6/15/12
9/9/11
ISTANBUL EDITION HOTEL
ESPA at the Istanbul EDITION Hotel
Entrance Elevator Lobby
The brand new luxury lifestyle EDITION Hotel is scheduled to operate and make its European debut in Istanbul in April 2011. With the extraordinary, 20,000 square foot, three-floor ESPA spa, Istanbul EDITION Hotel offers its guests an incomparable spa experience integrating beauty, health, and wellness in a setting of fine design and luxury. An inimitable experience; a stylish immersion into breathtaking contemporary design with influences of Turkish tradition.
Hammam Scrub Room
Spread over three floors, this astonishingly large 20,000 square foot spa with the dark and opulent lighting, and dark materials, such as rich metallic woods, embossed bronze floors and walls upholstered in exquisite horsehair add a truly spectacular design atmosphere. The play of light was one of the main components in the design inspiration of Hirsch Bedner Associates and was drawn from the faceted cut out patterns found in a traditional Turkish Hammam. A neutral tone color scheme was applied throughout the ESPA spa as to relax the clients and provide a tone of luxury; opulent chocolate brown marble and cast bronze sinks create a deep sense of calm and warmth throughout the Turkish Hammam.
Hammam
Hammam Steam Room Door
Relax Room
SNOW Room
Pool Heated Chaise Lounges
Reception Lobby Lounge
THE LOBBY of Istanbul EDITION Hotel
Light design has been another key component in this design inspiration; the creation of shadows and streaks of light sets the tone and the atmosphere. The lutron system installed in the treatment rooms is programmed to have different light levels throughout the varying stages of the treatment: with a welcoming level for arrival, a very low level for treatment, another level for showering, and a level for relaxation. The spa has both passive and active spaces, and the light levels reflect each space with the fitness room being the brightest.
The Hammam, a truly focal and traditional element of Turkish culture combines the functionality and the structural elements of its predecessors in Anatolia, the Roman thermae and Byzantine baths, with the Central Asian Turkish tradition of steam bathing, ritual cleansing and respect of water. The Turkish Hammam becomes an intimate and exclusive haven at the ESPA spa; an experience where design meets rejuvenation to soothe the mind and cleanse the body. The alluring design and the opulent spaces make the guests feel indulged and protected; a spa design that creates an unforgettable experience.
THE LOBBY of Istanbul EDITION Hotel
Image Courtesy of Istanbul EDITION Hotel
Furthermore, the Istanbul EDITION Hotel is a 15-story tower which includes 78 guest rooms and a full-floor penthouse, it serves as a sophisticated hub providing multiple venues for relaxing and entertaining including the ESPA spa, Cipriani restaurant, lobby bar, drawing room, screening room, meeting rooms and special event space, a business center, and a nightclub.
Fitness Center
Detail of Istanbul EDITION Hotel
Detail of Istanbul EDITION Hotel
9/7/11
7/21/11
Designer of the Year
Thomas Heatherwick tends to defy categorisation as a designer, as do his works. His UK Pavilion for this year's Shanghai Expo, the truly remarkable Seed Cathedral (see Best New Public Building), melds art and architecture. His 'Spun' chair -- originally created in copper and steel for Haunch of Venison using a metal spinning process that's traditionally applied to drum-making, and then 'respun' in a rippled, moulded plastic version for Magis -- looks more like an art installation than a chair. And his 'Extrusions' collection of aluminium benches, using aeronautical technology, is pure sculpture. Heatherwick Studio 'exists to make extraordinary projects happen'.
Company: Heatherwick Studio
Established: 1994
Based: London
Key projects 2010: UK Pavilion for Shanghai Expo; 'Spun' chairs for Haunch of Venison and Magis; 'Extrusions' benches; planning granted for the biomass-fuelled Teesside Power Station; design for a new London bus unveiled
7/19/11
Best new hotel
Located in a peaceful corner of the Côte d'Azur, La Réserve is a world
away from the buzz of neighbouring Saint-Tropez. Architect Jean-Michel
Wilmotte's transformation of the 1970s structure has not diluted the
modernist magic of the original building. Wilmotte has simply
reconfigured it, and reclothed it in a sandier hue. The 16 suites and
seven regular rooms are superb; all have a terrace or a herb-filled
garden. The ochre and white interiors, with furniture by Hans Wegner,
Flexform and B&B Italia, among others, are designed around the
Mediterranean view - even the bathtubs look out to sea. But the hotel's
real trump card is its spa, which boasts 1,000 sq m of light-filled
space.
