Design Library_The latest collections of furniture, lighting and accessories by the world’s leading brands.

issue 13_2012Space Nurtures at Domaine de Boisbuchet – A new annual programme supporting young Singaporean designers through international collaborations.

p.c.

Stu

dio

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hoto

Tom

mas

o S

arto

ri

www.bebitalia.com

Anne, the creative director, and the two loves of her life: Jacob and Michel. Michel is designed by Antonio Citterio.

More Space 297X220DMichel e Pathos.indd 1 22/10/12 09.08

Anne, the creative director, and the two loves of her life: Jacob and Michel. Michel is designed by Antonio Citterio.

DESIGN PORTRAIT.

More Space 297X220DMichel e Pathos.indd 2 22/10/12 09.09

p.c.

Stu

dio

- P

hoto

Tom

mas

o S

arto

ri

www.bebitalia.com

Anne, the creative director, and the two loves of her life: Jacob and Michel. Michel is designed by Antonio Citterio.

More Space 297X220DMichel e Pathos.indd 1 22/10/12 09.08

Anne, the creative director, and the two loves of her life: Jacob and Michel. Michel is designed by Antonio Citterio.

DESIGN PORTRAIT.

More Space 297X220DMichel e Pathos.indd 2 22/10/12 09.09

5_more space_

Con-tent-s

Editor’sNote-

Editor_Heidi Dokulil

Singapore Editor_Kelley Cheng

Contributing Writers_Christine LiewGwen LeeUrchin

Copy EditorMonique Pasilow

Contributing Photographers_Patrick Bingham-HallLoh Jia Hui Katja Kejser Ng Shin Luey Kasper Holst PedersenJens Mourits SørensenZakaria Zainal

Illustration_ Anngee Neo Tobias Röttger

Creative Direction & Design_ The Gallery

more space is a publication of Space Furniture (ABN 82 136 665 391), 84 O’Riordan Street, Alexandria NSW 2015 Australia. Tel 61 2 8339 7588 Fax 61 2 8339 7599 and Space Furniture Pte Ltd (Reg No. 200100785Z), 77 Bencoolen Street, Singapore 189653. Tel 65 6415 0000. ©Space Furniture. more space is printed on ISO 14001 Certified (text) and FSC Certified (cover) paper stocks. Printing and colour separations by KHL Printing Co Pte Ltd. No material may be reproduced without prior written permission. While every effort has been made to ensure the accuracy of the information in this publication, the Publisher accepts no responsibility or liability for any errors, omissions or resultant consequences including loss or damage arising from reliance on information in the publication. All views expressed in this publication are not necessarily endorsed by the Publisher, Editor, Contributors or Space Furniture.

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Editor’s Note

Conversation Danish designer Cecilie Manz has produced work for Bang & Olufsen, glass for Holmegaard and most recently the Minuscule furniture collection for the Republic of Fritz Hansen. From her studio in Copenhagen, she chats with Urchin about the values she holds as a Danish designer and the influence heritage has on her work.

Opinion A vocal design democrat, Kelley Cheng explores the impact good design can have on our lives and discuses why we need designers who look beyond fame towards a new kind of design utopia.

Design News Outdoor collections by Driade, B&B Italia and Point, Spanish rug-maker Nanimarquina, the new accessories collection from Dinosaur Designs and Georg Jensen, inside B&B Italia’s Centre of Research & Design, lighting by Flos, Louis Poulsen and Bocci, Poliform Lab, Space Asia Hub wins the URA Architectural Heritage Award and Space Privileges launch.

In July this year, the two winners of the inaugural Space Nurtures programme attended one of the world’s most sought-after design schools at Domaine de Boisbuchet in France. In an initiative conceived by Space to connect young Singaporean designers with the world, more space gets a behind-the-scenes tour of the French countryside and the wonderful, creative world of Boisbuchet.

Archive One of Denmark’s most prolific designers, Hans J. Wegner graduated in architecture and then got two lucky breaks – the first working with Arne Jacobsen and the second having his Round chair released to the world during the 1960 presidential elections.

Design Library The 2012 collections from B&B Italia, Maxalto, Carl Hansen & Søn, Emeco, Ingo Maurer, Kartell, Moooi and more...

Design Icon Interior designer and furniture collector Peter Tay singles out Oscar Niemeyer’s Easy chair from 1972 as one of his favourite icons of modernist design.

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34

28

40

more space_ issue 13_

A summerin Boisbuchet

Spending the summer in the south of France is a magical experience and in this issue we go there with the Space Nurtures programme. A year in the making, this important programme was established by Space Furniture, Singapore to connect local designers with the international design scene. Here, we take you behind-the-scenes with 2012 winners Loh Jia Hui and Ng Shin Luey, to one of the world’s most creative boot camps for designers at the Domaine de Boisbuchet.

At a time of huge social change worldwide, new ways of designing is also on the mind of Kelley Cheng who discusses the origins of the humble chopstick and its message for designers today. We go inside B&B Italia's Centre of Research & Design to see how they bring the ideas of designers Naoto Fukasawa, Barber Osgerby and Patricia Urquiola to life, look at the legacy of Danish architect Hans J. Wegner, the son of a shoemaker whose carefully crafted furniture grew from the traditions of Danish craftsmanship, and have a conversation with fellow-Dane, Cecilie Manz, about her latest collection for Fritz Hansen and how Danish heritage influences her. And finally, in October

it was announced that Space Asia Hub and WOHA Architects had been awarded an Urban Redevelopment Authority’s Architectural Heritage Award for the conservation and restoration of the Space Furniture building. It is a huge achievement and an accolade well deserved.

Cover Story

5_more space_

Con-tent-s

Editor’sNote-

Editor_Heidi Dokulil

Singapore Editor_Kelley Cheng

Contributing Writers_Christine LiewGwen LeeUrchin

Copy EditorMonique Pasilow

Contributing Photographers_Patrick Bingham-HallLoh Jia Hui Katja Kejser Ng Shin Luey Kasper Holst PedersenJens Mourits SørensenZakaria Zainal

Illustration_ Anngee Neo Tobias Röttger

Creative Direction & Design_ The Gallery

more space is a publication of Space Furniture (ABN 82 136 665 391), 84 O’Riordan Street, Alexandria NSW 2015 Australia. Tel 61 2 8339 7588 Fax 61 2 8339 7599 and Space Furniture Pte Ltd (Reg No. 200100785Z), 77 Bencoolen Street, Singapore 189653. Tel 65 6415 0000. ©Space Furniture. more space is printed on ISO 14001 Certified (text) and FSC Certified (cover) paper stocks. Printing and colour separations by KHL Printing Co Pte Ltd. No material may be reproduced without prior written permission. While every effort has been made to ensure the accuracy of the information in this publication, the Publisher accepts no responsibility or liability for any errors, omissions or resultant consequences including loss or damage arising from reliance on information in the publication. All views expressed in this publication are not necessarily endorsed by the Publisher, Editor, Contributors or Space Furniture.

56

911

Editor’s Note

Conversation Danish designer Cecilie Manz has produced work for Bang & Olufsen, glass for Holmegaard and most recently the Minuscule furniture collection for the Republic of Fritz Hansen. From her studio in Copenhagen, she chats with Urchin about the values she holds as a Danish designer and the influence heritage has on her work.

Opinion A vocal design democrat, Kelley Cheng explores the impact good design can have on our lives and discuses why we need designers who look beyond fame towards a new kind of design utopia.

Design News Outdoor collections by Driade, B&B Italia and Point, Spanish rug-maker Nanimarquina, the new accessories collection from Dinosaur Designs and Georg Jensen, inside B&B Italia’s Centre of Research & Design, lighting by Flos, Louis Poulsen and Bocci, Poliform Lab, Space Asia Hub wins the URA Architectural Heritage Award and Space Privileges launch.

In July this year, the two winners of the inaugural Space Nurtures programme attended one of the world’s most sought-after design schools at Domaine de Boisbuchet in France. In an initiative conceived by Space to connect young Singaporean designers with the world, more space gets a behind-the-scenes tour of the French countryside and the wonderful, creative world of Boisbuchet.

Archive One of Denmark’s most prolific designers, Hans J. Wegner graduated in architecture and then got two lucky breaks – the first working with Arne Jacobsen and the second having his Round chair released to the world during the 1960 presidential elections.

Design Library The 2012 collections from B&B Italia, Maxalto, Carl Hansen & Søn, Emeco, Ingo Maurer, Kartell, Moooi and more...

Design Icon Interior designer and furniture collector Peter Tay singles out Oscar Niemeyer’s Easy chair from 1972 as one of his favourite icons of modernist design.

32

34

28

40

more space_ issue 13_

A summerin Boisbuchet

Spending the summer in the south of France is a magical experience and in this issue we go there with the Space Nurtures programme. A year in the making, this important programme was established by Space Furniture, Singapore to connect local designers with the international design scene. Here, we take you behind-the-scenes with 2012 winners Loh Jia Hui and Ng Shin Luey, to one of the world’s most creative boot camps for designers at the Domaine de Boisbuchet.

At a time of huge social change worldwide, new ways of designing is also on the mind of Kelley Cheng who discusses the origins of the humble chopstick and its message for designers today. We go inside B&B Italia's Centre of Research & Design to see how they bring the ideas of designers Naoto Fukasawa, Barber Osgerby and Patricia Urquiola to life, look at the legacy of Danish architect Hans J. Wegner, the son of a shoemaker whose carefully crafted furniture grew from the traditions of Danish craftsmanship, and have a conversation with fellow-Dane, Cecilie Manz, about her latest collection for Fritz Hansen and how Danish heritage influences her. And finally, in October

it was announced that Space Asia Hub and WOHA Architects had been awarded an Urban Redevelopment Authority’s Architectural Heritage Award for the conservation and restoration of the Space Furniture building. It is a huge achievement and an accolade well deserved.

Cover Story

6_more space_cover story_

more space_cover story_

7_6_more space_

Conversation-

7_

U: What are some of the values that are important to you as a designer?

CM: ‘Quality’ is an important word: both in the sense of using quality materials and solutions, but also that the design should be worth looking at, pleasing to the eye for a long period of time. Another way to see sustainability, you could say. Creating new objects is a great responsibility and it should, therefore, be done with respect, sincerity and a certain amount of humbleness.Are your Danish roots a strong influence on your designs?

Yes, definitely. I grew up in a family dedicated to craftsmanship and design as a starting point. Then comes nature. It is pretty dark in winter so we do cosy lighting. We live quite simply – design simple stuff. It’s safe and quiet here so we even have time enough to design speed bumps, poles and the backsides of everything…With an international movement celebrating local stories and traditions, do you think that the concept of ‘Danish design’ is even more relevant today?

I believe Danish design has been asleep for quite some time, but we are still here and should perhaps concentrate a little more on doing nice design than to write ‘Danish design’ below whatever.

You’ve also stated that materials can be a starting point in design. How do materials guide your design process?

It’s not always the material that comes first, functionality often does. The task is to find the right material for the right purpose. That it makes sense. That’s also a quality. Eventually the ‘right feeling’ often has the last word when final decisions are made: ‘does it feel right?’ Actually, an irrational approach but nevertheless important.What are some of your favourite materials and why?

I have always had a weakness for natural materials, especially wood, wickerwork, etc. My collection of baskets bought all around the world is quite substantial. I love to see how a super-normal object, like a basket, is made in so many variations and traditions. Materials are linked to traditions and craftsmanship, just see the Danish tradition of carpentry and furniture makers in the 1950s.

One of your recent projects is the Minuscule furniture collection for Fritz Hansen, recent winner of the 2012 ICFF Editors Award. What design brief did you receive from Fritz Hansen and how did you respond to it?

In the case of Fritz Hansen and Minuscule, the process had quite an untraditional starting point. Since they didn’t have a brief ready for me, we developed it through the process. We ended up doing a slim, yet comfortable chair dedicated to the ‘in between’ meeting situation – for the informal meeting in the breakout areas.A lot has changed in the world over the past decade. How has your studio’s work and approach to design shifted?

I guess my main approach is the same as when I started out 14 years ago. I’ve always tried to minimise, simplify, use wood and so on, and I will probably keep this track since this is my belief. But of course new materials, possibilities, changes in concerns are affecting the field and my work. Back then we had never heard the words ‘3-D file’, I drew everything by hand! Almost everything is possible now, wood can be compressed, mixed with plastic. Corian and many other composites are normal, but still solid wood and other natural materials are present and right now actually have a revival.

Other than commercial industrial products for major furniture brands – such as Fritz Hansen, PP Møbler, Bang & Olufsen and Georg Jensen – you also do quite a number of one-off experimental or artistic pieces. How do you see your artistic works relating to your commercial works?

I have always worked in two lanes: an industrial approach and a more free approach. In the first case it’s a cooperation with a company and the project has certain boundaries obviously. This is very exciting and like a riddle somehow, everything should end up fitting together and everybody should be happy with the result. In the other case, I often make the rules myself, or perhaps have no rules at all. I let the materials talk and decide, or I have an idea I need to test. Both parts are crucial to me and they nourish each other.

As with Minuscule, the synthesis of traditional craftsmanship and modern industrial production is an important recurring theme in your designs. How do they complement each other?

It’s not something you calculate at the beginning of a project, but afterwards you might see interesting configurations. The solutions just felt right. For instance, natural leather piping next to the smooth plastic leg frame: craftsmanship next to an industrial manufacturing process.

Why is traditional craft so important to you?

Traditional crafts and craftsmanship carry so much more than just ‘materialisation’. It’s identity, feelings, culture.It’s always fascinating to step into a designer’s studio and see the behind-the-scenes of the making process. Can you describe the studio you work in and what you see around you?

My studio reflects my interest in and curiosity towards tools, materials, details, and so forth. I collect both designed and non-design objects of various kinds, they are a great inspiration, but also material samples, colours, textures, etc.What projects are you currently working on?

I’m working on some tableware projects, furniture, and experimental works as well.

What unique qualities does Minuscule add to the Fritz Hansen collection?

Perhaps it shows a little of everything they stand for: upholstery, tradition, innovation, detail, being discreet, warmth versus cool, clean…

interview_urchinillustration_tobias röttger

Since setting up Manz Lab in 1998, a year after graduating from The Danish Design School in Copenhagen, Cecilie Manz has designed a portable audio player for Bang & Olufsen, damask for Georg Jensen, glass for Holmegaard and, most recently, the Minuscule furniture collection for Fritz Hansen. Here she chats with Urchin about her values as a Danish designer and the influences on her work.

6_more space_cover story_

more space_cover story_

7_6_more space_

Conversation-

7_

U: What are some of the values that are important to you as a designer?

CM: ‘Quality’ is an important word: both in the sense of using quality materials and solutions, but also that the design should be worth looking at, pleasing to the eye for a long period of time. Another way to see sustainability, you could say. Creating new objects is a great responsibility and it should, therefore, be done with respect, sincerity and a certain amount of humbleness.Are your Danish roots a strong influence on your designs?

