Fritz Hansen's FAVN by Jaime Hayon

The Republic of Fritz Hansen has recently launched FAVN, a new sofa designed by Jaime Hayon. FAVN (Danish for Embrace) is the result of a creative dialogue between Jaime Hayon and Fritz Hansen.

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FAVN  

"FAVN is an evolution of Fritz Hansen's design language that brings together the qualities of Spanish and Danish design," said Jaime Hayon. "FAVN is picking up from the long tradition of Arne Jacobsen in the sense that I wanted to create a form that was based on a shell, like the Egg and the Swan which looks equally beautiful from all angles."




The sofa is available in a wide range of colors: light grey, sage green, beige, taupe, chocolate, mustard, red, violet, dark blue and black. Each FAVN includes a mix of three fabrics to express the form of its three main components; the shell, seat and back and decorative cushions.

jaime hayon: bala + time piece + beetly bridge chair for sé collection

jaime hayon: bala + time piece + beetly bridge chair for sé collection II



'sé collection II' by jaime hayon
image courtesy of sé


spanish designer jaime hayon presents three new additions to his collection for london-based brand sé
which originally debuted last year. shown at spazio rossana orlandi during milan design week 2011,
the additions expand on the already complete range of classic tables, mirrors, armchairs and sofa.

simple and minimal in their design, the 'bala' side tables appear to float off of the ground, balancing only on a
slightly curved base. topped with a slab of carrera marble, the small side tables are made from solid ceramic
and are available in a range of glossy and metallic finishes.



'time piece' side tables
image courtesy of sé


'time piece' a series of variously sized side tables have been re-released in a solid wood version.
finished in a range of colorful lacquers, the stacked and contouring tables are a playful alternative to the
previously designed solid bronze collection.



in a few of the available lacquer colors
image courtesy of sé


representing a first for the french furniture brand, 'beetly bridge chair', is supported by a french walnut
wood base. the original was created with metal legs that seemingly disappear into their environment
while the updated version features bolder, more prominent and masculine lines.



beetly bridge chair with wooden legs
image © designboom



beetley bridge chair and time piece side table at milan design week 2011
image © designboom



front and 3/4 view
image courtesy of sé



designer jaime hayon

HSBC private bank commission

hella jongerius: daylight for HSBC private bank commission


'daylight' by hella jongerius for HSBC private bank commission

on the occasion of design miami / basel 2011 HSBC private bank has commissioned dutch designer hella jongerius to create a new piece for the bank's connection collection of limited edition design which first began in 2008.
jongerius whose practice is very much embedded in the fusion of industry and craft in combination with a strong research of color, has designed 'daylight', a table that explores how daylight changes and influences our perception of colors. Tthe furniture object consists of a wooden structure with a tabletop covered in multicolored resin blocks that are presented in two layers. The first is that of semi-transparent colors that reference the changing hues of natural daylight, with the underlying layer made up of solid color blocks. there is also the contrast of matte and glossy finishes, resulting in a table surface that exhibits how
colors can be versatile, particularly during the day when light is changing continuously.

detail of the color blocks which make up the tabletop


'this piece is more than a table - it is a work of art and an exploration of color. we feel that it is an important piece of design that,
as well as being decorative and functional, also tells a story and will be an important piece in years to come.'
- tony joyce, global head of marketing & communications, HSBC private bank

The table is set to be unveiled at design miami / basel in june 2011 within the HSBC private bank lounge
and will be then showcased at the HSBC private bank's head quarters in geneva, switzerland.



profile



detail of the two layers of color blocks - the top consisting of transparent colors refering to the changing hues of natural daylight, and the underlying layer made up of solid color blocks

softlab: polyp.lux


'polyp.lux' by softlab
all photos by alan tansey


developed for flash:light 2011 - festival of ideas for the new city, 'polp.lux' by new york city-based studio softlab,
is an installation that hung within the entrance of st. patrick's catholic school at the corner of prince and mott streets
in the busy metropolis.

