects Daniel Abraha and
Stephan Achermann to create a building that aligned
with both their principles and their needs.
The result is an interesting contemporary take
on the Tropical Modernism style of legendary
Sri Lankan architect Geoffrey Bawa. The challenge,
say the architects, has been to ‘create an architecture
that does not simply copy local building traditions,
but understands and reinterprets the underlying
architectural principles and translates them into
a new, contemporary and independent architectural
statement.’ The hotel was built using modern Swiss
architecture staples – wood and exposed concrete – by
local tradespeople, which meant the builders needed
to learn as much about Swiss-style in-situ concrete
casting as the architects did about local climate.
The design ‘treats outdoor and indoor spaces
equally’, says Abraha. It explores spatial thresholds
and also reflects the local climate: there are openings
everywhere to allow in the Indian Ocean breezes in
summer, while in monsoon season, the rain flows
through the little atria and terraces and away across
the natural stone floors. There is no glass anywhere;
instead of windows, there are floor-to-ceiling openings
with wooden, wind-permeable shutters that can be
closed for privacy. There are four guest rooms, which
all come with private terraces and open bathrooms
sporting rain showers.
Mond supports an artists’ residency programme,
and there is also a courtyard café and rooftop bar
offering spectacular views of the bay, the sea and,
at night, the moon, from which this little Tropical
Modernist paradise takes its name. The public spaces
double as co-working spaces and will, in the future,
host workshops, performances and architectural
experiments. ‘Mond is open to both visitors and the
local community alike,’ says Fernando. ∂ Above, Sri Lankan Tropical Modernist-style beach hotel Mond was crafted using
modern Swiss architecture staples, including wood and exposed concrete.
Hiriketiya Beach, Dikwella, Southern Province, Sri Lanka, Floor-to-ceiling openings, clad with wind-permeable shutters, allow in the Indian
hello@mond.lk. Rates: from $80 Ocean breezes, while guest rooms sport open bathrooms with rain showers

202 ∑
Checking In
Contemporary 23— 26 April 2020
Art Fair Tour & Taxis

23-26
04.2020
by EASYFAIRS

Main partner
 Travel

DEPARTURE INFO
Chic hotels in Tokyo and Hangzhou, a Chinese-American
diner in San Francisco, and a Czech natural wine bar

Bank statement
K5, TOKYO

It’s all about aimai (Japanese for ambiguity) Above, the 80 sq m

at K5, a new Tokyo hotel housed in a K5 Loft room features
4.5m-high ceilings, a
former 1920s bank. An anomaly in a city seating area, a king-size
of skyscrapers, the five-level building, which bed hidden behind a
features parquet flooring, big windows and central veil, and cedar
wood partition walls
double-height ceilings, has had an industrial
makeover courtesy of Swedish studio Right, a Junior Suite’s
bathroom is fitted out
Claesson Koivisto Rune. Its buzzy ground with graphic tiled floors,
floor is a cluster of loosely-divided venues, soft red lighting for
including restaurant Caveman; a branch of night-time use, and a
freestanding bathtub
Switch Coffee; plant shop Yardworks; and
Ao, a small library bar serving tea-inspired
cocktails. Completing the offering is
basement bar B at K5, Brooklyn Brewery’s
first outpost outside New York. Copper-
lined lifts lead to corridors with geometric
patterned flooring, curved cedar walls and
retro window panels in leafy shades. The
scene-stealers, however, are the 20 guest
rooms, with their unusually high ceilings,
indigo-dipped curtains encircling free-
standing beds, washi lanterns, raw concrete
walls, tatami-inspired Kasthall wool rugs
and sculptural chairs. Danielle Demetriou
3-5 Nihonbashi, Kabuto-cho, Chuo-ku, Tokyo,
Japan, k5-tokyo.com. Rates: from ¥20,000 ($182)

∑ 205
 Shop now at store.wallpaper.com

‘Uten.Silo II’
wall storage,
Vitra
—— €289 —— ‘W182 Pastille’
desk light,
‘Make It Happen’ Wastberg ‘Brassing’
notebook, —— €222 —— sketching pencil,
Smythson Ystudio
—— €60 —— ‘Benicia Vase One’, —— €90 ——
‘Swirl’ XLBoom
bookends, —— €65 —— ‘Classic’
Tom Dixon ‘Cantili’ tape pen container,
—— €276 —— dispenser, Ystudio
Beyond Object —— €80 ——
—— €90 ——
Enamel mug,
Hay
—— €19 ——
‘Aalto’ table,
Artek
—— €877 ——

‘Roy Lichtenstein: ‘Lucy’ chair,

The Impossible Bend Goods
Collection’, Assouline —— €418 ——
—— €820 ——

‘360 ’ container,
Magis
—— €439 ——

‘Kazak Space Shifter’ rug,

CC-Tapis
—— €3,812 ——
 Travel

Counter culture
MAMAHUHU, SAN FRANCISCO

The new kid on the block in San Francisco’s

culinarily diverse Inner Richmond district,
Mamahuhu is the brainchild of Brandon
Jew, the Michelin-starred chef behind
Mister Jiu’s and Moongate Lounge, and
Shanghai restaurateurs Anmao Sun and
Ben Moore. Offering a modern take on
casual Chinese-American fare, and
reinventing classics such as mapo tofu with
carefully sourced ingredients, the menu
feels simultaneously familiar and elevated.
That balance extends beyond what’s on
the plate and into the dining room, a space
with wooden booths, Hay chairs and
custom-made art. Though this 38-seat,
counter-service restaurant may be laid-back,
Mamahuhu challenges the status quo when
it comes to the Chinese dining experience.
James Burke and Molly Mandell
517 Clement Street, San Francisco, California,
US, eatmamahuhu.com