Yes, definitely. I grew up in a family dedicated to craftsmanship and design as a starting point. Then comes nature. It is pretty dark in winter so we do cosy lighting. We live quite simply – design simple stuff. It’s safe and quiet here so we even have time enough to design speed bumps, poles and the backsides of everything…With an international movement celebrating local stories and traditions, do you think that the concept of ‘Danish design’ is even more relevant today?

I believe Danish design has been asleep for quite some time, but we are still here and should perhaps concentrate a little more on doing nice design than to write ‘Danish design’ below whatever.

You’ve also stated that materials can be a starting point in design. How do materials guide your design process?

It’s not always the material that comes first, functionality often does. The task is to find the right material for the right purpose. That it makes sense. That’s also a quality. Eventually the ‘right feeling’ often has the last word when final decisions are made: ‘does it feel right?’ Actually, an irrational approach but nevertheless important.What are some of your favourite materials and why?

I have always had a weakness for natural materials, especially wood, wickerwork, etc. My collection of baskets bought all around the world is quite substantial. I love to see how a super-normal object, like a basket, is made in so many variations and traditions. Materials are linked to traditions and craftsmanship, just see the Danish tradition of carpentry and furniture makers in the 1950s.

One of your recent projects is the Minuscule furniture collection for Fritz Hansen, recent winner of the 2012 ICFF Editors Award. What design brief did you receive from Fritz Hansen and how did you respond to it?

In the case of Fritz Hansen and Minuscule, the process had quite an untraditional starting point. Since they didn’t have a brief ready for me, we developed it through the process. We ended up doing a slim, yet comfortable chair dedicated to the ‘in between’ meeting situation – for the informal meeting in the breakout areas.A lot has changed in the world over the past decade. How has your studio’s work and approach to design shifted?

I guess my main approach is the same as when I started out 14 years ago. I’ve always tried to minimise, simplify, use wood and so on, and I will probably keep this track since this is my belief. But of course new materials, possibilities, changes in concerns are affecting the field and my work. Back then we had never heard the words ‘3-D file’, I drew everything by hand! Almost everything is possible now, wood can be compressed, mixed with plastic. Corian and many other composites are normal, but still solid wood and other natural materials are present and right now actually have a revival.

Other than commercial industrial products for major furniture brands – such as Fritz Hansen, PP Møbler, Bang & Olufsen and Georg Jensen – you also do quite a number of one-off experimental or artistic pieces. How do you see your artistic works relating to your commercial works?

I have always worked in two lanes: an industrial approach and a more free approach. In the first case it’s a cooperation with a company and the project has certain boundaries obviously. This is very exciting and like a riddle somehow, everything should end up fitting together and everybody should be happy with the result. In the other case, I often make the rules myself, or perhaps have no rules at all. I let the materials talk and decide, or I have an idea I need to test. Both parts are crucial to me and they nourish each other.

As with Minuscule, the synthesis of traditional craftsmanship and modern industrial production is an important recurring theme in your designs. How do they complement each other?

It’s not something you calculate at the beginning of a project, but afterwards you might see interesting configurations. The solutions just felt right. For instance, natural leather piping next to the smooth plastic leg frame: craftsmanship next to an industrial manufacturing process.

Why is traditional craft so important to you?

Traditional crafts and craftsmanship carry so much more than just ‘materialisation’. It’s identity, feelings, culture.It’s always fascinating to step into a designer’s studio and see the behind-the-scenes of the making process. Can you describe the studio you work in and what you see around you?

My studio reflects my interest in and curiosity towards tools, materials, details, and so forth. I collect both designed and non-design objects of various kinds, they are a great inspiration, but also material samples, colours, textures, etc.What projects are you currently working on?

I’m working on some tableware projects, furniture, and experimental works as well.

What unique qualities does Minuscule add to the Fritz Hansen collection?

Perhaps it shows a little of everything they stand for: upholstery, tradition, innovation, detail, being discreet, warmth versus cool, clean…

interview_urchinillustration_tobias röttger

Since setting up Manz Lab in 1998, a year after graduating from The Danish Design School in Copenhagen, Cecilie Manz has designed a portable audio player for Bang & Olufsen, damask for Georg Jensen, glass for Holmegaard and, most recently, the Minuscule furniture collection for Fritz Hansen. Here she chats with Urchin about her values as a Danish designer and the influences on her work.

9_

Fritz Hansen Ad

Opinion-

Towards a design democracyKelley Cheng takes us on a personal journey exploring the legacy of the democratic chopstick and theneed for a new kind of design utopia.

I aspire to be a design democrat. Perhaps it is a genetic thing.When my dad asked my six-year-old nephew, “What do you want to be when you grow up?”, he exclaimed,

“A doctor!” And my dad told him, “Then you have to be a good doctor, remember never to charge any sickly person who has no money.”

A doctor can save the world. An architect, too, can save the world. So, can a designer as an individual save the world?

I have a personal theory about this. We can attempt to save the world in many different ways, and if each of us can do so in our own small way, the world will be a better place. I suppose the ‘good doctor’ theory, prescribed by my dad, of giving to those who can’t afford it, would be one way to save the world as an individual. And if I ever design something that has a positive impact on the way we live, and I make it free for all, I suppose that will be one step toward saving the world.

If every designer were to come up with something – like a pair of chopsticks, so simple, so cheap, and yet so effective in making lives easier – with no copyright, then everyone would be able to reproduce it, everyone would be able to afford it, and everyone would be able to own it. This is design democracy at its simplest and best.

The spirit of designing something simply to solve a problem, not to be famous or make money, was alive 3,000 years ago when chopsticks were invented; unfortunately, that spirit is completely lost today.

Today designers sometimes act like superstars, creating a body of work primarily for money, fame and vanity. And it’s worrying when famous designers suggest that design is “not about solving problems”, as Karim Rashid does in his theory about changing the world. He wrote, “Now design is not about solving problems, but about a rigorous beautification of our built environments.” Somehow, design becomes superficial when designers become superstars and preach self-prescribed theory like a charlatan.

While beautifying our built environment is indeed important, it should not be limited to those times when a client is paying big money. It is easy for designers to criticise and complain when things around us are ugly and not well designed, but this happens because good designers often refuse to take on jobs that they think do not pay well, resulting in design being an elitist engagement. At the opposite end of the spectrum, there is a group of professionals contributing

beautiful design for reasons other than profit. Architect-turned-activist Mohammed Rezwan changed the lives of many students in Bangladesh with his solar-powered floating boats that allow school to continue despite floods. Project H Design is a non-profit organisation – run by designers, teachers and builders – that uses design to transform public education, often with limited budgets. In 2003, the Campana brothers designed the materially and culturally sustainable Favela chair, a hand glued and nailed seat made with wood scraps from the furniture industry; the same wood scraps were also used to build ad-hoc shelters in Brazil. At Space Furniture, initiatives such as Green Space 2012 and Space Nurtures are motivated by a desire to serve the community for intangible rewards such as environmental and design awareness.

Understood by most people to mean ‘for free’, the Latin phrase ‘pro bono’ actually means ‘for good’ and originated from ‘pro bono publico’, or ‘for the good of the public’. If every designer contributed a little to the people who need design but cannot pay for it, as utopian as it may sound, there will be a real possibility of building a design democracy here in Singapore, regardless of race, language or religion.

illustration_anngee neo

9_more space_

9_

Fritz Hansen Ad

Opinion-

Towards a design democracyKelley Cheng takes us on a personal journey exploring the legacy of the democratic chopstick and theneed for a new kind of design utopia.

I aspire to be a design democrat. Perhaps it is a genetic thing.When my dad asked my six-year-old nephew, “What do you want to be when you grow up?”, he exclaimed,

“A doctor!” And my dad told him, “Then you have to be a good doctor, remember never to charge any sickly person who has no money.”

A doctor can save the world. An architect, too, can save the world. So, can a designer as an individual save the world?

I have a personal theory about this. We can attempt to save the world in many different ways, and if each of us can do so in our own small way, the world will be a better place. I suppose the ‘good doctor’ theory, prescribed by my dad, of giving to those who can’t afford it, would be one way to save the world as an individual. And if I ever design something that has a positive impact on the way we live, and I make it free for all, I suppose that will be one step toward saving the world.

If every designer were to come up with something – like a pair of chopsticks, so simple, so cheap, and yet so effective in making lives easier – with no copyright, then everyone would be able to reproduce it, everyone would be able to afford it, and everyone would be able to own it. This is design democracy at its simplest and best.

The spirit of designing something simply to solve a problem, not to be famous or make money, was alive 3,000 years ago when chopsticks were invented; unfortunately, that spirit is completely lost today.

Today designers sometimes act like superstars, creating a body of work primarily for money, fame and vanity. And it’s worrying when famous designers suggest that design is “not about solving problems”, as Karim Rashid does in his theory about changing the world. He wrote, “Now design is not about solving problems, but about a rigorous beautification of our built environments.” Somehow, design becomes superficial when designers become superstars and preach self-prescribed theory like a charlatan.

While beautifying our built environment is indeed important, it should not be limited to those times when a client is paying big money. It is easy for designers to criticise and complain when things around us are ugly and not well designed, but this happens because good designers often refuse to take on jobs that they think do not pay well, resulting in design being an elitist engagement. At the opposite end of the spectrum, there is a group of professionals contributing

beautiful design for reasons other than profit. Architect-turned-activist Mohammed Rezwan changed the lives of many students in Bangladesh with his solar-powered floating boats that allow school to continue despite floods. Project H Design is a non-profit organisation – run by designers, teachers and builders – that uses design to transform public education, often with limited budgets. In 2003, the Campana brothers designed the materially and culturally sustainable Favela chair, a hand glued and nailed seat made with wood scraps from the furniture industry; the same wood scraps were also used to build ad-hoc shelters in Brazil. At Space Furniture, initiatives such as Green Space 2012 and Space Nurtures are motivated by a desire to serve the community for intangible rewards such as environmental and design awareness.

Understood by most people to mean ‘for free’, the Latin phrase ‘pro bono’ actually means ‘for good’ and originated from ‘pro bono publico’, or ‘for the good of the public’. If every designer contributed a little to the people who need design but cannot pay for it, as utopian as it may sound, there will be a real possibility of building a design democracy here in Singapore, regardless of race, language or religion.

illustration_anngee neo

9_more space_

11_more space_

Husk&Ch-arles

Design News-

DesignersManufacturer

Year

Patricia Urquiola and Antonio CitterioB&B Italia2011 and 2012

Spanish designer Patricia Urquiola has designed many iconic collections for luxury furniture brand B&B Italia, including the Bend sofa in 2010 and Tufty-Time sofa in 2005.

Since B&B Italia’s decision to enter the outdoor furniture market in 2007, Urquiola has had the chance to explore and experiment with a different set of materials and conditions. The range now includes the Canasta collection, inspired by the traditional open weave used in the Philippines, and Crinoline, a series of chairs that explore

bebitalia.itspacefurniture.com.sg

3-D textures and patterns using polyethylene fibre.Now Urquiola has expanded the Husk collection first launched last year. The new

Husk dining chair, armchair and side table are ideal complements to the indoor Husk collection and are made entirely of recycled materials. The production process was designed to ensure all components are easily disassembled, making the chairs simple to recycle and reducing their environmental impact. The well-padded contoured chairs are as comfortable as they look and feature a hard shell made of non-toxic plastic and two cushions in a capitonné quilt-inspired design.

One of the world’s undisputed leaders in contemporary furniture, B&B Italia’s designs are known to be ahead of lifestyle trends. Last year, it reintroduced one of its classic bestsellers, the Charles modular sofa system, in an outdoor version. Charles-Outdoor keeps the slender L-shaped frame of the original, but has been adapted for outdoor use with a lightweight aluminium frame and an external surface of open interlacing polypropylene bands and water-resistant surfaces.

MAXALTO IS A B&B ITALIA BRAND. COLLECTION COORDINATED BY ANTONIO CITTERIO. INFO@BEBITALIA.COM WWW.MAXALTO.IT

More Space 297X220DMichel e Pathos.indd 3 22/10/12 09.09

Above The classic Charles sofa designed by Antonio Citterio was relaunched for the outdoors by B&B Italia in 2011.Below Made from both recycled and recyclable materials, the Husk collection changes in appearance with colours that let you mix and match the seat, base and cushions.

words_christine liew

11_more space_

Husk&Ch-arles

Design News-

DesignersManufacturer

Year

Patricia Urquiola and Antonio CitterioB&B Italia2011 and 2012

Spanish designer Patricia Urquiola has designed many iconic collections for luxury furniture brand B&B Italia, including the Bend sofa in 2010 and Tufty-Time sofa in 2005.

Since B&B Italia’s decision to enter the outdoor furniture market in 2007, Urquiola has had the chance to explore and experiment with a different set of materials and conditions. The range now includes the Canasta collection, inspired by the traditional open weave used in the Philippines, and Crinoline, a series of chairs that explore

bebitalia.itspacefurniture.com.sg

3-D textures and patterns using polyethylene fibre.Now Urquiola has expanded the Husk collection first launched last year. The new

Husk dining chair, armchair and side table are ideal complements to the indoor Husk collection and are made entirely of recycled materials. The production process was designed to ensure all components are easily disassembled, making the chairs simple to recycle and reducing their environmental impact. The well-padded contoured chairs are as comfortable as they look and feature a hard shell made of non-toxic plastic and two cushions in a capitonné quilt-inspired design.

One of the world’s undisputed leaders in contemporary furniture, B&B Italia’s designs are known to be ahead of lifestyle trends. Last year, it reintroduced one of its classic bestsellers, the Charles modular sofa system, in an outdoor version. Charles-Outdoor keeps the slender L-shaped frame of the original, but has been adapted for outdoor use with a lightweight aluminium frame and an external surface of open interlacing polypropylene bands and water-resistant surfaces.

MAXALTO IS A B&B ITALIA BRAND. COLLECTION COORDINATED BY ANTONIO CITTERIO. INFO@BEBITALIA.COM WWW.MAXALTO.IT

More Space 297X220DMichel e Pathos.indd 3 22/10/12 09.09

Above The classic Charles sofa designed by Antonio Citterio was relaunched for the outdoors by B&B Italia in 2011.Below Made from both recycled and recyclable materials, the Husk collection changes in appearance with colours that let you mix and match the seat, base and cushions.

words_christine liew

12_more space_design news_

Sun-rise,CapeWest&PavoReal

DesignersManufacturer

Year

DesignerManufacturer

Year

Ludovica and Roberto Palomba, Patricia UrquiolaDriade2010, 2011 and 2012

Gabriel TeixidóPoint2008

Best known as bathroom product and lighting designers, Ludovica and Roberto Palomba are now making a name for themselves in outdoor furniture. Winners in the 2012 Wallpaper* Design Awards for their Paraggi camp bed for Exteta, they have recently completed their second outdoor collection, Sunrise, for Driade.