Chemin de la Quessine, RamatuelleKey features: A revamped modernist slab on the Côte d'Azur now housing airy, minimalist rooms, and a fabulous spa and restaurant, all with exceptional views of the Mediterranean
www.lareserve-ramatuelle.com
www.wilmotte.fr
7/4/11
Restaurant & Bar
Supperclub presents a feast for each of the senses. Dedicated to creativity, Supperclub delivers its guests a tempting selection of cuisine, music, visuals and performances.
Le salon coloré serves a late à la carte menu where guests can enjoy delicious food and an international selection of fine tunes played by resident DJs. Dancers energise the dance floor, while diners recline upon white banquettes, in a contemporary take on a Roman feast. The minimalist nightspot is the perfect canvas for social, cultural, and fashionable events and offers a stage to innovators at every expressive level; chefs, DJs, performers, artists, designers and creative people in general. The unique atmosphere at Supperclub is the result of an exceptional mix of sensory experiences - guaranteeing a night you'll never forget.
6/28/11
Aquariva by Marc Newson
Australian designer Marc Newson has designed a speed boat in collaboration with Officina Italiana Design for Italian boat brand Riva.
Called Aquariva by Marc Newson, the design is a reinterpretation of the Aquariva boat design that incorporates anodized aluminium and a textile-based laminate with the appearance of wood. The design will be available in an edition of 22 through Gagosian Gallery.
6/27/11
The London 2012 Olympic Torch Design
The East London-based design studio BarberOsgerby was chosen for the historic task through a competitive tender run by LOCOG and the Design Council.
The design, engineering and manufacture of the Torch celebrates the best of British talent, with the designers working in partnership with Basildon based product engineers Tecosim and Coventry based manufacturers The Premier Group. Together they have developed the prototypes on show today and the processes for the mass production of the Torches that will start later this year.
The Torch, which stands 800mm high and weighs 800g is made up of four key pieces - an inner and an outer aluminium alloy skin perforated by 8,000 circles that are held in place by a cast top piece and base.
Representing the inspirational stories of the 8,000 Torchbearers who will carry the Olympic Flame, the circles which run the length of the body of the Torch also offer a unique level of transparency - allowing people to see right to the heart of the Torch and view the burner system which will keep the Olympic Flame alive. The circles also help ensure heat is quickly dissipated without being conducted down the handle and providing extra grip.
Responding to a call in the brief to recognise the fact that more than half of the London 2012 Torchbearers are expected to be young people aged between 12 and 24, several design features have been implemented to produce what will be one of the lighter Olympic Torches. Crafted from an aluminium alloy, developed for the aerospace and automotive industry that is lightweight whilst having good tensile strength and excellent heat resistance, the 8,000 circles also reduce the weight of the final design whilst ensuring strength isn't compromised.
The torch will be carried by 8,000 inspirational Torchbearers on a 70-day Olympic Torch Relay, which will take the Olympic Flame on an 8,000 mile journey across the UK next summer. From the start point of the London 2012 Olympic Torch Relay at Land's End on 19 May 2012 an average of 110 people a day will take centre stage by carrying the Olympic Flame on its journey around the UK before it arrives at the Olympic Stadium on 27 July 2012 for the lighting of the cauldron at the Opening Ceremony, signifying the start of the London 2012 Olympic Games.
"This is a great example of how government procurement and design can come together - not just to create a beautiful, iconic example of design excellence, but to provide real business opportunities and to show the world that Britain is a leader in design-led innovation and manufacturing," said David Kester, Chief Executive of the Design Council. "I am sure the whole of the UK design industry will join us in congratulating Barber Osgerby on what is a huge achievement."
The design, engineering and manufacture of the Torch celebrates the best of British talent, with the designers working in partnership with Basildon based product engineers Tecosim and Coventry based manufacturers The Premier Group. Together they have developed the prototypes on show today and the processes for the mass production of the Torches that will start later this year.
The Torch, which stands 800mm high and weighs 800g is made up of four key pieces - an inner and an outer aluminium alloy skin perforated by 8,000 circles that are held in place by a cast top piece and base.
Representing the inspirational stories of the 8,000 Torchbearers who will carry the Olympic Flame, the circles which run the length of the body of the Torch also offer a unique level of transparency - allowing people to see right to the heart of the Torch and view the burner system which will keep the Olympic Flame alive. The circles also help ensure heat is quickly dissipated without being conducted down the handle and providing extra grip.
Responding to a call in the brief to recognise the fact that more than half of the London 2012 Torchbearers are expected to be young people aged between 12 and 24, several design features have been implemented to produce what will be one of the lighter Olympic Torches. Crafted from an aluminium alloy, developed for the aerospace and automotive industry that is lightweight whilst having good tensile strength and excellent heat resistance, the 8,000 circles also reduce the weight of the final design whilst ensuring strength isn't compromised.