Happy doze
LITTLENAP, HANGZHOU

For thousands of years, Chinese gentry

and royalty alike descended on Hangzhou
whenever they needed some R&R from
the capital. These days, the city’s charms –
among them scenic lakes and ancient
monuments – remain very much extant, a
fact seized on by the quaintly monikered
Littlenap. Snuggling up against the
Qiantang River and the forests of the scenic
West Lake area, the 11-room hotel is the
work of local studio Say. It has renovated a
clutch of old red-bricked residences into a
three-storey complex, dressing the interiors
in an austere mix of black and white,
low-slung furniture. Top-floor rooms have
little terraces, while a first-floor suite comes
with its own miniature pool. Daven Wu
56 Jiuxixu, Xihu District, Hangzhou, China,
tel: 86.571 87033087. Rates: from CNY598 ($85)

PHOTOGRAPHY: JAMES BURKE AND MOLLY MANDELL, MINJIE WANG ∑ 207

 Travel
American dream
BIGGY, WROCŁAW
For its latest Wrocław project, local studio
Buck has mined the rich lookbook of
1990s Americana. The effect is startling,
not least because Biggy’s pop art flash
is such a contrast to the historic Rynek
market square just outside. Steel mesh
screens, in shades of electric pink, red and
blue, demarcate zones, separating a sit-
down section from counter seats lined
with geometric tripod stools. Neon signs
208 ∑ PHOTOGRAPHY: ADAM ŠTECH, PION STUDIO
Vaulting ambition
AUTENTISTA, PRAGUE
On a narrow street in Prague’s Old Town,
Autentista is the latest offering from
wine gurus Bogdan Trojak and Antonín
Suchánek. The pair are driving the city’s
flourishing wine scene, having already
launched Veltlín, a popular bar, as well as
Prague Drinks Wine, a festival now in its
seventh year. Local studio Formafatal has
made the most of the building’s original
14th-century vaulted ceilings, layering the
grey-patinated space with upholstered
banquettes with cork detailing, &Tradition
chairs, black hot-rolled steel wine displays,
and standout pieces, such as wire mesh
Moooi chandeliers and a bar emblazoned
with an astronomy-themed print by graphic
artist Jan Dočekal. This all comes together
to form an atmospheric space in which
to enjoy the bar’s menu of natural wines
from the Czech Republic and beyond,
alongside tasty nibbles like cheeses, pâtés
and fermented vegetables. Adam Štech
Řetězová 10, Prague, Czech Republic,
tel: 420.602 587 827, autentista.cz
designed by Łukasz Wojciechowski shimmer Top, a pair of Rick
with smart quips, and a vintage video game Tegelaar’s ‘Meshmatics’
chandeliers for Moooi
machine and hip-hop on the soundtrack keep take centre stage in
customers suitably entertained while they Prague’s Autentista
work their way through Biggy’s craft beers Above, square tiles
and wait for head chef Paweł Bieganowski with contrasting
to send out fluffy slabs of Detroit-style pizza grouting and mesh
screens in bold colours
and burgers encased in a potato roll. DW at Biggy in Wrocław
Kuźnicza 10A, Wrocław, Poland,
tel: 48.516 038 111, biggy.pl
Your passport to global style
More than 60 compelling cities refined into essential travel-sized
guidebooks and apps at www.phaidon.com/wcg
 Travel
ARTFUL LODGER
We’re plotting our escapes, from a palm-fringed
Maldivian island and a secluded Mallorcan hotel
to a deluxe desert retreat in Utah
18,000: Number of bundles of
cadjan (woven coconut leaves) used
to construct the roof of the Four
Bedroom Beach Pool Residence
20: Weight in
kilograms of krajood
and water hyacinth
leaves used to weave
seven of these
decorative plates
5: Number of people
it takes to make a set
of three mango wood
starfruits, which are
handcrafted by local
families in Chiang Mai
Fantasy island
ANANTARA KIHAVAH, MALDIVES
For the past decade or so, Anantara has
been luring sunseekers to its Maldivian
property on Kihavah, a tiny speck of an
island ringed by palm-fringed beaches and
a sweep of turquoise-blue waters. Now,
the property’s four Beach Pool Residences
have just emerged from an update that
firmly puts the resort back at the top of
the game. Bangkok-based studio Soda
has dressed the light-drenched rooms in
natural materials and rich textures, from
solid teak to woven rattan, alongside
stone-cut tiles that line each of the infinity
edge pools. With its own villa host, private
chef and wine guru on tap, you might
find it hard to leave, but if you do, the
resort’s plethora of offerings includes an
underwater restaurant, a dreamy spa,
and breathtaking snorkelling and diving
opportunities. Don’t miss a postprandial
tipple at cocktail bar Sky, followed by
a visit to the resort’s observatory for some
late-night stargazing. Lauren Ho
Kihavah Huravalhi Island, Maldives, tel: 960.
660 1020, anantara.com. Rates: from $650
210 ∑ ILLUSTRATOR: EOIN RYAN
Wild pitch
CAMP SARIKA BY AMANGIRI, UTAH
Eleven years after it opened Amangiri
among the majestic slot canyons and
flat-topped mesas of the Colorado Plateau,
the Aman group has set up ten luxury
tents a 30-minute hike away. Designed by
Luxury Frontiers and Selldorf Architects,
Camp Sarika makes the most of its wilderness
setting with private plunge pools and
canvas-shaded terraces offering stunning
views of rust-hued sands and 55 hectares
of dramatic topography. It might feel like
there’s little point in leaving your tent,
with its frontiers-lite palette of timber and
comfy leather-stitched furniture, but the
draw of excursions to the five surrounding
national parks, national monuments and
the Navajo Nation Reservation will probably
prove too much to resist in the end. After
a preprandial prickly pear martini by the
firepit, settle in to head chef Anthony
Marazita’s salad of charred corn, sweet onion,
watermelon radish and Pacific crab, and
grilled Wagyu ribeye served with cumin-
crusted heirloom carrots. Daven Wu
Kayenta Road, Canyon Point, Utah, US,
tel: 1.435 675 3999, aman.com. Rates: from $3,500
37.5: Total size in
square metres of
the camp’s bespoke,
hand-chiselled
timber headboards
3: Number of days it took to
put up one tent membrane
15: Number of bespoke
occasional chairs,
with detailed leather
straps, made especially
for Camp Sarika
280: Weight in kilograms
of the sculpture by artist
Jaume Plensa located
by the outdoor pool
102: Age of the
Araucaria tree
still growing on
the property
83: The angle
of the central
stone in one of
the bedrooms
that allows it
to hold the arch
together and
bear the load
of the building
Golden star
CAN FERRERETA, MALLORCA
This newly opened hotel in Mallorca’s
south-east corner has us seriously considering
a permanent move to the island. In the
small, golden sandstoned town of Santanyí,
local architects Bastidas and interior
designers WIT have breathed new life into
a sprawling 17th-century townhouse.
Both the public spaces and 32 guest rooms
are swathed in a warm mix of linen-covered
furniture, weathered timber, original
stonework, and a curated collection of
contemporary Spanish art and photography.
And even though Mondragó Natural Park
and a raft of white sandy beaches are nearby,
there is little reason to ever wander off-
property, especially as Can Ferrereta offers
a 25m outdoor pool (or, if it’s chilly, a 10m
indoor spa pool), Anne Semonin facials and
massages with organic olive oil, and head chef
Alvar Albaladejo’s locally-sourced menu of
fresh fish and prawns with rice, and burrata
made from Mallorcan milk. Daven Wu
Carrer de Can Ferrereta 12, Santanyí, Mallorca,
tel: 34.971 495 000, hotelcanferrereta.com.
Rates: from €315
 YOU WON'T FEEL AT HOME WITH US,
YOU'LL FEEL AT A FASANO.