Sunrise is best appreciated in bright conditions due to the beautiful shadow it casts of a sunrise. The distinctive cut-outs on the chair backs are in homage to the romantic European gardens of the mid-19th century. Instead of traditional cast iron, Sunrise chairs and tables use aluminium for their nature-inspired motifs and geometries.

The Palombas’ previous collection for Driade was Cape West, a collection of sofas and armchairs identified

Founded in 1920, Point’s collaborations with designers such as Alfonso Gallego and Gabriel Teixidó have led to unmistakably contemporary outdoor collections that combine Point’s deep respect for traditional rattan craft with current aesthetics and quality production.

driade.comspacefurniture.com.sg

point1920.comspacefurniture.com.sg

by their elaborately woven plastic backings. Designed in line with Driade’s 2011 theme of travel, the collection’s synthetic woven fabrics allude to a more organic fabric, while the striking houndstooth and technicolour patterns exude a wild flavour.

Driade’s diverse collections have always been richly informed by cultural trends, drawing from nature, history and geography, among others. In 2010, Driade introduced Pavo Real by Patricia Urquiola, a colourful reinterpretation of the big rattan armchairs traditionally made in South-East Asia.

Designed by Gabriel Teixidó, the Siesta sunlounger is elegant with its few but bold angled and undulating lines that conform to the uncompromising metal frame beneath.

Centred on functionality and comfort, Point furniture is renowned for its well-loved ‘rattan’ fabrics braided from technically perfected synthetic fibres that have the advantage of being durable, light, chemical- and weather-resistant and fully recyclable. The pieces come in a wide range of colours and, most importantly, retain their natural look and feel. In order to last longer, products are often reinforced internally with aluminium.

Run by the third generation of the original owners, this family business has expanded to more than 50 countries. Its products can be found in exclusive hotels all around the world including the Sheraton Benidorm in Spain and Grand Luxxe Punta in Mexico.

Siesta-

13_

Left The Cape West collection designed by Ludovica and Roberto Palomba for Driade is constructed of elaborately woven plastic full of colour and texture. Below Pavo Real by Patricia Urquiola is a collection that reinterprets the traditional rattan armchairs from South-East Asia. Bottom left Inspired by mid-19th century gardens, the Sunrise collection of chairs, tables and stools by Driade have distinctive sun motifs that pay homage to nature.

Above The Siesta sunlounger designed by Gabriel Teixidó for Point combines the group’s respect for traditional rattan craft with new and refined production methods.

12_more space_design news_

Sun-rise,CapeWest&PavoReal

DesignersManufacturer

Year

DesignerManufacturer

Year

Ludovica and Roberto Palomba, Patricia UrquiolaDriade2010, 2011 and 2012

Gabriel TeixidóPoint2008

Best known as bathroom product and lighting designers, Ludovica and Roberto Palomba are now making a name for themselves in outdoor furniture. Winners in the 2012 Wallpaper* Design Awards for their Paraggi camp bed for Exteta, they have recently completed their second outdoor collection, Sunrise, for Driade.

Sunrise is best appreciated in bright conditions due to the beautiful shadow it casts of a sunrise. The distinctive cut-outs on the chair backs are in homage to the romantic European gardens of the mid-19th century. Instead of traditional cast iron, Sunrise chairs and tables use aluminium for their nature-inspired motifs and geometries.

The Palombas’ previous collection for Driade was Cape West, a collection of sofas and armchairs identified

Founded in 1920, Point’s collaborations with designers such as Alfonso Gallego and Gabriel Teixidó have led to unmistakably contemporary outdoor collections that combine Point’s deep respect for traditional rattan craft with current aesthetics and quality production.

driade.comspacefurniture.com.sg

point1920.comspacefurniture.com.sg

by their elaborately woven plastic backings. Designed in line with Driade’s 2011 theme of travel, the collection’s synthetic woven fabrics allude to a more organic fabric, while the striking houndstooth and technicolour patterns exude a wild flavour.

Driade’s diverse collections have always been richly informed by cultural trends, drawing from nature, history and geography, among others. In 2010, Driade introduced Pavo Real by Patricia Urquiola, a colourful reinterpretation of the big rattan armchairs traditionally made in South-East Asia.

Designed by Gabriel Teixidó, the Siesta sunlounger is elegant with its few but bold angled and undulating lines that conform to the uncompromising metal frame beneath.

Centred on functionality and comfort, Point furniture is renowned for its well-loved ‘rattan’ fabrics braided from technically perfected synthetic fibres that have the advantage of being durable, light, chemical- and weather-resistant and fully recyclable. The pieces come in a wide range of colours and, most importantly, retain their natural look and feel. In order to last longer, products are often reinforced internally with aluminium.

Run by the third generation of the original owners, this family business has expanded to more than 50 countries. Its products can be found in exclusive hotels all around the world including the Sheraton Benidorm in Spain and Grand Luxxe Punta in Mexico.

Siesta-

13_

Left The Cape West collection designed by Ludovica and Roberto Palomba for Driade is constructed of elaborately woven plastic full of colour and texture. Below Pavo Real by Patricia Urquiola is a collection that reinterprets the traditional rattan armchairs from South-East Asia. Bottom left Inspired by mid-19th century gardens, the Sunrise collection of chairs, tables and stools by Driade have distinctive sun motifs that pay homage to nature.

Above The Siesta sunlounger designed by Gabriel Teixidó for Point combines the group’s respect for traditional rattan craft with new and refined production methods.

14_ more space_more space_design news_

Earth &Sorbet-

Do-Lo-Rez& Los-anges

DesignersManufacturer

Year

DesignersManufacturer

Year

Louise Olsen and Stephen OrmandyDinosaur Designs2012

Ron Arad, Ronan and Erwan BouroullecNanimarquina2009, 2011

If you haven’t heard of Dinosaur Designs for its quirky resin homewares, you might have heard of its high-fashion collaborations with Louis Vuitton, Paul Smith and Carolina Herrera. Founded in 1985 it was jewellery that took Dinosaur Designs international after the late Italian style icon Anna Piaggi bought a pair of shoulder-length earrings in the early 90s – those earrings later made it onto the pages of Italian Vogue and the rest is history.

Spanish rug-maker Nanimarquina celebrated its 25th anniversary on the streets of Barcelona’s Gracia district. More than 60 rugs were laid out in Virreina Square, where the public, media and friends were invited to interact with the giant rug exhibition.

The beautiful patchwork showcased over two decades of the brand’s rugs, including Do-Lo-Rez and Losanges. Do-Lo-Rez by Ron Arad is a fun combination of rug and sofa. Inspired by the 3-D expression of a low-resolution image, the rug is made of many squares of differing heights. The flexible system offers unlimited possibilities for customisation.

Inspired by traditional Persian rugs made using the ancient kilim technique, Ronan and Erwan Bouroullec designed the Losanges collection. Handcrafted by the same technique, the rug is technically challenging, combining 13 colours to achieve the perfect rhombus-shape patterns.

Born from a simple mission of “wanting to design rugs”, Nanimarquina is always looking for ways to reinvent the meaning and possibilities of a rug. The new Chillida collection draws inspiration from art instead of design tradition. In homage to late Spanish sculptor Eduardo Chillida, each rug is a faithful reproduction of one of his works.

dinosaurdesigns.com.au spacefurniture.com.sg

nanimarquina.comspacefurniture.com.sgmorespacemagazine.com

The same qualities that draw their jewellery to the style conscious make their resin homewares a must-have accessory at home. Dinosaur Designs launched two new collections this year – Earth and Sorbet – spanning jewellery and homewares. While Sorbet’s bowls and spoons

whet appetites with a fresh pastel palette, Earth’s jars, plates and servers feature colours and textures inspired by the rough formation of rocks.

Above This year, Dinosaur Designs launched their Sorbet (top) and Earth collections, which span jewellery and homewares: bowls, spoons, jars, plates and servers inspired by nature.

Top Spanish rug-maker Nanimarquina celebrated its 25th birthday with a party in the streets of Barcelona.Above Inspired by traditional Persian rugs made using the ancient kilim technique, Ronan and Erwan Bouroullec designed the Losanges collection for Nanimarquina in 2011.Left Do-Lo-Rez by Ron Arad is a fun combination of rug and sofa inspired by the 3-D expression of a pixelated image.

15_

14_ more space_more space_design news_

Earth &Sorbet-

Do-Lo-Rez& Los-anges

DesignersManufacturer

Year

DesignersManufacturer

Year

Louise Olsen and Stephen OrmandyDinosaur Designs2012

Ron Arad, Ronan and Erwan BouroullecNanimarquina2009, 2011

If you haven’t heard of Dinosaur Designs for its quirky resin homewares, you might have heard of its high-fashion collaborations with Louis Vuitton, Paul Smith and Carolina Herrera. Founded in 1985 it was jewellery that took Dinosaur Designs international after the late Italian style icon Anna Piaggi bought a pair of shoulder-length earrings in the early 90s – those earrings later made it onto the pages of Italian Vogue and the rest is history.

Spanish rug-maker Nanimarquina celebrated its 25th anniversary on the streets of Barcelona’s Gracia district. More than 60 rugs were laid out in Virreina Square, where the public, media and friends were invited to interact with the giant rug exhibition.

The beautiful patchwork showcased over two decades of the brand’s rugs, including Do-Lo-Rez and Losanges. Do-Lo-Rez by Ron Arad is a fun combination of rug and sofa. Inspired by the 3-D expression of a low-resolution image, the rug is made of many squares of differing heights. The flexible system offers unlimited possibilities for customisation.

Inspired by traditional Persian rugs made using the ancient kilim technique, Ronan and Erwan Bouroullec designed the Losanges collection. Handcrafted by the same technique, the rug is technically challenging, combining 13 colours to achieve the perfect rhombus-shape patterns.

Born from a simple mission of “wanting to design rugs”, Nanimarquina is always looking for ways to reinvent the meaning and possibilities of a rug. The new Chillida collection draws inspiration from art instead of design tradition. In homage to late Spanish sculptor Eduardo Chillida, each rug is a faithful reproduction of one of his works.

dinosaurdesigns.com.au spacefurniture.com.sg

nanimarquina.comspacefurniture.com.sgmorespacemagazine.com

The same qualities that draw their jewellery to the style conscious make their resin homewares a must-have accessory at home. Dinosaur Designs launched two new collections this year – Earth and Sorbet – spanning jewellery and homewares. While Sorbet’s bowls and spoons

whet appetites with a fresh pastel palette, Earth’s jars, plates and servers feature colours and textures inspired by the rough formation of rocks.

Above This year, Dinosaur Designs launched their Sorbet (top) and Earth collections, which span jewellery and homewares: bowls, spoons, jars, plates and servers inspired by nature.

Top Spanish rug-maker Nanimarquina celebrated its 25th birthday with a party in the streets of Barcelona.Above Inspired by traditional Persian rugs made using the ancient kilim technique, Ronan and Erwan Bouroullec designed the Losanges collection for Nanimarquina in 2011.Left Do-Lo-Rez by Ron Arad is a fun combination of rug and sofa inspired by the 3-D expression of a pixelated image.

15_

16_more space_design news_

more space_

MamaAlfredo-Ecu me

Reward-ingLoyaltyTo fulfill its mission to become a true one-stop

destination for home solutions, Space Asia Hub has expanded its accessories collection. The carefully curated collection brings together the very best from across the world, including more than 15 international and three local accessory brands.

Georg Jensen is renowned for its quality silverware and timeless design, but its home and accessories collections of wood, stainless steel, porcelain and glass are just as attention-worthy and have most recently received the creative input of Ilse Crawford’s Studioilse. A range of simple, sculptural forms – bowls, vases and a candle-holder – the range is made in copper, brass, stainless steel and glass and feels at once familiar in line with Crawford’s approach to designing things that can immediately connect with the user.

The French fine porcelain company Bernardaud was founded in 1863 and has since created a collection that blends the traditons and history of the group’s artisan

skills, with new ideas brought to life by young designers. Bernardaud continually reinvents the arts, craftsmanship and fabrication of porcelain with each range, seen here in the new and luxurious Ecume collection.

In line with Space’s philosophy of promoting local design, three of Singapore’s top designers are highlighted in the expanded collection. Limited numbers of d.lab’s Objects Around the Tablescape and Botanika collections, as well as its new Daily Objects collection will be available. Take a look at FARM’s new collections from Hans Tan Studio and kwodrent with a contemporary twist on Singaporean identity, and VW+BS’s Frame, Ruff and Trim in the Tidy series.

Other brands to look out for include Anna Torfs, ArchitectMade, D&M, Guaxs, Kose, Kutani Choemon, Les Guimards, One World, Rina Menardi, Serax, Studio Natural and Y’a Pas Le Feu Au Lac.

After the successful opening of Space Asia Hub in November last year, a loyalty program was the next logical step to enhance clients’ shopping experience.

Launched in August, Space Privileges membership is offered to customers in two tiers: Affinity (spend any sum), and Elite (spend $30,000 or more within five years). Affinity members can expect to earn and redeem e-vouchers, invitations to small and exclusive events, and birthday gifts; while Elite members can expect all this and more, such as bigger discounts and complimentary delivery services.

As brands continue to invest their efforts in experiential marketing, Space Furniture and its partners in luxury retail have collaborated in developing a programme that not only gives discounts and special offers, it allows members to get involved firsthand with the brands they love.

For more information and to register for Space Privileges visit the Space website at spacefurniture.com.sg.

“With Space Privileges in place, the marketing team can gather data and customise exclusive activities for different groups of retail clients according to their preferences and membership tier.” Jennifer Soh, Senior Marketing Manager, Space Asia

“Our exclusive events are invitation-only. We provide a limousine service to pick guests up and take them home, champagne is served on arrival, and there is always a surprise element on the menu.”Denise Tan, Director, International Sales, Gaggenau Asia

“Our in-house consultants provide a one-stop solution for customers, so we not only provide them with audio/video advice but also work with their designers, electricians, and so forth, to ensure our products work seamlessly with the rest of their homes.”Jonas Wulff Moller, Group Partner of MJ Group (Bang & Olufsen)

“As a business that helps our clients create their own home style, it’s important to have the flexibility and creativity to bring their vision alive.”Alexandra Levy, Owner, Miles & Theodore (exclusive distributor of Missoni Home in Singapore)

17_

Below from top The sensual stainless steel Mama vase by Ilse Crawford is part of her namesake collection for Scandinavian luxury brand Georg Jensen; the pared-back range by designer Alfredo Häberli, also for Georg Jensen, includes salad forks made from oak; and the French fine porcelain maker Bernardaud’s Ecume hot beverage server in gold.

DesignersManufacturers

Year

Ilse Crawford and Alfredo HäberliGeorg Jensen and Bernardaud2010, 2011 and 2012

spacefurniture.com.sg

ProjectYear

Space Privileges2012Space Privileges2012

16_more space_design news_

more space_

MamaAlfredo-Ecu me

Reward-ingLoyaltyTo fulfill its mission to become a true one-stop

destination for home solutions, Space Asia Hub has expanded its accessories collection. The carefully curated collection brings together the very best from across the world, including more than 15 international and three local accessory brands.