The torch will be carried by 8,000 inspirational Torchbearers on a 70-day Olympic Torch Relay, which will take the Olympic Flame on an 8,000 mile journey across the UK next summer. From the start point of the London 2012 Olympic Torch Relay at Land's End on 19 May 2012 an average of 110 people a day will take centre stage by carrying the Olympic Flame on its journey around the UK before it arrives at the Olympic Stadium on 27 July 2012 for the lighting of the cauldron at the Opening Ceremony, signifying the start of the London 2012 Olympic Games.
"This is a great example of how government procurement and design can come together - not just to create a beautiful, iconic example of design excellence, but to provide real business opportunities and to show the world that Britain is a leader in design-led innovation and manufacturing," said David Kester, Chief Executive of the Design Council. "I am sure the whole of the UK design industry will join us in congratulating Barber Osgerby on what is a huge achievement."
'dressed' collection by marcel wanders for alessi
asked about whether the form and aesthetics of the pieces or their functional needs were the starting point for his design process,
wanders underscores the interconnectedness of the two. 'function is not the reason we love things,' he reflects: 'function is where
we start. [but] decorations play a role in understanding the object' and so the engravings and delicate profiles of the 'dressed'
collection, for example, are designed to suggest the objects' use in more ceremonial, special occasions.
in fact most of wanders's design process involves writing and conceptualizing, not sketching. only after developing the ideas
and design elements that he wants to include in a piece does he go to his studio to make drawings, seeing the object for the first time.
part of the 'dressed' collection by marcel wanders for alessi
image © marcel wanders
additional pieces from the 'dressed collection'
image © marcel wanders
close view of mug, saucer, and spoon
image © marcel wanders
full view of the silverware pieces
image courtesy of alessi
full view of the silver tray
image courtesy of alessi
marcel wanders at alessi during new york design week 2011
wanders underscores the interconnectedness of the two. 'function is not the reason we love things,' he reflects: 'function is where
we start. [but] decorations play a role in understanding the object' and so the engravings and delicate profiles of the 'dressed'
collection, for example, are designed to suggest the objects' use in more ceremonial, special occasions.
in fact most of wanders's design process involves writing and conceptualizing, not sketching. only after developing the ideas
and design elements that he wants to include in a piece does he go to his studio to make drawings, seeing the object for the first time.
part of the 'dressed' collection by marcel wanders for alessi
image © marcel wanders
additional pieces from the 'dressed collection'
image © marcel wanders
close view of mug, saucer, and spoon
image © marcel wanders
marcel wanders:
'as a kid, I loved making gifts: finding the right thing, packaging them... and by doing so I learned that a good gift
has two very important qualities. one is that when you open it, and you see what you got, you think, 'of course;
I didn't even know that I needed this, but this is so [perfect for] me; this is something I would love to have.'
the other [thought] that happens at the same time is, 'oh yes, of course, this is something I can only get from this person.'
so in fact a good gift celebrates the relationship between two people: celebrates the relationship between someone
who gives something and someone who receives something. design for me is the same thing. in all the products
you have both parts, and they work together.'
has two very important qualities. one is that when you open it, and you see what you got, you think, 'of course;
I didn't even know that I needed this, but this is so [perfect for] me; this is something I would love to have.'
the other [thought] that happens at the same time is, 'oh yes, of course, this is something I can only get from this person.'
so in fact a good gift celebrates the relationship between two people: celebrates the relationship between someone
who gives something and someone who receives something. design for me is the same thing. in all the products
you have both parts, and they work together.'
full view of the silverware pieces
image courtesy of alessi
full view of the silver tray
image courtesy of alessi
closing up the conversation, wanders admits that one of his creative dreams is to design a mosque.
asked what would be inside, he responds:
asked what would be inside, he responds:
'there would be people inside! objects have a story; they speak, and I think we all in our own way
are sensitive to their words. and that's a beautiful thing about design: it speaks about the normal things
in life. so you find it everywhere; everybody relates to it.
are sensitive to their words. and that's a beautiful thing about design: it speaks about the normal things
in life. so you find it everywhere; everybody relates to it.
I think design is able to show the identity of people, but also how people can live together, share together;
how people can be brought together without problems. it's able to speak about life in a really simple and nearby way,
and therefore to pour a different light on things like different cultures who have blended together.
how people can be brought together without problems. it's able to speak about life in a really simple and nearby way,
and therefore to pour a different light on things like different cultures who have blended together.
I think it is important that design plays that role, that [designers] are able to show our respect for people by what we do.'
marcel wanders at alessi during new york design week 2011
New AOL Office at Palo Alto by Studio O+A
AOL launched a company-wide initiative to adapt to changes in online culture-which the company had been instrumental in creating in the first place. As part of this effort, AOL moved its West Coast headquarters to a new corporate space in Palo Alto and brought in Studio O+A to give the office a fresh design.