Atual desde 1902

Hotel Fasano S‹o Paulo

SÃO PAULO . RIO DE JANEIRO . PUNTA DEL ESTE . FAZENDA BOA VISTA

ANGRA DOS REIS . BELO HORIZONTE . SALVADOR . RESIDENCE NEW YORK

@fasano #fasano www.fasano.com.br

Subscribers Since… 1996

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LEADING LIGHT OF ITALIAN ARCHITECTURE AND DESIGN
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∑ 213
 APRIL IS ALL ABOUTÉ

The inaugural Photo 2020, an international

festival of photography in Melbourne
Grand plans for our home away from
home – p216 Cindy Sherman headlining
a season of contemporary portraiture
at Fondation Louis Vuitton Interior
monologues and S/S20 looks – p228 The new
Ace Hotel Kyoto, designed by Kengo Kuma
and Commune Hugh Hayden’s cornbread
pudding – p242 A journey into electronic
music at London’s Design Museum, from
Kraftwerk to the Chemical Brothers
∑ 215
 LOBBY
GROUP
A hotel concept with
staying power
Photography Leandro Farina
Interiors Amy Heffernan

216 ∑
 From left, ‘Sesann’ Space
armchairs, £3,320 each, by
Gianfranco Frattini, for
Tacchini. ‘Tobia’ wall lights,
£657 each, by Ferruccio
Laviani, for Foscarini.
‘Rotazioni B’ rug, €7,260,
by Patricia Urquiola, for
CC-Tapis. ‘Ambiguous
Objects’ stair-chairs,
£1,100 each, by Ning Zhang.
‘Copernico 500’ pendant
light, £1,740, by Carlotta
de Bevilacqua and Paolo
Dell’Elce, for Artemide.
‘Pressed Table No 5’, £1,665,
by Studio Floris Wubben,
for SCP. ‘Trafalgar Straight’
whisky tumbler, £100;
‘Trafalgar Square’ decanter,
£595, both by Linley. Paint
(on pillars) in Charlotte’s
Locks, £47 for 2.5 litres,
by Farrow & Ball. ‘Illusion’
wallcovering (on main
wall), £173 per 10m roll, by
Arte. ‘Du Jour’ wallpaper
(centre), £100 per sq m,
by Lorenzo de Grandis,
for Wall & Decò. ‘Mystone
Ceppo di Gré’ floor tiles
in Grey, price on request,
by Marazzi
218 ∑