Georg Jensen is renowned for its quality silverware and timeless design, but its home and accessories collections of wood, stainless steel, porcelain and glass are just as attention-worthy and have most recently received the creative input of Ilse Crawford’s Studioilse. A range of simple, sculptural forms – bowls, vases and a candle-holder – the range is made in copper, brass, stainless steel and glass and feels at once familiar in line with Crawford’s approach to designing things that can immediately connect with the user.

The French fine porcelain company Bernardaud was founded in 1863 and has since created a collection that blends the traditons and history of the group’s artisan

skills, with new ideas brought to life by young designers. Bernardaud continually reinvents the arts, craftsmanship and fabrication of porcelain with each range, seen here in the new and luxurious Ecume collection.

In line with Space’s philosophy of promoting local design, three of Singapore’s top designers are highlighted in the expanded collection. Limited numbers of d.lab’s Objects Around the Tablescape and Botanika collections, as well as its new Daily Objects collection will be available. Take a look at FARM’s new collections from Hans Tan Studio and kwodrent with a contemporary twist on Singaporean identity, and VW+BS’s Frame, Ruff and Trim in the Tidy series.

Other brands to look out for include Anna Torfs, ArchitectMade, D&M, Guaxs, Kose, Kutani Choemon, Les Guimards, One World, Rina Menardi, Serax, Studio Natural and Y’a Pas Le Feu Au Lac.

After the successful opening of Space Asia Hub in November last year, a loyalty program was the next logical step to enhance clients’ shopping experience.

Launched in August, Space Privileges membership is offered to customers in two tiers: Affinity (spend any sum), and Elite (spend $30,000 or more within five years). Affinity members can expect to earn and redeem e-vouchers, invitations to small and exclusive events, and birthday gifts; while Elite members can expect all this and more, such as bigger discounts and complimentary delivery services.

As brands continue to invest their efforts in experiential marketing, Space Furniture and its partners in luxury retail have collaborated in developing a programme that not only gives discounts and special offers, it allows members to get involved firsthand with the brands they love.

For more information and to register for Space Privileges visit the Space website at spacefurniture.com.sg.

“With Space Privileges in place, the marketing team can gather data and customise exclusive activities for different groups of retail clients according to their preferences and membership tier.” Jennifer Soh, Senior Marketing Manager, Space Asia

“Our exclusive events are invitation-only. We provide a limousine service to pick guests up and take them home, champagne is served on arrival, and there is always a surprise element on the menu.”Denise Tan, Director, International Sales, Gaggenau Asia

“Our in-house consultants provide a one-stop solution for customers, so we not only provide them with audio/video advice but also work with their designers, electricians, and so forth, to ensure our products work seamlessly with the rest of their homes.”Jonas Wulff Moller, Group Partner of MJ Group (Bang & Olufsen)

“As a business that helps our clients create their own home style, it’s important to have the flexibility and creativity to bring their vision alive.”Alexandra Levy, Owner, Miles & Theodore (exclusive distributor of Missoni Home in Singapore)

17_

Below from top The sensual stainless steel Mama vase by Ilse Crawford is part of her namesake collection for Scandinavian luxury brand Georg Jensen; the pared-back range by designer Alfredo Häberli, also for Georg Jensen, includes salad forks made from oak; and the French fine porcelain maker Bernardaud’s Ecume hot beverage server in gold.

DesignersManufacturers

Year

Ilse Crawford and Alfredo HäberliGeorg Jensen and Bernardaud2010, 2011 and 2012

spacefurniture.com.sg

ProjectYear

Space Privileges2012Space Privileges2012

19_18_more space_design news_

Doo-Wop&Aeros-

Plant Chand-elier

DesignerManufacturer

Year

Omer ArbelBocci2012

Bocci’s new 38 series plant chandelier is a radical adaptation of the 28 series – where Omer Arbel first honed his technique of introducing air cavities into blown glass – 38 tests the limits of this glassblowing technique. The sprawling surrealistic result is not anything we necessarily need at home, but a curious, beautiful, living, breathing installation of lighting inspiration.

louispoulsen.comspacefurniture.com.sg

bocci.caspacefurniture.com.sg

“Even though our pieces focus on the more emotional, irration-al and romantic shades of the contemporary design spectrum, we are deeply committed to rigorous and intelligent execution. We are not afraid of technical complexity, and are constantly

Designed by Louis Poulsen in the 1950s, the Doo-Wop pendant is sometimes referred to as the Navy pendant because it was a noted fixture of numerous naval buildings. The pendant last featured in catalogues in the 1980s, but, responding to growing demands for old editions, Louis Poulsen has recently decided to reissue it, renamed the Doo-Wop, in contemporary colours.

Designed half a century ago, the Doo-Wop’s timeless utilitarian qualities still render it a favourite. The pendant uses two reflectors: the inner conical reflector providing downward lighting and the outer main shade providing the softer, diffused upward lighting, which makes it glare free and comfortable for the desk top.

While the colours have been updated, the Doo-Wop’s shades are still handcrafted using traditional techniques. Each shade is handspun and completed with a fine rolled edge. The special edition pendant, spun from solid brass, is especially technically complex.

Louis Poulsen has also recently added to its collection a white variation of Aeros, designed by Ross Lovegrove in 2009. Based on the organic Fibonacci pattern, the Aeros reflector is marked by an intricate perforated pattern and designed to look like it is floating effortlessly.

DesignersManufacturer

Year

Louis Poulsen and Ross LovegroveLouis Poulsen1950s, 2012

Above Based on the organic Fibonacci pattern, the Aeros reflector designed by Ross Lovegrove in 2009 is marked by an intricate and highly patterned motif.Right First designed by Louis Poulsen in the 1950s, the famous Doo-Wop pendant was recently reissued in a range of eye-catching colours.

Above Bocci’s new 38 series plant chandelier further hones their technique of introducing air cavities into blown glass, creating an outdoor lighting installation that also holds earth, succulents and cacti plants.

Each step of the chandelier’s fabrication is a complex, particular process, which began with Arbel’s experiment to design a system that would produce form. As large glass spheres are blown, air pressure is introduced and removed as the glass is intermittently heated and rapidly cooled. The resulting distorted spheres and cavities are a formal and organic creation — and a haphazard composition when multiple cavities are introduced and intersect and collide in the sphere. In 38, some of the cavities house lighting elements, while the deeper ones also hold earth, succulent and cacti plants.

more space_

19_18_more space_design news_

Doo-Wop&Aeros-

Plant Chand-elier

DesignerManufacturer

Year

Omer ArbelBocci2012

Bocci’s new 38 series plant chandelier is a radical adaptation of the 28 series – where Omer Arbel first honed his technique of introducing air cavities into blown glass – 38 tests the limits of this glassblowing technique. The sprawling surrealistic result is not anything we necessarily need at home, but a curious, beautiful, living, breathing installation of lighting inspiration.

louispoulsen.comspacefurniture.com.sg

bocci.caspacefurniture.com.sg

“Even though our pieces focus on the more emotional, irration-al and romantic shades of the contemporary design spectrum, we are deeply committed to rigorous and intelligent execution. We are not afraid of technical complexity, and are constantly

Designed by Louis Poulsen in the 1950s, the Doo-Wop pendant is sometimes referred to as the Navy pendant because it was a noted fixture of numerous naval buildings. The pendant last featured in catalogues in the 1980s, but, responding to growing demands for old editions, Louis Poulsen has recently decided to reissue it, renamed the Doo-Wop, in contemporary colours.

Designed half a century ago, the Doo-Wop’s timeless utilitarian qualities still render it a favourite. The pendant uses two reflectors: the inner conical reflector providing downward lighting and the outer main shade providing the softer, diffused upward lighting, which makes it glare free and comfortable for the desk top.

While the colours have been updated, the Doo-Wop’s shades are still handcrafted using traditional techniques. Each shade is handspun and completed with a fine rolled edge. The special edition pendant, spun from solid brass, is especially technically complex.

Louis Poulsen has also recently added to its collection a white variation of Aeros, designed by Ross Lovegrove in 2009. Based on the organic Fibonacci pattern, the Aeros reflector is marked by an intricate perforated pattern and designed to look like it is floating effortlessly.

DesignersManufacturer

Year

Louis Poulsen and Ross LovegroveLouis Poulsen1950s, 2012

Above Based on the organic Fibonacci pattern, the Aeros reflector designed by Ross Lovegrove in 2009 is marked by an intricate and highly patterned motif.Right First designed by Louis Poulsen in the 1950s, the famous Doo-Wop pendant was recently reissued in a range of eye-catching colours.

Above Bocci’s new 38 series plant chandelier further hones their technique of introducing air cavities into blown glass, creating an outdoor lighting installation that also holds earth, succulents and cacti plants.

Each step of the chandelier’s fabrication is a complex, particular process, which began with Arbel’s experiment to design a system that would produce form. As large glass spheres are blown, air pressure is introduced and removed as the glass is intermittently heated and rapidly cooled. The resulting distorted spheres and cavities are a formal and organic creation — and a haphazard composition when multiple cavities are introduced and intersect and collide in the sphere. In 38, some of the cavities house lighting elements, while the deeper ones also hold earth, succulent and cacti plants.

more space_

20_more space_design news_

Kelvin,D’E-Light&Piani-

flos.comspacefurniture.com.sg

Always seeking intelligent solutions, Flos introduces three lights that assume more than their typical roles of illumination. D’E-Light is Philippe Starck’s nod to prevailing consumer trends. As Apple products gain ubiquity among households, a light that eliminates the need for a separate charging dock and also acts as a gadget holder makes better use of space. The LED energy-efficient task lamp comes with a charging dock for the iPhone, iPad or iPod, and is available in a smooth matt black finish or the original polished chrome.

Ronan and Erwan Bouroullec’s sculptural lamp, Piani, deviates from traditional lamp anatomy with an injection moulded plastic tray attached to its base. The tray is ideal for storing loose items such as keys, coins, or a watch; it also reflects and diffuses the light cast on it from the overhead LED light bulb, serving as a soft indirect light source.

The third offering is Kelvin, now available in floor and mini versions, but with the same flexible, manoeuvrable forms and soft-touch technology that lights up at a three-step finger tap. Mini Kelvin and Kelvin Floor by Antonio Citterio and Toan Nguyen complete the Kelvin family, first introduced in 2009.

For ambitious chefs there are no limits – at least not on this cooktop.

Gaggenau presents a cooktop that transforms your entire surface into a large cooking zone. What’s more, 48 micro-inductors below its surface allow you to arrange your cookware as you wish. The intuitive TFT touch display provides optimum convenience and lets you keep settings constant when you’re moving your cookware around. This is how we’re providing ambitious chefs with unlimited possibilities – so they can create something truly exceptional. And we’re staying true to our commitment to constantly redefine the private kitchen through innovative ideas. The difference is Gaggenau.

For more information, please visit Space Furniture, 77 Bencoolen Street. Alternatively, visit Gaggenau sales gal-leries at 11 Bishan Street 21, Level 4 and Millenia Walk, 9 Raffles Boulevard, #05-57/62. www.gaggenau.com

The CX 480 full surface induction cooktop.

Space_Furniture_adaption_no_limits_SG_220x297.indd 1 30.10.12 08:55

Above Piani by Ronan and Erwan Bouroullec is part tray, part lamp, providing the perfect vessel for storing keys and coins. Left The D’E-Light by Philippe Starck for Flos is an LED energy-efficient task lamp that eliminates the need for a separate charging dock and acts as a gadget holder. Below First released in 2009, Mini Kelvin and Kelvin Floor by Antonio Citterio and Toan Nguyen complete the Kelvin family for Flos.

Designers

ManufacturerYear

Antonio Citterio with Toan Nguyen, Philippe Starck, Ronan and Erwan Bouroullec Flos2012

20_more space_design news_

Kelvin,D’E-Light&Piani-

flos.comspacefurniture.com.sg

Always seeking intelligent solutions, Flos introduces three lights that assume more than their typical roles of illumination. D’E-Light is Philippe Starck’s nod to prevailing consumer trends. As Apple products gain ubiquity among households, a light that eliminates the need for a separate charging dock and also acts as a gadget holder makes better use of space. The LED energy-efficient task lamp comes with a charging dock for the iPhone, iPad or iPod, and is available in a smooth matt black finish or the original polished chrome.

Ronan and Erwan Bouroullec’s sculptural lamp, Piani, deviates from traditional lamp anatomy with an injection moulded plastic tray attached to its base. The tray is ideal for storing loose items such as keys, coins, or a watch; it also reflects and diffuses the light cast on it from the overhead LED light bulb, serving as a soft indirect light source.

The third offering is Kelvin, now available in floor and mini versions, but with the same flexible, manoeuvrable forms and soft-touch technology that lights up at a three-step finger tap. Mini Kelvin and Kelvin Floor by Antonio Citterio and Toan Nguyen complete the Kelvin family, first introduced in 2009.

For ambitious chefs there are no limits – at least not on this cooktop.

Gaggenau presents a cooktop that transforms your entire surface into a large cooking zone. What’s more, 48 micro-inductors below its surface allow you to arrange your cookware as you wish. The intuitive TFT touch display provides optimum convenience and lets you keep settings constant when you’re moving your cookware around. This is how we’re providing ambitious chefs with unlimited possibilities – so they can create something truly exceptional. And we’re staying true to our commitment to constantly redefine the private kitchen through innovative ideas. The difference is Gaggenau.

For more information, please visit Space Furniture, 77 Bencoolen Street. Alternatively, visit Gaggenau sales gal-leries at 11 Bishan Street 21, Level 4 and Millenia Walk, 9 Raffles Boulevard, #05-57/62. www.gaggenau.com

The CX 480 full surface induction cooktop.

Space_Furniture_adaption_no_limits_SG_220x297.indd 1 30.10.12 08:55

Above Piani by Ronan and Erwan Bouroullec is part tray, part lamp, providing the perfect vessel for storing keys and coins. Left The D’E-Light by Philippe Starck for Flos is an LED energy-efficient task lamp that eliminates the need for a separate charging dock and acts as a gadget holder. Below First released in 2009, Mini Kelvin and Kelvin Floor by Antonio Citterio and Toan Nguyen complete the Kelvin family for Flos.

Designers

ManufacturerYear

Antonio Citterio with Toan Nguyen, Philippe Starck, Ronan and Erwan Bouroullec Flos2012

23_

B&BItalia-Be-hind thescenes

22_more space_design news_

words_heidi dokulil

Since its beginnings in 1966, B&B Italia’s modus operandi has been influenced by research and development; everything from the designs the company creates to the way in which it talks to the world has been thoughtfully crafted and executed.