The existing space retained a distinctly 1980s corporate aesthetic: drop ceilings hanging over every office, high cubicles separating employees into tightly defined workstations, dark finishes, and oblique lines. O+A restored the space to a clean, white canvas-exposing the ceilings, stripping the walls to reveal the structure, and generally creating a spatial equivalent to the transparency that AOL was bringing to every aspect of its business.
Key to this approach is the concept of "honest materiality" - the embrace of materials and processes that originate in the construction industry and that increasingly provide the finish motifs for modern workplace design. At AOL, for example, oriented strand board (OSB), typically used by contractors to separate spaces on construction sites, was sanded, shaped, and finished to serve as a contemporary accent throughout the complex. Exposed ceilings, concrete floors, expansive sightlines, and modern furniture all contribute to the industrial look. The result is a space that communicates what it is made of and how it was built.
In keeping with this theme of transparency, O+A's floor plan emphasizes collaborative space-a change from segregated private offices to open workstations and the collegiality of shared environments. Two features of the AOL design highlight this concept. The first is a series of circular pods positioned throughout the main work areas as impromptu meeting rooms. Constructed of OSB and translucent fiberglass, these cozy silos provide a space for informal collaboration and spontaneous creativity. To encourage that spontaneity, the pods are open to all employees and cannot be reserved.
An even more prominent feature is the large, bright, collaborative space AOL has dubbed the Town Hall. Part kitchen, part play space, part kick-back area, the Town Hall also functions as an all-hands common area (Ariana Huffington spoke there when AOL acquired the Huffington Post), modeled after late-night eateries in San Francisco's Mission District. The kitchen's bench-seating, ample light, and bursts of color against a white palette go well with the game and relaxation area. Centrally located to bring together staff from departments that might not otherwise interact, the Town Hall is designed to foster the kind of creative cross-pollination for which tech companies like AOL are renowned.
And then there are graphics. AOL's new logo-the company's initials in a simple white font-can be placed effectively on any colorful background. Those playful backgrounds vary throughout the headquarters and include both abstract patterns and imagery drawn from nature and pop culture. All wall coverings in the space are custom designed.
The design embodies the elements of the new AOL-transparency, collaboration, creativity, and playfulness-to create a stimulating environment for the firm's staff.
Photos: Jasper Sanidad
The existing space retained a distinctly 1980s corporate aesthetic: drop ceilings hanging over every office, high cubicles separating employees into tightly defined workstations, dark finishes, and oblique lines. O+A restored the space to a clean, white canvas-exposing the ceilings, stripping the walls to reveal the structure, and generally creating a spatial equivalent to the transparency that AOL was bringing to every aspect of its business.
Key to this approach is the concept of "honest materiality" - the embrace of materials and processes that originate in the construction industry and that increasingly provide the finish motifs for modern workplace design. At AOL, for example, oriented strand board (OSB), typically used by contractors to separate spaces on construction sites, was sanded, shaped, and finished to serve as a contemporary accent throughout the complex. Exposed ceilings, concrete floors, expansive sightlines, and modern furniture all contribute to the industrial look. The result is a space that communicates what it is made of and how it was built.
In keeping with this theme of transparency, O+A's floor plan emphasizes collaborative space-a change from segregated private offices to open workstations and the collegiality of shared environments. Two features of the AOL design highlight this concept. The first is a series of circular pods positioned throughout the main work areas as impromptu meeting rooms. Constructed of OSB and translucent fiberglass, these cozy silos provide a space for informal collaboration and spontaneous creativity. To encourage that spontaneity, the pods are open to all employees and cannot be reserved.
An even more prominent feature is the large, bright, collaborative space AOL has dubbed the Town Hall. Part kitchen, part play space, part kick-back area, the Town Hall also functions as an all-hands common area (Ariana Huffington spoke there when AOL acquired the Huffington Post), modeled after late-night eateries in San Francisco's Mission District. The kitchen's bench-seating, ample light, and bursts of color against a white palette go well with the game and relaxation area. Centrally located to bring together staff from departments that might not otherwise interact, the Town Hall is designed to foster the kind of creative cross-pollination for which tech companies like AOL are renowned.
And then there are graphics. AOL's new logo-the company's initials in a simple white font-can be placed effectively on any colorful background. Those playful backgrounds vary throughout the headquarters and include both abstract patterns and imagery drawn from nature and pop culture. All wall coverings in the space are custom designed.
The design embodies the elements of the new AOL-transparency, collaboration, creativity, and playfulness-to create a stimulating environment for the firm's staff.
Photos: Jasper Sanidad
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