This page, from left, ‘Pilot’
chair, £3,080, by Barber
Osgerby, for Knoll. ‘Ziggy
Night’ bedside table, £1,822,
by Carlo Ballabio, for Porada.
‘Sabine’ key tassel, £24, by
Samuel & Sons. Sleep Tight
Rejuvenating Face Balm,
from £33, by Amly. Beoplay
A1 portable speaker, £230,
by Cecilie Manz, for Bang &
Olufsen. ‘Calebasse’ lamp,
£4,470, by Liaigre. ‘Days’
tumbler, £9, by Mist-o, for
Ichendorf Milano, from
The Conran Shop. ‘Stella’
bed, £19,265, by Nicole Fuller,
for Savoir. Silk pillowcases,
£52 each; duvet cover, £305;
sheet, £250, all by Gingerlily.
Paint in Charlotte’s Locks,
as before. ‘Majestic’
carpet in Polished Silver,
£80 per sq m, by Brintons
Space
Opposite, from left, ‘Pilot’
chairs, as before. ‘XL Wu’
side table, $4,700, by Egg
Collective. ‘Helix’ tray, £160;
thermo jug, £170; teapot,
£120; milk jug, £60; sugar
bowl, £50, all by Bernadotte
& Kylberg, for Georg Jensen.
‘Heron’ floor light, £1,600,
by Michaël Verheyden,
for CTO Lighting. Paint in
Charlotte’s Locks; ‘Majestic’
carpet, both as before.
‘Kaleidoscope’ wallpaper,
£77 per sq m, by Glamora
220 ∑

This page, from left,
‘Coda’ lounge chair, $8,500,
by Atelier de Troupe.
‘Terrazzo’ rug, £620 per
sq m, by The Rug Company.
‘Diesis 40’ sofa, £19,702,
by Antonio Citterio and
Paolo Nava, for B&B Italia.
‘Vizio’ side table, from
€470, by Leonardo Talarico,
for Living Divani. ‘Distinct’
side table, £1,009, by Ferm
Living. ‘Stub’ glasses, £50 for
four, by Grethe Meyer & Ibi
Trier Mørch, for Holmegaard,
from Twentytwentyone.
‘Automatic MkII’ record
player, £549, by Gearbox
Records. ‘Du Jour’ wallpaper;
‘Mystone Ceppo di Gré’
floor tiles, both as before
Opposite, on side walls,
‘Contemporary’ door
numbers, €47 each, by
Letters from Sweden, from
Habo. ‘Aura’ mirrors, €53
each, by Bjørn van den Berg,
for New Works. From left,
‘Uovo’ door handles, £144
each, by Olivari. ‘Do Not
Disturb’ sign, €113, by
GioBagnara. ‘Ombra’ plate
in Cielo, £41, by Laboratorio
Castello; ‘Arles’ red wine
glass, £18; linen napkin
in Leaf Green, £12.50, all
from The Conran Shop.
Space
‘Deep Line’ rug, €7,350,
by Jan Kath. ‘Malaparte’
console, €7,006, by
Stéphane Parmentier, for
GioBagnara. ‘Ott/Another
Paradigmatic Ceramic’ high
plate, €119; cup, €79; vase,
€439, all by Yoon Seok-Hyeon.
‘Pond’ mirror, £239, by Ferm
Living. Paint in Deep Reddish
Brown (on walls), £47 for 2.5
litres, by Farrow & Ball.
Paint in Charlotte’s Locks
(on doors); ‘Kaleidoscope’
wallpaper; ‘Majestic’ carpet,
all as before
222 ∑