“One of the most challenging recent projects we’ve done is definitely the Canasta outdoor family collection from Patricia Urquiola,” explains Busnelli. “The idea was to enter the outdoor market with the same creativity and distinction we are known for with indoor furniture, while aiming to maintain the same level of comfort. We briefed Patricia accordingly and she came up with the idea of the XL woven pattern. It is a Viennese straw pattern with a strong contemporary look taking inspiration from a picture of a woven basket. This handcrafted technique was difficult for us because of our industrial approach. We realised that the best way [to learn the technique] was to go with Patricia to the Philippines where there is great experience and ability with this weave. Once we reached the required degree of quality we finalised the shape and the structure here in our factory. We spent a week in the Philippines working night and day in order to finalise every detail. I have to say that Patricia invented something completely new. With her idea of transparency and lightness she set a new standard for design in the high-end outdoor market.”

At the 2012 Milan Furniture Fair in April, B&B Italia released its most adventurous design to date: the Tobi-Ishi table. Designed by British duo Barber Osgerby, the table’s launch marked B&B Italia’s first collaboration with two of the world’s most sought-after designers.

“We met them the first time three years ago and we had a very long period of discussion,” Busnelli recalls. “You cannot compare Tobi-Ishi to anything on the market because it gives you the freedom of sitting all around without having the legs in between. It also changes in appearance from every angle you look at it. I think it was one of the most impressive products and material innovations of our exhibition this year.”

A family company grounded in the traditions of Italian furniture manufacturing is behind part of B&B Italia’s success, the other part is the group’s openness with the designers it collaborates with, always looking at products in a critical way and finding the solutions together.

Below A sketch by Naoto Fukasawa of the Papilio armchair; B&B Italia’s Novedrate HQ in Como, Italy, designed by Renzo Piano and Richard Rogers; inside B&B Italia’s Centre of Design & Research with Naoto Fukasawa during the development of Papilio; 3-D modelling allows the research team and the designer to review the designs and make changes to the prototype on the spot.Opposite, clockwise from top The Tobi-Ishi table blends high technology and handicraft – its core is made from Baydur®, it has a timber top and it’s finished with a cement grout to create a superficial skin; Edward Barber and Jay Osgerby at B&B Italia’s R&D Headquarters during the development of Tobi-Ishi; inside B&B Italia’s R&D department with Patricia Urquiola as she resolves the Crinoline series; the Canasta series began with a traditional weave and has developed into a collection of chairs, stools and armchairs; Crinoline by Patricia Urquiola is created using traditional weaving techniques from the Philippines;The Canasta collection in development.

This strength in research and innovation makes B&B Italia an exciting company to watch. Together with Patricia Urquiola, Antonio Citterio, Naoto Fukasawa and a host of carefully chosen designers (most recently British designers Edward Barber and Jay Osgerby), the group has created its own design language: one that cleverly bridges the pared-back refinement of, say, Fukasawa, with the more textural playfulness of Urquiola. It is a design approach that has paid off.

Today, Massimiliano Busnelli, grandson of B&B Italia founder Piero Ambrogio Busnelli, is a key part of the research department, bringing with him a degree in architecture, a masters in business, and the skills of both the left and right side of the brain essential for the high stakes involved in launching a new product in a competitive market. “Yes, first of all it’s about the products, but the centre of research and development also coordinates the entire image of the company: the advertising campaign, catalogues, website, events and the B&B Italia stores around the world,” remarks Busnelli from his office deep inside the research centre near Lake Como, north of Milan, Italy.

The company has achieved its success thanks to a revolutionary technology used in the manufacturing of its sofas and chairs. The cold-foamed polyurethane injection technology and metal framing, invented by the group in the 1960s, can produce all the shapes B&B Italia wants, giving it unlimited creativity. Some of its most technically complex products, like the Moon System sofa by Zaha Hadid, would not have been possible without this technology. The effort and expense also makes the group’s designs much harder to copy and involves years of development and, sometimes, travel to the places where new skills can be learnt and pushed further.

spacefurniture.com.sgmorespacemagazine.com

23_

B&BItalia-Be-hind thescenes

22_more space_design news_

words_heidi dokulil

Since its beginnings in 1966, B&B Italia’s modus operandi has been influenced by research and development; everything from the designs the company creates to the way in which it talks to the world has been thoughtfully crafted and executed.

“One of the most challenging recent projects we’ve done is definitely the Canasta outdoor family collection from Patricia Urquiola,” explains Busnelli. “The idea was to enter the outdoor market with the same creativity and distinction we are known for with indoor furniture, while aiming to maintain the same level of comfort. We briefed Patricia accordingly and she came up with the idea of the XL woven pattern. It is a Viennese straw pattern with a strong contemporary look taking inspiration from a picture of a woven basket. This handcrafted technique was difficult for us because of our industrial approach. We realised that the best way [to learn the technique] was to go with Patricia to the Philippines where there is great experience and ability with this weave. Once we reached the required degree of quality we finalised the shape and the structure here in our factory. We spent a week in the Philippines working night and day in order to finalise every detail. I have to say that Patricia invented something completely new. With her idea of transparency and lightness she set a new standard for design in the high-end outdoor market.”

At the 2012 Milan Furniture Fair in April, B&B Italia released its most adventurous design to date: the Tobi-Ishi table. Designed by British duo Barber Osgerby, the table’s launch marked B&B Italia’s first collaboration with two of the world’s most sought-after designers.

“We met them the first time three years ago and we had a very long period of discussion,” Busnelli recalls. “You cannot compare Tobi-Ishi to anything on the market because it gives you the freedom of sitting all around without having the legs in between. It also changes in appearance from every angle you look at it. I think it was one of the most impressive products and material innovations of our exhibition this year.”

A family company grounded in the traditions of Italian furniture manufacturing is behind part of B&B Italia’s success, the other part is the group’s openness with the designers it collaborates with, always looking at products in a critical way and finding the solutions together.

Below A sketch by Naoto Fukasawa of the Papilio armchair; B&B Italia’s Novedrate HQ in Como, Italy, designed by Renzo Piano and Richard Rogers; inside B&B Italia’s Centre of Design & Research with Naoto Fukasawa during the development of Papilio; 3-D modelling allows the research team and the designer to review the designs and make changes to the prototype on the spot.Opposite, clockwise from top The Tobi-Ishi table blends high technology and handicraft – its core is made from Baydur®, it has a timber top and it’s finished with a cement grout to create a superficial skin; Edward Barber and Jay Osgerby at B&B Italia’s R&D Headquarters during the development of Tobi-Ishi; inside B&B Italia’s R&D department with Patricia Urquiola as she resolves the Crinoline series; the Canasta series began with a traditional weave and has developed into a collection of chairs, stools and armchairs; Crinoline by Patricia Urquiola is created using traditional weaving techniques from the Philippines;The Canasta collection in development.

This strength in research and innovation makes B&B Italia an exciting company to watch. Together with Patricia Urquiola, Antonio Citterio, Naoto Fukasawa and a host of carefully chosen designers (most recently British designers Edward Barber and Jay Osgerby), the group has created its own design language: one that cleverly bridges the pared-back refinement of, say, Fukasawa, with the more textural playfulness of Urquiola. It is a design approach that has paid off.

Today, Massimiliano Busnelli, grandson of B&B Italia founder Piero Ambrogio Busnelli, is a key part of the research department, bringing with him a degree in architecture, a masters in business, and the skills of both the left and right side of the brain essential for the high stakes involved in launching a new product in a competitive market. “Yes, first of all it’s about the products, but the centre of research and development also coordinates the entire image of the company: the advertising campaign, catalogues, website, events and the B&B Italia stores around the world,” remarks Busnelli from his office deep inside the research centre near Lake Como, north of Milan, Italy.

The company has achieved its success thanks to a revolutionary technology used in the manufacturing of its sofas and chairs. The cold-foamed polyurethane injection technology and metal framing, invented by the group in the 1960s, can produce all the shapes B&B Italia wants, giving it unlimited creativity. Some of its most technically complex products, like the Moon System sofa by Zaha Hadid, would not have been possible without this technology. The effort and expense also makes the group’s designs much harder to copy and involves years of development and, sometimes, travel to the places where new skills can be learnt and pushed further.

spacefurniture.com.sgmorespacemagazine.com

24_ 25_more space_design news_

more space_design news_

Ideas hub-

The designer and architect is the creative vision behind the Poliform Lab, the seventh structure to be added to Poliform’s headquarters in Brianza, Italy. For Colombo, who describes himself as “50 per cent architect and 50 per cent designer”, the Poliform Lab is an interesting opportunity to explore both architecture and design with one of the best brands from Italy. The immense 13,500 square metre facility houses a 3,300 square metre showroom; Poliform’s largest showroom in the world.

Designed as a creativity hub, the lab was set up for the communications and contract divisions of Poliform and its kitchen brand Varenna. However, what defines the new-age production facility is its bold village-style open plan, designed to stimulate ideas, dialogue and interaction between its various programmes. Fully equipped with marketing, showroom, merchandising, photography and web and graphics spaces, the lab becomes a meeting point and brainstorming think tank for different professionals and creatives.

Interior designers, stylists, architects and homeowners can expect an unrivalled display of Poliform’s well-loved bookcases, wardrobes, beds, kitchens and sofas. Revolving around the same open-plan logic as the rest of the lab, the showroom is devoted to styling, graphic and architectural experimentation, and is divided by proposed room sets and thematic technical areas. The lab also houses a café — designed, naturally, by Poliform and Varenna — offering a stylish spot for rest and relaxation.

In line with Poliform’s commitment to responsible design, the lab fully respects its environment; it blends comfortably with its pastoral surroundings and is solar powered and self-sufficient in its energy needs.

DesignerYear

Carlo Colombo2011

Prioritising creativity, the lab offers a clear materialisation of the brand’s vision for its future. Within the region, Poliform has been the choice of architects and developers for the interiors of luxury residential projects such as 8 Nassim Hill and The Orange Grove in Singapore; Amarin Wickham and Face in Kuala Lumpur; and 8 Kent Road in Sydney, completed by the Space Furniture project team. Internationally, Poliform has also been selected as the fit-out of choice for One Central Park in New York and The Lancasters Hyde Park in London.

poliform.itpoliformlab.itcarlocolombo.itspacefurniture.com.sg

An overt admirer and passionate vanguard of Italian design, 18 years after he was first talent spotted by Poliform, Carlo Colombo is more than happy to continue his longstanding partnership with the internationally renowned Italian furniture brand.

Top An example of Poliform’s bedroom and walk-in wardrobe system; Above The Poliform Lab at Poliform’s headquarters in Brianza, Italy, was designed by architect Carlo Colombo, the 13,500 square metre facility housing a 3,300 square metre showroom; Poliform’s largest showroom in the world; Left, clockwise from top A creativity hub, the Poliform Lab was set up for the communications and contract divisions of Poliform and its kitchen brand Varenna. Its open plan style is designed to stimulate ideas and interaction between its various programs and divisions. Interior designers, stylists, architects and homeowners are invited to experience the display of Poliform’s well-loved bookcases, wardrobes, beds, kitchens and sofas as well, alongside the latest collections as they are released.

24_ 25_more space_design news_

more space_design news_

Ideas hub-

The designer and architect is the creative vision behind the Poliform Lab, the seventh structure to be added to Poliform’s headquarters in Brianza, Italy. For Colombo, who describes himself as “50 per cent architect and 50 per cent designer”, the Poliform Lab is an interesting opportunity to explore both architecture and design with one of the best brands from Italy. The immense 13,500 square metre facility houses a 3,300 square metre showroom; Poliform’s largest showroom in the world.

Designed as a creativity hub, the lab was set up for the communications and contract divisions of Poliform and its kitchen brand Varenna. However, what defines the new-age production facility is its bold village-style open plan, designed to stimulate ideas, dialogue and interaction between its various programmes. Fully equipped with marketing, showroom, merchandising, photography and web and graphics spaces, the lab becomes a meeting point and brainstorming think tank for different professionals and creatives.

Interior designers, stylists, architects and homeowners can expect an unrivalled display of Poliform’s well-loved bookcases, wardrobes, beds, kitchens and sofas. Revolving around the same open-plan logic as the rest of the lab, the showroom is devoted to styling, graphic and architectural experimentation, and is divided by proposed room sets and thematic technical areas. The lab also houses a café — designed, naturally, by Poliform and Varenna — offering a stylish spot for rest and relaxation.

In line with Poliform’s commitment to responsible design, the lab fully respects its environment; it blends comfortably with its pastoral surroundings and is solar powered and self-sufficient in its energy needs.

DesignerYear

Carlo Colombo2011

Prioritising creativity, the lab offers a clear materialisation of the brand’s vision for its future. Within the region, Poliform has been the choice of architects and developers for the interiors of luxury residential projects such as 8 Nassim Hill and The Orange Grove in Singapore; Amarin Wickham and Face in Kuala Lumpur; and 8 Kent Road in Sydney, completed by the Space Furniture project team. Internationally, Poliform has also been selected as the fit-out of choice for One Central Park in New York and The Lancasters Hyde Park in London.

poliform.itpoliformlab.itcarlocolombo.itspacefurniture.com.sg

An overt admirer and passionate vanguard of Italian design, 18 years after he was first talent spotted by Poliform, Carlo Colombo is more than happy to continue his longstanding partnership with the internationally renowned Italian furniture brand.

Top An example of Poliform’s bedroom and walk-in wardrobe system; Above The Poliform Lab at Poliform’s headquarters in Brianza, Italy, was designed by architect Carlo Colombo, the 13,500 square metre facility housing a 3,300 square metre showroom; Poliform’s largest showroom in the world; Left, clockwise from top A creativity hub, the Poliform Lab was set up for the communications and contract divisions of Poliform and its kitchen brand Varenna. Its open plan style is designed to stimulate ideas and interaction between its various programs and divisions. Interior designers, stylists, architects and homeowners are invited to experience the display of Poliform’s well-loved bookcases, wardrobes, beds, kitchens and sofas as well, alongside the latest collections as they are released.

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more space_design news_

Archi Award_

Almost a year after it opened, Space Asia Hub received a formal nod of affirmation with its recent win in the Urban Redevelopment Authority’s (URA) 2012 Architectural Heritage Awards (Category B). The thoughtfully designed retail showroom was commended by the URA judges for its sensitive restoration of the old architecture, reinvention of the interior spaces and addition of a statement glass block, the final work contributing to the conservation and restoration of Singapore’s built heritage.

Launched in 1995, the URA Architectural Heritage Awards were conceived to recognise dedicated owners, developers, architects and builders, who have contributed to the sensitive conservation and restoration of Singapore’s built heritage. Category B assesses submissions on the quality restoration of the old elements, the innovation and architectural excellence of the new elements, and how the new elements draw inspiration from the old.

Designed by award-winning WOHA Architects (The Met in Bangkok, Thailand, and the School of the Arts in Singapore), Space Asia Hub has become a major design destination in Asia. Occupying two retrofitted national gazetted conservation buildings, with the insertion of a brand-new glass infill in between, the new and expanded showroom gives the historical buildings renewed life and purpose as a premium furniture retail space.