the piece was designed to light up this entrance way for an evening event. the sculptural work was generated through
a gravity driven process in which three funneling forms of varying depths hang downwards. the surface contains
more than 1400 battery powered LEDs, installed onto the mylar panels which make up the form, flickering and blowing
in the wind with the intention of slowing down traffic through the experience, engaging and encouraging
visitors to co-mingle and interact with the work.






up close



details of the mylar, acrylic and LED components



profile view of the LEDs



the installation during daylight hours



the installation by night














form diagram 1


form diagram 2



form diagram 3





axonometric diagram


diagram of how lighting components are fastened to the mylar panels


project info
design team: carrie mcknelly, inessah selditz, michael szivos and elliot white
installation: carrie chang, andrew chen, caitlin duffy, rich ericson, jeff geisinger, brandt graves, ayaka hales, david hecht,
genevieve hoffman, mike kelberman, simon kristak, matt lake, avery max, owen nichols, chris niederer, geetha pedapati,
julia schleppe, john schlueter, austin smith, chi tam, felisia tandiono, alan tansey, and joan tom
materials: mylar sheets, acrylic, conductive thread, LEDs, lithium batteries
area: 250 square feet

Marcel Wanders: dressed for the occasion at 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

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.'

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:

 

'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.

 

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.  

 

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
portrait © designboom

Markus Johansson: cirrata octopus lamp

markus johansson: cirrata octopus lamp


'cirrata' by markus johansson


named after the suborder containing octopi, the 'cirrata' lamp series by swedish designer markus johansson
adopts the form of the sea creatures in a project that stretches the conventions of the use of corian
polymer surface.

johansson explored many materials and techniques in developing that which he finally used for 'cirrata'.
in the pieces, the heat-formable corian is molded on wooden bases to attain its unusual shape. in his description
of the project, johansson states:

'unexpected experiences and surprises wait deep down on the ocean floor: a body with many arms which sweeps along
and lights up the depth. Arrogant and presumptuous, there is no doubt about who is the ruler down here. a lonely
but nevertheless unafraid character with forms born out of the resemblance to other inhabitants of the deep depths.
sometimes still, sometimes alive, all depending on occasion and company. the character is 'cirrata', a glowing lamp
in the darkness of the ocean.'

two differently sized models of the lamp



'cirrata' in use



left: 'cirrata' prototype in colour; right: installation view of the piece



the corian material, cut but prior to being molded into shape



prototype models

ARCHITECTURE

prechteck: NYbillboard

'NYbillboard' by prechteck in manhattan, new york
all images courtesy prechteck

architect chris precht has sent us images of 'NYbillboard', a proposal for a new urban structure in
manhattan, new york. recognizing the necessity for architects to address the issues of density
and sustainability in the city, the design seeks to reorganize the conventional solution of a high-rise
by creating a horizontal layer that provide elevated links between towers.

the preliminary research done on the project saw a list of social problems around continuously building
vertically: a sense of isolation due to its distance from the public and urban conditions as well as
inefficiency in cases of emergency. by limiting its structural height, the design aims to refocus
the attention back to the users' experience. the ground level hosts a number of public functions,
providing direct access to a grid of linking walkways, elevated gardens and facilities. 

street view

distinguished by a crystal-like skin, the project serves as a gateway to brooklyn, liberty and staten island.

20% of the facade area allow algae bio cultivation to take place within the building's double skin facade.

this will help with internal air quality as well as produce bio-diesel which could be used by the integrated

nycarshare system. solar and photovoltaic panels cover a total area of 14,000 m2 on the top and side of

the structure, producing 7,200,000 kWh per year. 110 wind turbines attached to the west side of the tower

have the potential to generate an additional 1,400,000kWh per year, which accounts for roughly 13%

of the building's energy use.

facade detail

interior view

horizontal layer