From left, ‘Nærvær NA9’
tables, £430 each, by Norm
Architects, for &Tradition.
‘214’ chairs, 200th
anniversary edition, £655
each, by Michael Thonet
and Studio Besau-
Marguerre, for Thonet.
‘Stub’ glasses, as before.
‘Odeon’ cutlery, £85 for
six pieces, by David Mellor.
‘Je te mangerais dans la
main’ plates, £637 for six,
by Prune Nourry and JR,
for Bernardaud. Pastries,
from Dominique Ansel
Bakery. Planter, $175,
by Norden. ‘Hayama’
sideboard, £6,500, by
Patricia Urquiola, for
Cassina. ‘PZ 05’ food
boards, $92 each; ‘PZ 08’
Space
food board, $221, by TF £1,200, by Note, for Zilenzio.
Design. Large glass jug, ‘Bicoca’ table lamps, £156,
£39; small, £29, both by by Christophe Mathieu,
Hay, from Goodhood. for Marset. Mug, £22, by
‘Barisieur’ tea and coffee Hasami Porcelain, from
alarm clock, £345, by Goodhood. ‘Illusion 99011’
Joy Resolve. Salt and wallpaper; ‘Kaleidoscope’
pepper mills, €94 each, wallpaper; ‘Du Jour’
by Muller Van Severen, wallpaper; ‘Mystone
for Valerie Objects. Ceppo di Gré’ floor tiles,
‘Kyoto’ acoustic divider, all as before
 This page, from left, ‘Coda’
chair, as before. ‘Jacob’
desk, price on request,
by Rodolfo Dordoni, for
Minotti. Vintage desk
calendar, £33; notebook,
£25, both from Present &
Correct. Guest book,
£185, by Smythson. ‘Pico’
ballpoint pen, £89, by
Franco Clivio, for Lamy.
‘Ring My Bell’, £107, by
Olof Kolte, for Skultuna,
224 ∑
from SCP. ‘Arch’ stand, Opposite, ‘Sonar’ vanity by Andreas Engesvik, for
£39, by Ferm Living. unit, £2,037; washbasin, Hay. ‘Logis’ toothbrush
Leather tray with spheres, £870, both by Patricia holder, £88; ‘Metris’ tap,
€632, by GioBagnara. Urquiola, for Laufen. £335; ‘Logis’ soap dish, £88,
‘Sabine’ key tassel, £24, Mirror in Phantom, €289, all by Hansgrohe. Oriental
by Samuel & Sons. Brass by Tine K Home. From Noir Luxury bar soap, £12,
key bottle opener, €343, left, Orange Ginger Clove by Urban Apøthecary.
by Carl Auböck III, from dental floss, £17, by Officine Stardust perfume, £220
Werkstätte Carl Auböck. Universelle Buly. Be You for 75ml, by MiN New York.
Flowers, from That Flower Pure Happiness Whitening ‘Ghiara’ floor tiles in Calcina
Shop. ‘Du Jour’ wallpaper; toothpaste and toothbrush Fumo, price on request,
‘Mystone Ceppo di Gré’ set, £19, by Curaprox. by Marazzi. Paint in Deep
tiles, both as before ‘Tann’ toothbrush, £4, Reddish Brown, as before
Space
 This page, from left, ‘Garibabou’ mirrors, €1,580
‘Italic’ armchair, €2,925, each, by Margaux Keller.
by Fabio Novembre, for ‘Owen’ table, price on
Driade. ‘Deep Line’ rug; request, by Andrea Parisio,
‘Aura’ mirror (on wall), for Meridiani, from
both as before. ‘Polka Tollgård. ‘Chromogen’
Dot Cristal’ vase, £2,600, vases, price on request,
by Hanne Enemark, from by Cecilia Xinyu Zhang.
Vessel. ‘Oblique’ stool, Flowers, from That Flower
£205, by Ferm Living. Shop. ‘Carousel’ pendant
‘Contemporary’ door light, £3,420, by Lee Broom.
numbers, as before ‘Illusion 99011’ wallpaper;
‘Kaleidoscope’ wallpaper;
Opposite, from bottom
‘Mystone Ceppo di Gré’
left, ‘Swirl’ side tables,
floor tiles, all as before
£1,300 each, by Tom Dixon.
‘Clive’ benches, price For stockists, see page 240
on request, by Rodolfo
Dordoni, for Minotti.

226 ∑
Space
Fashion

Rear window
We’re putting S/S20 in the frame
Photography Julien T Hamon Fashion Isabelle Kountoure
This page, blazer, £860;
trousers, £425, both by
Paul Smith. Top, £80,
by Intimissimi. Necklace,
£540, by Hermès
Opposite, dress, £11,940,
by Chanel
‘Koam’ sideboard, £8,943,
by Jean-Marie Massaud,
for Zanat, from Viaduct.
‘Repp Stripe’ rug, from
£11,369, by Thom Browne,
for The Rug Company

∑ 229
 Fashion

This page, dress, £5,000,

by Loewe. Earrings
(throughout), £125 for
pair, by Aeyde
Opposite, jacket, £1,500;
mini skirt, £625, both by
Dolce & Gabbana. Shoes,
£195; earrings, as above,
both by Aeyde
‘Koam’ sideboard, as before.
‘Bai Lu’ chair, £810, by
Neri & Hu, for Lema. ‘Loom’
fabric in Plaster, £149 per m,
by Mark Alexander
 Fashion