The prewar buildings, a bungalow (a former hotel) and a block of shophouses, were the last of their kind along that stretch of road. The starting point for the design was the interplay of old and new spaces: how to redevelop the historical buildings to create a contemporary experience while preserving their original quaint charm.

Heritage Award-

Digging deep into archives of old photographic records enabled the architects to faithfully reinstate former architectural details of the façade, such as decorative wall elements, fenestrations and timber detailing lost over years of modifications. A particular challenge was restoring the bungalow’s prestigious soaring roof.

The internal spaces were cleverly adapted in an open-plan configuration to optimise their function as exhibition spaces. Without sacrificing the character of the conserved architecture, existing party walls were stripped and staircases were introduced to visually open up and enhance the flow of spaces. In the shophouses block, new free-spanning roofs were rebuilt in timber to highlight the high-volume, column-free interiors of the original building.

The boldest intervention is the glass infill between the bungalow and shophouses that assumes the structural frame of a building no longer there. Fully glazed and inset it offers a sharp and interesting contradiction to the solid conserved façades of its neighbours and a clear view of their architecture. The glass block connects not just the two conserved buildings but also the interiors to the external street. The tiled finishes within the glass infill visibly continue the woven tapestry of terracotta and pebble-dash strips in the plaza outside.

Beyond just preserving a façade, quality restoration should also retain the inherent spirit of the building. Situated in one of the most dynamic arts and cultural districts of Singapore, Space Asia Hub shows how quality restoration can keep an old building relevant to its contemporary context.

Project CreditsOwner: Harvey Norman Yoogalu Pty Ltd / Bencoolen Properties Pte LtdArchitect: WOHA Architects Pte Ltd

Space Asia Hub

Above Designed by WOHA Architects, Space Asia Hub sensitively restores and adapts two conserved buildings, with the addition of a contemporary glass infill in between offering views into the interiors and at the same time expanding and opening up the internal spaces. Far left Particularly challenging to restore, the delicate bungalow hosts the Giorgetti living room collections on its upper floor. Left In the evening the middle glass infill is illuminated with lights by Moooi that beautifully transform the glass space. Right The courtyard in the shophouse building features the B&B Italia outdoor collection against a verdant landscaped wall. Bottom right The new timber hanging roofs with exposed steel trusses highlight the high-volume and column-free spaces of the original shophouses.

26_ 27_more space_design news_

more space_design news_

Archi Award_

Almost a year after it opened, Space Asia Hub received a formal nod of affirmation with its recent win in the Urban Redevelopment Authority’s (URA) 2012 Architectural Heritage Awards (Category B). The thoughtfully designed retail showroom was commended by the URA judges for its sensitive restoration of the old architecture, reinvention of the interior spaces and addition of a statement glass block, the final work contributing to the conservation and restoration of Singapore’s built heritage.

Launched in 1995, the URA Architectural Heritage Awards were conceived to recognise dedicated owners, developers, architects and builders, who have contributed to the sensitive conservation and restoration of Singapore’s built heritage. Category B assesses submissions on the quality restoration of the old elements, the innovation and architectural excellence of the new elements, and how the new elements draw inspiration from the old.

Designed by award-winning WOHA Architects (The Met in Bangkok, Thailand, and the School of the Arts in Singapore), Space Asia Hub has become a major design destination in Asia. Occupying two retrofitted national gazetted conservation buildings, with the insertion of a brand-new glass infill in between, the new and expanded showroom gives the historical buildings renewed life and purpose as a premium furniture retail space.

The prewar buildings, a bungalow (a former hotel) and a block of shophouses, were the last of their kind along that stretch of road. The starting point for the design was the interplay of old and new spaces: how to redevelop the historical buildings to create a contemporary experience while preserving their original quaint charm.

Heritage Award-

Digging deep into archives of old photographic records enabled the architects to faithfully reinstate former architectural details of the façade, such as decorative wall elements, fenestrations and timber detailing lost over years of modifications. A particular challenge was restoring the bungalow’s prestigious soaring roof.

The internal spaces were cleverly adapted in an open-plan configuration to optimise their function as exhibition spaces. Without sacrificing the character of the conserved architecture, existing party walls were stripped and staircases were introduced to visually open up and enhance the flow of spaces. In the shophouses block, new free-spanning roofs were rebuilt in timber to highlight the high-volume, column-free interiors of the original building.

The boldest intervention is the glass infill between the bungalow and shophouses that assumes the structural frame of a building no longer there. Fully glazed and inset it offers a sharp and interesting contradiction to the solid conserved façades of its neighbours and a clear view of their architecture. The glass block connects not just the two conserved buildings but also the interiors to the external street. The tiled finishes within the glass infill visibly continue the woven tapestry of terracotta and pebble-dash strips in the plaza outside.

Beyond just preserving a façade, quality restoration should also retain the inherent spirit of the building. Situated in one of the most dynamic arts and cultural districts of Singapore, Space Asia Hub shows how quality restoration can keep an old building relevant to its contemporary context.

Project CreditsOwner: Harvey Norman Yoogalu Pty Ltd / Bencoolen Properties Pte LtdArchitect: WOHA Architects Pte Ltd

Space Asia Hub

Above Designed by WOHA Architects, Space Asia Hub sensitively restores and adapts two conserved buildings, with the addition of a contemporary glass infill in between offering views into the interiors and at the same time expanding and opening up the internal spaces. Far left Particularly challenging to restore, the delicate bungalow hosts the Giorgetti living room collections on its upper floor. Left In the evening the middle glass infill is illuminated with lights by Moooi that beautifully transform the glass space. Right The courtyard in the shophouse building features the B&B Italia outdoor collection against a verdant landscaped wall. Bottom right The new timber hanging roofs with exposed steel trusses highlight the high-volume and column-free spaces of the original shophouses.

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For the two winners of the inaugural Space Nurtures programme, a week in south-western France can be more than enough to change a life, or a career.words_christine liew

Domaine de Boisbuchet is the perfect location for a creative retreat. In fact, every summer, the idyllic country estate in the French Poitou-Charentes region hosts a series of six- to 10-day design workshops led by internationally recognised artists, designers and architects from across the globe for a growing following of participants eager to learn from them.

The ongoing support of Centre Georges Pompidou and Vitra Design Museum ensure Boisbuchet’s esteem. However, part of its allure and success is its carefree natural setting, which has organically evolved over the course of the workshops. An eclectic mix of radical buildings and temporary exhibitions reside alongside the quaint historical manor houses, stables and mill, with the addition of experimental structures built during the workshops, including three bamboo houses by Simon Velez and a wooden/cardboard garden pavilion by Shigeru Ban.

One of the most popular workshops this year was Experience Design, led by Hlin Helga and Ronald Jones from The Experience Design Group (EDG), which Ng and Loh had the opportunity to attend.

Experience Design is the newest Master of Fine Arts programme offered by Konstfack University College of Arts, Crafts and Design in Sweden, and is led by a group of faculty members and students called EDG. Devoted to innovative interdisciplinary and transdisciplinary practice-led research, the group explores the interactions of meaning and sensation within immersive experiences using hybrid practices and methodologies. Unlike most designers, EDG is interested in designing not physical objects but, rather, intangible experiences.

As the market and designers have inched from a goods-based economy to a service-based one, EDG believes that it’s now time for an ‘experience economy’. From roller-coaster rides to health care, experiences are based on intangible values that grow over time. “The key word is ‘intangible’,” explains Ng. “It is about design that is beyond aesthetics or physical objects.” Such intangibles have been defined by EDG’s Jones as “assets that cannot be seen, touched or physically measured, and are created through time”.

Asummer in Bois- buchet

In July this year, the two winners of Space’s inaugural Space Nurtures programme — Ng Shin Luey, third-year product design degree student at Nanyang Technological University’s School of Art, Design and Media, and Loh Jia Hui, third-year interior design degree student at Lasalle College of the Arts — attended one of the world’s most highly sought after design schools at Domaine de Boisbuchet in France, taking part in a workshop led by The Experience Design Group.

morespacemagazine.com

Top row left to right Loh Jia Hui and Ng Shin Luey arrive at the picturesque Domaine de Boisbuchet; part of the lure of Domaine de Boisbuchet is its highly inspiring natural environment that surrounds the many workshop areas for participants; One of the workshop discussions takes place in a shelter made from loose branches collected from the estate.Middle row left to right A diverse range of participants with different design backgrounds all sign up for the workshop every year; Ng Shin Luey on a baby Panton chair at the Vitra Campus in Weil am Rhein, Germany; Loh Jia Hui taking part in the Experience Design workshop at Domaine de Boisbuchet.Right Fireside design chats at Domaine de Boisbuchet are a regular feature in the evenings.Bottom right Designer Ng Shin Luey at the Vitra headquarters in Basel, Switzerland, designed by Frank Gehry.

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For the two winners of the inaugural Space Nurtures programme, a week in south-western France can be more than enough to change a life, or a career.words_christine liew

Domaine de Boisbuchet is the perfect location for a creative retreat. In fact, every summer, the idyllic country estate in the French Poitou-Charentes region hosts a series of six- to 10-day design workshops led by internationally recognised artists, designers and architects from across the globe for a growing following of participants eager to learn from them.

The ongoing support of Centre Georges Pompidou and Vitra Design Museum ensure Boisbuchet’s esteem. However, part of its allure and success is its carefree natural setting, which has organically evolved over the course of the workshops. An eclectic mix of radical buildings and temporary exhibitions reside alongside the quaint historical manor houses, stables and mill, with the addition of experimental structures built during the workshops, including three bamboo houses by Simon Velez and a wooden/cardboard garden pavilion by Shigeru Ban.

One of the most popular workshops this year was Experience Design, led by Hlin Helga and Ronald Jones from The Experience Design Group (EDG), which Ng and Loh had the opportunity to attend.

Experience Design is the newest Master of Fine Arts programme offered by Konstfack University College of Arts, Crafts and Design in Sweden, and is led by a group of faculty members and students called EDG. Devoted to innovative interdisciplinary and transdisciplinary practice-led research, the group explores the interactions of meaning and sensation within immersive experiences using hybrid practices and methodologies. Unlike most designers, EDG is interested in designing not physical objects but, rather, intangible experiences.

As the market and designers have inched from a goods-based economy to a service-based one, EDG believes that it’s now time for an ‘experience economy’. From roller-coaster rides to health care, experiences are based on intangible values that grow over time. “The key word is ‘intangible’,” explains Ng. “It is about design that is beyond aesthetics or physical objects.” Such intangibles have been defined by EDG’s Jones as “assets that cannot be seen, touched or physically measured, and are created through time”.

Asummer in Bois- buchet

In July this year, the two winners of Space’s inaugural Space Nurtures programme — Ng Shin Luey, third-year product design degree student at Nanyang Technological University’s School of Art, Design and Media, and Loh Jia Hui, third-year interior design degree student at Lasalle College of the Arts — attended one of the world’s most highly sought after design schools at Domaine de Boisbuchet in France, taking part in a workshop led by The Experience Design Group.

morespacemagazine.com

Top row left to right Loh Jia Hui and Ng Shin Luey arrive at the picturesque Domaine de Boisbuchet; part of the lure of Domaine de Boisbuchet is its highly inspiring natural environment that surrounds the many workshop areas for participants; One of the workshop discussions takes place in a shelter made from loose branches collected from the estate.Middle row left to right A diverse range of participants with different design backgrounds all sign up for the workshop every year; Ng Shin Luey on a baby Panton chair at the Vitra Campus in Weil am Rhein, Germany; Loh Jia Hui taking part in the Experience Design workshop at Domaine de Boisbuchet.Right Fireside design chats at Domaine de Boisbuchet are a regular feature in the evenings.Bottom right Designer Ng Shin Luey at the Vitra headquarters in Basel, Switzerland, designed by Frank Gehry.

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As the economy shifts from objects to intangibles, the design of intangibles also paves the way for design to remain relevant in an economy evaluated on human capital, leadership, research and development, goodwill, social media, collaboration, organisational ability, intellectual property, systems design, soft power and new knowledge. The next leap forward, in Helga and Jones’s opinion, is the ‘transformative economy’: instead of single experiences, transformative design focuses on multiple experiences that cause a change.

Towards the end of the workshop, the designers had the chance to implement the designs they had been working on. Their brief was to create a transformative and educational tour of Domaine de Boisbuchet for their peers. Loh’s team decided that having fun leads to the most memorable experiences, so they designed a game that led the participants around the grounds popping balloons as they went. Every balloon popped revealed a secret about Boisbuchet that enriched the participants’ understanding of the place. Ng’s team opted

for a more introspective approach. They designed a blindfolded tour around the site and led participants on a journey to discover new sensations from a familiar terrain. When the blindfolds were removed, one girl was so overwhelmed by her experience that she was moved to tears. Ng, who had been holding the girl’s hand, recounts how she felt “transformed” too. Seeing how her team’s design could have an emotional impact on someone was the best reward, and an experience she hopes to replicate in her career.

In many ways, the journey of these young designers mirrors a touching coming of age for them as adults too. Experience Design taught Loh that interior design is less about expressing the designer’s ego and more about putting the user first, and that ego has to be humbled when working in a team. Learning from the diversity of her peers and the multidisciplinary nature of the workshop helped Ng reassess her strengths as a former science student.

30_

One of the common challenges faced by young local designers is the failure to translate their designs into products...this keen eye for inspiration is exactly what is needed to advance Singapore’s design scene.Syddal Wee, General Manager of Space Furniture Asia

Left Loh Jia Hui and Ng Shin Luey atop the famous Living Tower by Verner Panton at the Vitra Campus in Weil am Rhein, Germany.

Clockwise from top left Known for its annual summer design workshops, the countryside estate of Domaine de Boisbuchet attracts participants from all over the world; a participant in a hat she made for one of the themed costume parties; one of the structures built during a previous workshop; during the Experience Design workshop participants led their peers on a blindfolded tour and sensory rediscovery around Boisbuchet; eye glasses made during the Experience Design workshop; Loh Jia Hui and Ng Shin Luey during one of the many creative workshops held outdoors; a paper/timber garden pavilion designed by Shigeru Ban is now used as a studio; the workshops in the grounds of Boisbuchet, with accommodation for the participants beyond; a participant in a hat she made for one of the workshop’s themed costume parties; the bamboo structure built by Simon Velez is now an informal convention hall; workshops take place inside and outside throughout the estate; experimenting with material and form; beyond aesthetics or physical objects, experience design is based on creating “intangible” experiences, using time as a raw material.

Not many of us will have such an opportunity to live, breathe, play and design in such a unique and creative environment. Part of the creative process is the elusive chase for inspiration, yet often it is the most ordinary everyday item that can be reincarnated in a new product. This keen eye for inspiration, in General Manager of Space Furniture Asia Syddal Wee’s opinion, is exactly what is needed to advance Singapore’s design scene. More precisely, he is referring to a broad mind for design that international exposure can cultivate.

One of the common challenges faced by young local designers, Wee reveals, is the failure to translate their designs into products. This is partly due to impractical ideas and the limited capabilities of local manufacturers/vendors, who are often too quick to dismiss a product as impossible to make. Through collaborations with its international brand partners, such as Vitra in Space Nurtures 2012, Space hopes to open the eyes of young designers to a world of designer/manufacturer opportunities.

As well as the educational experience at Domaine de Boisbuchet, Ng and Loh also got to visit Vitra’s headquarters and the Vitra Campus in Germany, where they gained insights into the leading Swiss furniture manufacturer’s design and fabrication process.

Targeting the young is akin to “planting a seed”, to borrow Wee’s words. It is also the leading designer furniture retailer’s way of paying it forward to the design industry. The inaugural Space Nurtures competition is a S$40,000 investment for Space that began with a brief to reinterpret one of the world’s most iconic chairs, the Panton chair by Danish designer Verner Panton; six months later the competition has opened up the world for two designers in a once-in-a-lifetime experience that’s priceless. Space Nurtures 2013 will begin calling for design entries in January 2013.

31_more space_cover story_

As the economy shifts from objects to intangibles, the design of intangibles also paves the way for design to remain relevant in an economy evaluated on human capital, leadership, research and development, goodwill, social media, collaboration, organisational ability, intellectual property, systems design, soft power and new knowledge. The next leap forward, in Helga and Jones’s opinion, is the ‘transformative economy’: instead of single experiences, transformative design focuses on multiple experiences that cause a change.

Towards the end of the workshop, the designers had the chance to implement the designs they had been working on. Their brief was to create a transformative and educational tour of Domaine de Boisbuchet for their peers. Loh’s team decided that having fun leads to the most memorable experiences, so they designed a game that led the participants around the grounds popping balloons as they went. Every balloon popped revealed a secret about Boisbuchet that enriched the participants’ understanding of the place. Ng’s team opted

for a more introspective approach. They designed a blindfolded tour around the site and led participants on a journey to discover new sensations from a familiar terrain. When the blindfolds were removed, one girl was so overwhelmed by her experience that she was moved to tears. Ng, who had been holding the girl’s hand, recounts how she felt “transformed” too. Seeing how her team’s design could have an emotional impact on someone was the best reward, and an experience she hopes to replicate in her career.

In many ways, the journey of these young designers mirrors a touching coming of age for them as adults too. Experience Design taught Loh that interior design is less about expressing the designer’s ego and more about putting the user first, and that ego has to be humbled when working in a team. Learning from the diversity of her peers and the multidisciplinary nature of the workshop helped Ng reassess her strengths as a former science student.

30_

One of the common challenges faced by young local designers is the failure to translate their designs into products...this keen eye for inspiration is exactly what is needed to advance Singapore’s design scene.Syddal Wee, General Manager of Space Furniture Asia

Left Loh Jia Hui and Ng Shin Luey atop the famous Living Tower by Verner Panton at the Vitra Campus in Weil am Rhein, Germany.

Clockwise from top left Known for its annual summer design workshops, the countryside estate of Domaine de Boisbuchet attracts participants from all over the world; a participant in a hat she made for one of the themed costume parties; one of the structures built during a previous workshop; during the Experience Design workshop participants led their peers on a blindfolded tour and sensory rediscovery around Boisbuchet; eye glasses made during the Experience Design workshop; Loh Jia Hui and Ng Shin Luey during one of the many creative workshops held outdoors; a paper/timber garden pavilion designed by Shigeru Ban is now used as a studio; the workshops in the grounds of Boisbuchet, with accommodation for the participants beyond; a participant in a hat she made for one of the workshop’s themed costume parties; the bamboo structure built by Simon Velez is now an informal convention hall; workshops take place inside and outside throughout the estate; experimenting with material and form; beyond aesthetics or physical objects, experience design is based on creating “intangible” experiences, using time as a raw material.

Not many of us will have such an opportunity to live, breathe, play and design in such a unique and creative environment. Part of the creative process is the elusive chase for inspiration, yet often it is the most ordinary everyday item that can be reincarnated in a new product. This keen eye for inspiration, in General Manager of Space Furniture Asia Syddal Wee’s opinion, is exactly what is needed to advance Singapore’s design scene. More precisely, he is referring to a broad mind for design that international exposure can cultivate.

One of the common challenges faced by young local designers, Wee reveals, is the failure to translate their designs into products. This is partly due to impractical ideas and the limited capabilities of local manufacturers/vendors, who are often too quick to dismiss a product as impossible to make. Through collaborations with its international brand partners, such as Vitra in Space Nurtures 2012, Space hopes to open the eyes of young designers to a world of designer/manufacturer opportunities.

As well as the educational experience at Domaine de Boisbuchet, Ng and Loh also got to visit Vitra’s headquarters and the Vitra Campus in Germany, where they gained insights into the leading Swiss furniture manufacturer’s design and fabrication process.

Targeting the young is akin to “planting a seed”, to borrow Wee’s words. It is also the leading designer furniture retailer’s way of paying it forward to the design industry. The inaugural Space Nurtures competition is a S$40,000 investment for Space that began with a brief to reinterpret one of the world’s most iconic chairs, the Panton chair by Danish designer Verner Panton; six months later the competition has opened up the world for two designers in a once-in-a-lifetime experience that’s priceless. Space Nurtures 2013 will begin calling for design entries in January 2013.

32_ 33_more space_

Archive_

Denmark 1914_2007Hans-

J.Wegner

One of Denmark’s most prolific designers, Hans J. Wegner graduated in architecture and got two lucky breaks, first working with Arne Jacobsen, and then when The Round Chair he designed with Johannes Hansen in 1949 was released to the world during the 1960 presidential elections in the US.

words_gwen lee

A symbol of Danish craftsmanship, The Round Chair by Hans J. Wegner was first produced in 1950 by Johannes Hansen Cabinetmakers, who exhibited in the US shortly after. Design magazines of the day soon picked up on it and featured it heavily in publications, with Interiors magazine even referring to it as “the most beautiful chair in the world”. Among the 500 plus chairs that Wegner designed during his long career, The Round Chair is undoubtedly his most prominent and successful creation. Its success thrust Wegner into the international limelight and he became inundated with calls from US furniture companies wanting to reproduce his design. He declined all of their offers, stating in a television interview that “it has to be crafted by Danes”. Today, The Round Chair remains in Danish hands with PP Møbler producing both the original version with the cane seat, the PP501, as well as an upholstered version, the PP503.

Wegner’s staunch belief in Danish craftsmanship can be explained by the fact that, above all else, he thought of himself first as a cabinet-maker, then a designer. Born in 1914 in Tønder, Denmark, Wegner rose from humble beginnings. The son of a shoemaker, he finished his apprenticeship as a cabinet-maker with H.F. Stahlberg at the age of 17 before moving to Copenhagen to attend the School of Arts and Crafts. At 24, he graduated from school and began working as an architect. Two years later, in 1940, he got his big break working alongside Arne Jacobsen and Erik Møller on the furniture design for the new Århus City Hall. That same year, Wegner began collaborating with master cabinet-maker Johannes Hansen, who would eventually bring his designs to the US.

Newly invigorated by his experience at Århus, Wegner started his own studio in 1943. Not one to be contented with traditional approaches, he experimented with steam-bent wood, laminated wood, metal, and so forth, and pushed the boundaries of these materials. The result is an oeuvre of sculptural pieces whose fluid lines and warm timber tone stood as a gentle rebuke to the hard lines and angles of Modernism. Apart from The Round Chair, Wegner designed several iconic pieces that remain popular to this day. They include the China chair (4283) for Fritz Hansen, which was inspired by portraits of Danish merchants sitting in Ming chairs displayed at the Danish Maritime Museum; the Wishbone chair (CH24) for Carl Hansen & Søn, a late variant of the China chair; and the Peacock chair for PP Møbler (PP550), which was his take on the classic Windsor chair.

Wegner’s style is often described as ‘organic functionalism’. Although sculptural, his chairs were designed to be purposeful pieces that emphasised joinery and ergonomics. Indeed, most would agree that it is difficult to find any Wegner chair that is uncomfortable.

“First and foremost, it’s comfortable, and saying that it’s comfortable before saying it’s beautiful is really high praise, because the truth is that it’s incredibly elegant,” said Paola Antonelli, the curator of architecture and design at the Museum of Modern Art in New York, of Wegner’s designs.

The Danish master did not just design furniture. Occupying a less prominent, though no doubt important, position in Wegner’s oeuvre are his lamps. Distributed by Carl Hansen & Søn, the handmade, height-adjustable Pandul pendant is probably the most well known. Designed in 1962, the lamp’s key feature is a handle that is integrated into the lampshade. This simple but ingenious concept allows the lamp to be raised and lowered without touching the aluminium shade.

Wegner’s prolific career makes him one of the most productive Danish designers in modern history. Before his retirement in the 1990s, he garnered a string of accolades, including the Lunning prize, the grand prix of the Milan Triennale, Sweden’s Prince Eugen medal, and the Danish Eckersberg medal. Wegner passed away at the age of 92, but even after his death, manufacturers continue to be inspired by the treasure-trove of sketches and models he left behind. A previously unknown easy chair, created by Wegner in 1960, was put into production by Carl Hansen and Søn and released only two years ago. While ‘the world’s best cabinet-maker’ may no longer be with us, his spirit lives on. As Wegner so aptly put it in an interview, “The good chair is a task one is never completely done with.”

It is the year 1960. Millions of Americans are glued to their television screens on the night of the nation’s first televised presidential debate. On the left of the screen sits the confident and self-assured Senator John F. Kennedy. On the right sits the pale and underweight Vice-President Richard Nixon, still recovering from a recent hospital stay. As the two presidential hopefuls battle it out on screen, a European celebrity sits quietly on stage, witness to a key moment in history: the night political campaigning is forever altered by the television set. While our celebrity is no eloquent debater, he stoically lends his support to the political heavyweights of that evening. Meet The Round Chair — a design so iconic it was simply known as ‘The Chair’.

Clockwise from top left The sculptural CH445 or 'Wingchair' designed in 1960 and made by Carl Hansen & Søn; The Wishbone chair is one of Wegner's most iconic designs and the first of his chairs to be produced by Carl Hansen & Søn in 1949; The Valet chair by PP Møbler with its backrest shaped as a coat hanger and a seat for both sitting and storing; the Shell chair made by Carl Hansen & Søn since 1963; designed in 1950 the Flag Halyard chair by PP Møbler is made of solid stainless steel, 240 metres of specially developed flag line and long-haired sheepskin; the simple lines of the CH33 reference the classic designs of the 1950s and 60s; and The Round Chair made by PP Møbler remains an icon for Danish woodworking and the Danish modern design philosophy.

Top Designed in 1951 The Teddy Bear Chair was the first Hans J. Wegner design produced at PP Møbler. Bottom Designer Hans J. Wegner in his studio.

morespacemagazine.com

32_ 33_more space_

Archive_

Denmark 1914_2007Hans-

J.Wegner

One of Denmark’s most prolific designers, Hans J. Wegner graduated in architecture and got two lucky breaks, first working with Arne Jacobsen, and then when The Round Chair he designed with Johannes Hansen in 1949 was released to the world during the 1960 presidential elections in the US.

words_gwen lee

A symbol of Danish craftsmanship, The Round Chair by Hans J. Wegner was first produced in 1950 by Johannes Hansen Cabinetmakers, who exhibited in the US shortly after. Design magazines of the day soon picked up on it and featured it heavily in publications, with Interiors magazine even referring to it as “the most beautiful chair in the world”. Among the 500 plus chairs that Wegner designed during his long career, The Round Chair is undoubtedly his most prominent and successful creation. Its success thrust Wegner into the international limelight and he became inundated with calls from US furniture companies wanting to reproduce his design. He declined all of their offers, stating in a television interview that “it has to be crafted by Danes”. Today, The Round Chair remains in Danish hands with PP Møbler producing both the original version with the cane seat, the PP501, as well as an upholstered version, the PP503.

Wegner’s staunch belief in Danish craftsmanship can be explained by the fact that, above all else, he thought of himself first as a cabinet-maker, then a designer. Born in 1914 in Tønder, Denmark, Wegner rose from humble beginnings. The son of a shoemaker, he finished his apprenticeship as a cabinet-maker with H.F. Stahlberg at the age of 17 before moving to Copenhagen to attend the School of Arts and Crafts. At 24, he graduated from school and began working as an architect. Two years later, in 1940, he got his big break working alongside Arne Jacobsen and Erik Møller on the furniture design for the new Århus City Hall. That same year, Wegner began collaborating with master cabinet-maker Johannes Hansen, who would eventually bring his designs to the US.

Newly invigorated by his experience at Århus, Wegner started his own studio in 1943. Not one to be contented with traditional approaches, he experimented with steam-bent wood, laminated wood, metal, and so forth, and pushed the boundaries of these materials. The result is an oeuvre of sculptural pieces whose fluid lines and warm timber tone stood as a gentle rebuke to the hard lines and angles of Modernism. Apart from The Round Chair, Wegner designed several iconic pieces that remain popular to this day. They include the China chair (4283) for Fritz Hansen, which was inspired by portraits of Danish merchants sitting in Ming chairs displayed at the Danish Maritime Museum; the Wishbone chair (CH24) for Carl Hansen & Søn, a late variant of the China chair; and the Peacock chair for PP Møbler (PP550), which was his take on the classic Windsor chair.

Wegner’s style is often described as ‘organic functionalism’. Although sculptural, his chairs were designed to be purposeful pieces that emphasised joinery and ergonomics. Indeed, most would agree that it is difficult to find any Wegner chair that is uncomfortable.

“First and foremost, it’s comfortable, and saying that it’s comfortable before saying it’s beautiful is really high praise, because the truth is that it’s incredibly elegant,” said Paola Antonelli, the curator of architecture and design at the Museum of Modern Art in New York, of Wegner’s designs.

The Danish master did not just design furniture. Occupying a less prominent, though no doubt important, position in Wegner’s oeuvre are his lamps. Distributed by Carl Hansen & Søn, the handmade, height-adjustable Pandul pendant is probably the most well known. Designed in 1962, the lamp’s key feature is a handle that is integrated into the lampshade. This simple but ingenious concept allows the lamp to be raised and lowered without touching the aluminium shade.

Wegner’s prolific career makes him one of the most productive Danish designers in modern history. Before his retirement in the 1990s, he garnered a string of accolades, including the Lunning prize, the grand prix of the Milan Triennale, Sweden’s Prince Eugen medal, and the Danish Eckersberg medal. Wegner passed away at the age of 92, but even after his death, manufacturers continue to be inspired by the treasure-trove of sketches and models he left behind. A previously unknown easy chair, created by Wegner in 1960, was put into production by Carl Hansen and Søn and released only two years ago. While ‘the world’s best cabinet-maker’ may no longer be with us, his spirit lives on. As Wegner so aptly put it in an interview, “The good chair is a task one is never completely done with.”