This page, dress, €1,290, Opposite, trousers, £850, by

by Balenciaga Louis Vuitton. Necklace, £540,
by Hermès. Corset, stylist’s own
‘Koam’ sideboard; ‘Repp Stripe’
rug, both as before ‘Split’ mirror, £2,300, by Lee Broom
Top, £250, by Boss.
Earrings, as before
‘Colonial’ sofa, £5,380,
by Ole Wanscher, for
Carl Hansen & Søn,
from The Conran Shop
Fashion
Fashion
This page, tank top, €790, by Proenza
Schouler. Trousers, £485, by Max Mara.
Shoes, £300, by Dorateymur
‘Kya’ stool, price on request, by Neuland
Paster & Geldmacher, for Freifrau.
‘Koam’ sideboard, as before. AT-LP5x
turntable, £349, by Audio-Technica
Opposite, top, £790; skirt,
£825, both by Prada
‘Colosseo’ sofa, £13,000, by Mauro
Lipparini, for Natuzzi. Wall clock, £175,
by Mondaine, from The Conran Shop
Fashion
This page, trousers, £785;
top, £2,195, both by Saint Laurent
by Anthony Vaccarello
‘Colonial’ sofa, as before. ‘Classic’
radiator, from £424, by Bisque
Opposite, dress, £935, by
Kwaidan Editions. Shoes,
£300, by Dorateymur
‘Koam’ sideboard, as before.
‘Raku’ vase, £2,100, by
Joachim Lambrecht, from Willer.
‘Bai Lu’ chair, as before
For stockists, see page 240
Model: Martina Boaretto
at Viva London
Casting director: David Steven
Wilton at East
Hair: Cathy Ennis using
Bumble and Bumble
Make-up: Mirijana Vasovic
using YSL Beauty
Set designer: David De Quevedo
at Bryant Artists
Interiors: Jacqui Scalamera
Photography assistant:
Joseph Conway
Fashion assistants:
Marianne Kakko, Josefin Forsberg,
Aylin Bayhan
Set design assistants:
Aaron Vernon, Lauren McDonald
Interiors assistant:
Melissanthe Panagiotopoulou
∑ 239
Stockists

C F M
&Tradition Hirsh London
Tel: 45.39 20 02 33 (Denmark) Tel: 44.20 7499 6814 (UK)
andtradition.com hirshlondon.com
Holland & Holland

A
Cartier Fabio Salini Marazzi
Tel: 44.20 3147 4850 (UK) Tel: 44.20 7584 4639 (UK) Tel: 44.20 7499 4411 (UK) marazzitile.co.uk
cartier.com fabiosalini.co.uk hollandandholland.com
Margaret Howell

I
Cassina Farrow & Ball Tel: 44.20 7009 9009 (UK)
Acne Studios Tel: 44.20 7584 0000 (UK) Tel: 44.1202 876141 (UK) margarethowell.co.uk
acnestudios.com cassina.com farrow-ball.com
Margaux Keller
Aeyde CC-Tapis Favius margauxkellercollections.com
aeyde.com Tel: 39.02 8909 3884 (Italy) Tel: 49.941 6409 0730 (Germany)
Interlübke Mark Alexander
cc-tapis.com favius.de
Tel: 49.5242 121 (Germany) markalexander.com
Akris
Cecilia Xinyu Zhang Ferm Living interluebke.com
akris.com Marset
Tel: 47.45 10 88 52 (Norway) Tel: 45.7022 7523 (Denmark)
Intimissimi Tel: 34.93 460 2067 (Spain)
Alexandra Jefford ceciliaxinyuzhang.com fermliving.com
Tel: 44.20 7495 3079 (UK) marset.com
alexandrajefford.com
Chanel Foscarini intimissimi.com
Amly Max Mara
Tel: 44.20 7493 5040 (UK) Tel: 39.04 1595 3811 (Italy)
Tel: 44.20 7499 7902 (UK)

J
amlybotanicals.co.uk chanel.com foscarini.com
maxmara.com
Another Country Chaumet Freifrau
Tel: 44.20 7486 3251 (UK) MHL by Margaret Howell
Tel: 44.20 7495 6303 (UK) Tel: 49.5261 9713300 (Germany)
anothercountry.com Tel: 44.20 7033 9494 (UK)
chaumet.com freifrau.com
margarethowell.co.uk
Ara Vartanian ClassiCon

G
Jan Kath Midgard
Tel: 55.11 3815 0200 (Brazil) Tel: 49.89 74 81 33 0 (Germany) Tel: 49.234 9412344 (Germany)
aravartanian.com Tel: 49.40 35 777 444 (Germany)
classicon.com jan-kath.com midgard.com
Arte Cor Jil Sander
Tel: 44.800 500 3335 (UK) Mikimoto
Tel: 49.52 42 41 02 0 (Germany) jilsander.com
arte-international.com Gearbox Records Tel: 44.20 7399 9860 (UK)
cor.de
gearboxrecords.com Joy Resolve mikimoto.com
Artemide Crockett & Jones joyresolve.com
artemide.com Georg Jensen MiN New York
Tel: 44.20 7839 5239 (UK)
Tel: 44.20 7499 6541 (UK) Tel: 1.212 206 6366 (US)

K
Atelier de Troupe crockettandjones.com
georgjensen.com min.com
Tel: 1.323 870 5303 (US) CTO Lighting
atelierdetroupe.com Geox Minotti
Tel: 44.20 7686 8700 (UK)
Tel: 44.20 7629 5681 (UK) Tel: 44.20 7323 3233 (UK)
Atlein ctolighting.co.uk
geox.com minotti.com
atlein.com Curaprox Knoll
Gingerlily Tel: 44.20 7236 6655 (UK) MSGM
Audio-Technica curaprox.com
Tel: 44.20 8877 9905 (UK) knolleurope.com Tel: 44.20 7581 6112 (UK)
audio-technica.com gingerlily.co.uk msgm.it

D
Kwaidan Editions

B N
GioBagnara Tel: 33.1 44 61 53 60 (France)
Tel: 39.01 0251 8989 (Italy) kwaidaneditions.com
giobagnara.com

L
David Mellor Glamora
Tel: 44.20 8050 4259 (UK) Tel: 39.05 3607 6403 (Italy)
Bang & Olufsen Natuzzi
davidmellordesign.com glamora.it
Tel: 44.20 3936 1483 (UK) Tel: 44.800 316 3044 (UK)
bang-olufsen.com David Morris Glenn Spiro natuzzi.it
Tel: 44.20 7499 2200 (UK) Tel: 44.20 7135 3535 (UK) Lamy
B&B Italia Neo/Craft
davidmorris.com glennspiro.com lamy.de
Tel: 44.20 7591 8111 (UK) Tel: 49.30 80 102 990 (Germany)
bebitalia.com De Grisogono Goodhood Laufen neocraft.com
Tel: 44.20 7499 2225 (UK) Tel: 44.20 7729 3600 (UK) Tel: 44.1530 510007 (UK)
Balenciaga New Works
degrisogono.com goodhoodstore.com laufen.co.uk
Tel: 33.1 56 52 17 17 (France) Tel: 45.7230 9999 (Denmark)
balenciaga.com Deveaux Graff Lee Broom newworks.dk
deveauxnewyork.com Tel: 44.20 7584 8571 (UK) Tel: 44.20 7820 0742 (UK)
Bernardaud Ning Zhang
graff.com leebroom.com
Tel: 33.1 47 42 82 66 (France) Dolce & Gabbana Tel: 44.7565 489046 (UK)
bernardaud.com Tel: 44.20 7659 9000 (UK) Grenfell Lema ningzhangkiko.com
dolcegabbana.com grenfell.com Tel: 44.20 3761 3299 (UK)
Bisque Norden
lemamobili.com
Tel: 44.20 7328 2225 (UK) Dominique Ansel Bakery nordengoods.com

H
bisque.co.uk Tel: 44.20 7324 7705 (UK) Liaigre

O
dominiqueansellondon.com liaigre.com
Boghossian
Tel: 44.20 7495 0885 (UK) Dorateymur Lindberg
boghossianjewels.com dorateymur.com lindberg.com
Habo
Boss Draenert Tel: 46.36 484 00 (Sweden) Linley
Tel: 44.20 7734 7919 (UK) Tel: 49.7545 208 39 (Germany) Tel: 44.20 7730 7300 (UK) Officine Universelle Buly
haboselection.com
hugoboss.com draenert.de davidlinley.com Tel: 33.1 43 29 02 50 (France)
Hansgrohe buly1803.com
Boucheron Driade Tel: 44.1372 472 056 (UK) Living Divani
Tel: 44.20 3936 9090 (UK) Tel: 39.05 2381 8618 (Italy) Tel: 39.03 163 0954 (Italy) Olivari
hansgrohe.co.uk
boucheron.com driade.com livingdivani.it Tel: 39.03 2283 5080 (Italy)
Hay olivari.it
Brintons hay.dk Loewe

E
Tel: 44.800 505055 (UK) Tel: 44.20 7493 1631 (UK) Oliver Spencer
brintons.co.uk Hermès loewe.com Tel: 44.20 7269 6444 (UK)
Tel: 44.20 7098 1888 (UK) oliverspencer.co.uk
Brunello Cucinelli hermes.com Loro Piana

P
brunellocucinelli.com Tel: 44.20 7499 9300 (UK)
Edward Green Herno loropiana.com
Tel: 44.20 7839 0202 (UK) Tel: 39.02 9443 2789 (Italy)
edwardgreen.com herno.it Louis Vuitton
Tel: 44.20 7998 6286 (UK)
Egg Collective louisvuitton.com
Tel: 1.347 889 7594 (US) Paul Smith
eggcollective.com Tel: 44.20 7493 4565 (UK)
paulsmith.com
Pinch Xavier (left) wears suit, £525;
Tel: 44.20 7622 5075 (UK) shirt, £109, both by Boss. Shoes,
pinchdesign.com
£1,020, by Edward Green
Pink Shirtmaker
Tel: 44.20 7930 6364 (UK) Takuya wears jacket, £1,150;
thomaspink.com trousers, £490, both by Holland
Porada
& Holland. Shirt, £130, by
Tel: 44.20 3155 3065 (UK) Pink Shirtmaker. Shoes,
porada.it £675, by Crockett & Jones
Prada ‘Another’ chair (left), £495,
Tel: 44.20 7647 5000 (UK) by Another Country.
prada.com
‘Avery’ dining chair, from
Present & Correct £580, by Pinch
Tel: 44.20 7278 2460 (UK)
presentandcorrect.com See page 078
Pringle of Scotland
Tel: 44.1450 360200 (UK)
pringlescotland.com
Proenza Schouler
Tel: 1.212 420 7300 (US)
proenzaschouler.com