It is the year 1960. Millions of Americans are glued to their television screens on the night of the nation’s first televised presidential debate. On the left of the screen sits the confident and self-assured Senator John F. Kennedy. On the right sits the pale and underweight Vice-President Richard Nixon, still recovering from a recent hospital stay. As the two presidential hopefuls battle it out on screen, a European celebrity sits quietly on stage, witness to a key moment in history: the night political campaigning is forever altered by the television set. While our celebrity is no eloquent debater, he stoically lends his support to the political heavyweights of that evening. Meet The Round Chair — a design so iconic it was simply known as ‘The Chair’.

Clockwise from top left The sculptural CH445 or 'Wingchair' designed in 1960 and made by Carl Hansen & Søn; The Wishbone chair is one of Wegner's most iconic designs and the first of his chairs to be produced by Carl Hansen & Søn in 1949; The Valet chair by PP Møbler with its backrest shaped as a coat hanger and a seat for both sitting and storing; the Shell chair made by Carl Hansen & Søn since 1963; designed in 1950 the Flag Halyard chair by PP Møbler is made of solid stainless steel, 240 metres of specially developed flag line and long-haired sheepskin; the simple lines of the CH33 reference the classic designs of the 1950s and 60s; and The Round Chair made by PP Møbler remains an icon for Danish woodworking and the Danish modern design philosophy.

Top Designed in 1951 The Teddy Bear Chair was the first Hans J. Wegner design produced at PP Møbler. Bottom Designer Hans J. Wegner in his studio.

morespacemagazine.com

35_34_more space_

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GiorgettiFA’I’ mahjong setChi Wing Lo

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Nanimarquina do-Lo-rez rugRon Arad

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KartellFinally Alone candle holder Philippe Starck

KartellJelly plate & vase Patricia Urquiola

Giorgetti IRA bedChi Wing Lo

PoliformBolten bedGiuseppe Viganó

PoliformMinerva bedCarlo Colombo

B&B ItaliaHusk chair Patricia Urquiola

B&B ItaliaIuta chair Antonio Citterio

B&B ItaliaJJ armchair Antonio Citterio

B&B ItaliaLove Papilio armchair Naoto Fukasawa

B&B ItaliaMart armchair Antonio Citterio

B&B ItaliaMini Papilio armchair Naoto Fukasawa

B&B ItaliaTheo armchair Vincent Van Duysen

Carl Hansen & SønCH33 chair Hans J. Wegner

Carl Hansen & SønCH58 stool Hans J. Wegner

EmecoBroom chair Philippe Starck

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KartellAudrey soft chairPiero Lissoni

Flexform Guscio armchair Antonio Citterio

Emeco SoSo chair Jean Nouvel

Fritz Hansen minuscule™ armchair Cecilie Manz

EmecoSezz chair Christophe Pillet

KartellComback chairPatricia Urquiola

KartellFoliage chairPatricia Urquiola

KartellMaui soft chairVico Magistretti

KartellMademoiselle chairPhilippe Starck

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MaxaltoFebo chairAntonio Citterio

MoooiMonster barstoolMarcel Wanders

PoliformHarmony chairRodrigo Torres

PoliformLey chairGabriele & Oscar Buratti

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35_34_more space_

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Nanimarquina Losanges rugRonan & Erwan Bouroullec

Moooi Big Ben clockMarcel Wanders

Nanimarquina Medina rugNani Marquina

FlexformCestone bedAntonio Citterio

Flexform MoodLauren bedRoberto Lazzeroni

Giorgetti Corium bedUmberto Asnago

Nanimarquina do-Lo-rez rugRon Arad

KartellShanghai vase Mario Bellini

Nanimarquina Little Field of Flowers rugTord Boontje

KartellAbbracciaio candle holder Philippe Starck

KartellFinally Alone candle holder Philippe Starck

KartellJelly plate & vase Patricia Urquiola

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PoliformBolten bedGiuseppe Viganó

PoliformMinerva bedCarlo Colombo

B&B ItaliaHusk chair Patricia Urquiola

B&B ItaliaIuta chair Antonio Citterio

B&B ItaliaJJ armchair Antonio Citterio

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B&B ItaliaMart armchair Antonio Citterio

B&B ItaliaMini Papilio armchair Naoto Fukasawa

B&B ItaliaTheo armchair Vincent Van Duysen

Carl Hansen & SønCH33 chair Hans J. Wegner

Carl Hansen & SønCH58 stool Hans J. Wegner

EmecoBroom chair Philippe Starck

Giorgetti Mobius armchairUmberto Asnago

Giorgetti ODE chairChi Wing Lo

KartellAudrey soft chairPiero Lissoni

Flexform Guscio armchair Antonio Citterio

Emeco SoSo chair Jean Nouvel

Fritz Hansen minuscule™ armchair Cecilie Manz

EmecoSezz chair Christophe Pillet

KartellComback chairPatricia Urquiola

KartellFoliage chairPatricia Urquiola

KartellMaui soft chairVico Magistretti

KartellMademoiselle chairPhilippe Starck

KartellMiss Less chairPhilippe Starck

KartellOne More One More Please chairPhilippe Starck

MaxaltoFebo chairAntonio Citterio

MoooiMonster barstoolMarcel Wanders

PoliformHarmony chairRodrigo Torres

PoliformLey chairGabriele & Oscar Buratti

PoliformOskar chairVincent Van Duysen

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PP MøblerPP124 rocking chairHans J. Wegner

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36_ 37_

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39_38_more space_design library_

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GiorgettiUp-Date tableUmberto Asnago

FlexformFly tableAntonio Citterio

GiorgettiION tableChi Wing Lo

Fritz Hansenminuscule™ tableCecilie Manz

GiorgettiYLI tableChi Wing Lo

KartellInvisibles tableTokujin Yoshioka

KartellTwig side tablePatricia Urquiola

KartellZooom tablePiero Lissoni

LintelooIsola tableRoderick Vos

LintelooObi tableRoderick Vos

MaxaltoXilos table with Lazy SusanAntonio Citterio

MoooiContainer New Antiques collectionMarcel Wanders

PoliformBigger coffee tableCarlo Colombo

PoliformAnna tableCR&S Poliform

PoliformBaba table Roberto Barbieri

PoliformHoward tableJean-Marie Massaud

PoliformParis-Seoul tableJean-Marie Massaud

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FlosD’E-lightPhilippe Starck

GiorgettiMYO lampChi Wing Lo

Jake DysonCSYS LED task lightJake Dyson

FlosTatou lampPatricia Urquiola

more space_design library_

PP MøblerPP225 Flag Halyard chairHans J. Wegner

PP MøblerPP250 Valet chairHans J. Wegner

PP MøblerPP503 The Round ChairHans J. Wegner

PP MøblerPP550 Peacock chairHans J. Wegner

PP MøblerPP58 chairHans J. Wegner

PP MøblerPP68 chairHans J. Wegner

VitraFauteuil de Salon armchairJean Prouvé

VitraGrand Repos armchairAntonio Citterio

VitraHAL chairJasper Morrison

VitraWaver armchairKonstantin Grcic

Varenna by PoliformMatrix kitchen system CR&S Varenna

Varenna by PoliformArtex kitchen system CR&S Varenna

Bocci28 Series suspension lightsOmer Arbel

Bocci38 Series suspension lights Omer Arbel

FlosArco LED lampAchille & Pier Giacomo Castiglioni

FlosHide lampPhilippe Starck

KartellTaj and Mini Taj lampFerruccio Laviani

DriadeRimini sun bedFredrikson Stallard

DriadeSunrise collectionLudovica+Roberto Palomba

PointMarilyn chair & tableGabriel Texiedó

B&B ItaliaLuis sofaAntonio Citterio

B&B ItaliaMichel sofaAntonio Citterio

PointRoma umbrella

PointSiesta sun bedGabriel Texiedó

B&B ItaliaFrank sofaAntonio Citterio

MoooiPaper chandelierStudio Job

DriadeTrick trolleyGiuseppe Chigiotti

MoooiValentine and Baby Valentine suspension lightsMarcel Wanders

Flos Superarchimoon outdoor lampPhilippe Starck

B&B ItaliaHusk outdoor collectionPatricia Urquiola

PointGolf collectionAlfonso Gallego

B&B ItaliaRay sofaAntonio Citterio

Carl Hansen & SønCH162_163 sofaHans J. Wegner

FlexformDay-Time sofaAntonio Citterio

FlexformGoodplace sofaAntonio Citterio

FlexformEvergreen sofaAntonio Citterio

Flexform MoodAlfred sofaRoberto Lazzeroni

Louis PoulsenAeros suspension lightRoss Lovegrove

Louis PoulsenDoo-Wop suspension lightLouis Poulsen

Louis PoulsenLC Shutters suspension lightLouise Campbell

MoooiMask lampStefano Giovannoni

DriadeRimini outdoor SofaFredrikson Stallard

PP MøblerPP19 Teddy Bear armchairHans J. Wegner

PP MøblerPP130 Circle chairHans J. Wegner

40_ more space_cover story_

41_more space_

DesignIcon_

When asked to name his number one furniture classic, many iconic designs come to Peter Tay’s mind, but he finally singles out the Easy chair by famous Brazilian modernist architect Oscar Niemeyer, simply because “every architect knows it”. To the celebrated Singapore-based interior designer and avid furniture collector, an iconic design is one that lasts decades like good architecture and defines the identity of a period.

In particular, the postwar 1950s and countercultural 1960s are his favourite periods, as they saw the birth of the modernist masters who represent a significant movement and style of design to him. Other design icons that strike him are Le Corbusier, Charlotte Perriand, Marc Newson, and Jean Prouvé. A particular favourite of his is Perriand’s Three-legged stool, which he acquired as a student at London’s Architectural Association School of Architecture in the 1990s and now keeps at home.

A brief tour of one of his collections (Tay has two offices and collections in Singapore) is a walk through mid-century Modernist to contemporary industrial design. Perriand’s Bibliotheque bookshelf snuggles with a Mies Van der Rohe Barcelona couch and Serge Mouille floor lamp, overlooked by a Moooi Horse lamp and Poul Henningsen’s Artichoke lamp, at the awe-inducing entrance. The collector – who mentions he has acquired almost everything in 1000 Chairs (Taschen, 2000) including Charles and Ray Eames, Hans J. Wegner, Verneer Panton, Philippe Starck, Marcel Wanders, and Ron Arad – loves and collects these items as pieces of art. Yet, the Easy chair is coveted by Tay because it’s no longer in production.

Unsurprisingly, Tay’s love for furniture plays a big role in his interiors. Although Tay studied architecture and later had a stint working for architects Stefano De Martino and Raoul Bunschoten in the UK, when he returned to Singapore about 10 years ago, he decided to “follow his heart” and pursue a career in interior design instead. He sees these fields as natural complements. “Architecture needs to be complemented by interiors, and interiors need to be complemented by furniture.”

With a modern aesthetic, Tay has established a niche for himself in luxury interiors predominantly designing private residences, apartments and showrooms, and is currently working on a number of bungalows in Singapore’s famous Bukit Timah and homes in The Marq and Sentosa Cove. A believer in form follows function, he explains that while form is actually very simple, design stems from a clear function. Instead of decoration, interior design is really about creating spatial quality. As for furniture’s role in this, “One furniture [piece] can tell the whole story.”

Above Photographed with part of the furniture collection he keeps in one of his Singapore offices, interior designer and furniture collector Peter Tay singles out Oscar Niemeyer’s Easy chair (circa 1972) as one of his favourite icons of modernist design.Photo of the Easy chair courtesy Wright, Chicago.

An interior designer with a passion for furniture, Peter Tay believes that the pared-back beauty of a piece of furniture embodies the meaning of ‘form follows function’.words_christine liewphotography_zakaria zainal

40_

40_ more space_cover story_

41_more space_

DesignIcon_

When asked to name his number one furniture classic, many iconic designs come to Peter Tay’s mind, but he finally singles out the Easy chair by famous Brazilian modernist architect Oscar Niemeyer, simply because “every architect knows it”. To the celebrated Singapore-based interior designer and avid furniture collector, an iconic design is one that lasts decades like good architecture and defines the identity of a period.

In particular, the postwar 1950s and countercultural 1960s are his favourite periods, as they saw the birth of the modernist masters who represent a significant movement and style of design to him. Other design icons that strike him are Le Corbusier, Charlotte Perriand, Marc Newson, and Jean Prouvé. A particular favourite of his is Perriand’s Three-legged stool, which he acquired as a student at London’s Architectural Association School of Architecture in the 1990s and now keeps at home.

A brief tour of one of his collections (Tay has two offices and collections in Singapore) is a walk through mid-century Modernist to contemporary industrial design. Perriand’s Bibliotheque bookshelf snuggles with a Mies Van der Rohe Barcelona couch and Serge Mouille floor lamp, overlooked by a Moooi Horse lamp and Poul Henningsen’s Artichoke lamp, at the awe-inducing entrance. The collector – who mentions he has acquired almost everything in 1000 Chairs (Taschen, 2000) including Charles and Ray Eames, Hans J. Wegner, Verneer Panton, Philippe Starck, Marcel Wanders, and Ron Arad – loves and collects these items as pieces of art. Yet, the Easy chair is coveted by Tay because it’s no longer in production.

Unsurprisingly, Tay’s love for furniture plays a big role in his interiors. Although Tay studied architecture and later had a stint working for architects Stefano De Martino and Raoul Bunschoten in the UK, when he returned to Singapore about 10 years ago, he decided to “follow his heart” and pursue a career in interior design instead. He sees these fields as natural complements. “Architecture needs to be complemented by interiors, and interiors need to be complemented by furniture.”

With a modern aesthetic, Tay has established a niche for himself in luxury interiors predominantly designing private residences, apartments and showrooms, and is currently working on a number of bungalows in Singapore’s famous Bukit Timah and homes in The Marq and Sentosa Cove. A believer in form follows function, he explains that while form is actually very simple, design stems from a clear function. Instead of decoration, interior design is really about creating spatial quality. As for furniture’s role in this, “One furniture [piece] can tell the whole story.”

Above Photographed with part of the furniture collection he keeps in one of his Singapore offices, interior designer and furniture collector Peter Tay singles out Oscar Niemeyer’s Easy chair (circa 1972) as one of his favourite icons of modernist design.Photo of the Easy chair courtesy Wright, Chicago.

An interior designer with a passion for furniture, Peter Tay believes that the pared-back beauty of a piece of furniture embodies the meaning of ‘form follows function’.words_christine liewphotography_zakaria zainal

40_

Design Library_The latest collections of furniture, lighting and accessories by the world’s leading brands.

issue 13_2012Space Nurtures at Domaine de Boisbuchet – A new annual programme supporting young Singaporean designers through international collaborations.