R
Reiss
Tel: 44.20 7486 6557 (UK)
reiss.com
Richard Mille
Tel: 44.20 7123 4155 (UK)
richardmille.com
Rochas
rochas.com
Rolf Benz
Tel: 49.74 52 60 10 (Germany)
rolf-benz.com

S
Saint Laurent
Tel: 44.20 7235 6706 (UK)
ysl.com
Samuel & Sons
Tel: 44.20 7351 5153 (UK)
samuelandsons.com
Sarah Myerscough Gallery
Tel: 44.20 7495 0069 (UK)
sarahmyerscough.com

Y
Savoir TF Design Tom Dixon Viaduct
Tel: 44.20 7493 4444 (UK) Tel: 1.415 223 4710 (US) Tel: 44.330 363 0030 (UK) Tel: 44.20 7278 8456 (UK)
savoirbeds.co.uk tinafreydesigns.com tomdixon.net viaduct.co.uk
Schönbuch That Flower Shop Twentytwentyone Victoria Beckham Yoon Seok-Hyeon
Tel: 49.9761 3962 0 (Germany) thatflowershop.co.uk Tel: 44.20 7288 1996 (UK) Tel: 44.20 7501 1122 (UK) Tel: 31.6 25 43 68 85
schonbuch.com twentytwentyone.com victoriabeckham.com (Netherlands)
The Conran Shop
SCP Tel: 44.20 7723 2223 (UK) yoonseokhyeon.com

U W
Tel: 44.20 7739 1869 (UK) conranshop.co.uk

Z
scp.co.uk
The Rug Company
Smythson therugcompany.com
Tel: 44.20 3535 8009 (UK)
smythson.com Thonet Urban Apøthecary Wagner Living
Tel: 49.6451 508 0 (Germany) Tel: 44.333 577 5288 (UK) Tel: 49.82 39 78 9 151 (Germany) Zeitraum
Suzanne Syz thonet.de urbanapothecarylondon.com wagner-living.com Tel: 49.8171 418140 (Germany)
Tel: 41.22 310 20 84 (Switzerland)
Tine K Home Wall & Decò zeitraum-moebel.de
suzannesyz.ch

V
Tel: 45.28 308380 (Denmark) Tel: 39.05 4491 8012 (Italy) Zilenzio
tinekhome.com

T
wallanddeco.com Tel: 46.19 672 1700 (Sweden)
Tobias Grau Walter Knoll zilenzio.se
Tel: 49.4101 3700 (Germany) Tel: 49.7032 2080 (Germany)
tobiasgrau.com Valerie Objects walterknoll.de Correction
Tel: 32.3 600 2143 (Belgium)
Tacchini Tod’s Werkstätte Carl Auböck The mirror pictured on page
valerie-objects.com
Tel: 39.03 6250 4182 (Italy) Tel: 44.20 7493 2237 (UK) Tel: 43.1 523 66 3120 (Austria) 049 of Wallpaper’s February
tacchini.it tods.com Vessel werkstaette-carlauboeck.at issue is ‘The Mirror’, €3,200
Tel: 44.20 7727 8001 (UK) per pair, by Kunsik Choi,
Tecta Tollgård vesselgallery.com Willer kunsik.com, and wins a 2020
Tel: 49.5273 37 89 0 (Germany) Tel: 44.20 7952 6070 (UK) willer.co.uk Wallpaper* Design Award.
tecta.de tollgard.com See more about his design
at Wallpaper.com.

∑ 241
 Artist’s Palate

#111
HUGH HAYDEN’S
Cornbread pudding
‘Twig 450’ table,
Hugh Hayden’s first show in London, at Lisson £1,320, by Russell
Gallery, is an ode to Southern food: invented Pinch, for Pinch.
‘Ombra’ dessert
on plantations and intertwined with the history
plate in Ardesia, £31,
of slavery. The Texan sculptor’s meditation on by Laboratorio
identity and diaspora includes cast iron skillets Castello, from
The Conran Shop
overlaid with African masks, and a video piece
showing him cooking and eating bacon. For our For stockists,
see page 240
recipe series, he offers a twist on his mother’s
quintessentially Southern cornbread, refined
through months of ‘internet sleuthing and
weekly recipe trials. I call it a pudding because
it’s thick and moist, yet doesn’t need a spoon.’
‘American Food’, 12 March–2 May, lissongallery.com.
For Hayden’s recipe, see Wallpaper.com ∏

242 ∑ PHOTOGRAPHY: OSKAR PROCTOR ENTERTAINING DIRECTOR: MELINA KEAYS INTERIORS: JACQUI SCALAMERA WRITER: TF CHAN
 THE ITALIAN LIFESTYLE
OF LIVING OUTDOORS.
Shared values have given rise to a cooperation between EMU and FAI Fondo Ambiente
Italiano to protect and promote our natural landscapes and artistic heritage.
Studiopiù International

OUTDOOR DESIGN COLLECTION Villa e Collezione Panza, Varese

CAROUSEL by Sebastian Herkner The Slope by Bob Verschueren, work of Land Art

emu.it

Hall 5 Official Sponsor Emu Outdoor Interlude

Stand C05 Internazionali di Tennis d’Italia Venice 10-09 / 11-10
Milan 21-26 April Rome 4-17 May homofaberevent.com