Vico Magistretti | Cassina Né à Milan en 1920, c’est dans cette ville qu’il décroche son diplôme d’architecte et c’est également là qu’il commence sa carrière en s’occupant d’architecture, d’urbanisme et de design industriel.Sa première reconnaissance professionnelle date de 1948, quand il remporte le Grand Prix de la VIIIe Triennale. CHARLIE SCHUCK PHOTOGRAPHY & MOTION Droog fashion TurnoverCome over for Turnover. The distinguished fashion label’s latest Fall 2015 collection is now available at Hôtel Droog. The stunning collection expertly infuses the qualities of handicraft and fine tailoring, through handmade fabrics, tactile geometric forms and rich knits. Avelon Avelon believes in beautiful different. Shop the Avelon collection now at our Fashion Store at Hôtel Droog.
Galerie Alexandre Guillemain | Artefact Design - Olivier MOURGUE - Designer Diplômé de l’École Boulle, Olivier Mourgue s’inscrit à l’École nationale supérieure des arts décoratifs de Paris. À partir de 1964, il travaille en étroite collaboration avec Airborne pour lequel il conçoit les fauteuils Joker, les séries Djinn, Tric-Trac et Whist. La chaise longue Djinn est choisie par Standley Kubrick pour équiper la station spatiale de son film 2001 : "l’Odyssée de l’espace", et figure désormais dans la collection permanente du MoMA de New York.
On Design: Gijs Bakker “At the beginning of my career, my generation wanted to come up with completely new ideas and forms,” says the Dutch master jeweller and industrial designer, Gijs Bakker. “We thought we could reinvent the world.” The traditional sculpting tool, the focus of the latest episode of On Design directed by Stefan Heinrichs, proved an ironic talisman for the unorthodox designer and co-founder of Droog Design. As an art school graduate, Bakker quickly dispensed with his classical training and embraced the modernism prevalent in the 1960s. “Very simply, my journey is three-part: taught craft, rejected craft and now, where the computer has taken over, I need to go back to the skills of craft,” says Bakker, currently exhibiting a major retrospective alongside Emmy van Leersum at the Stedelijk Museum in Amsterdam. “However, I always wanted to be a designer, not a craftsman.” The Gijs+Emmy Spectacle runs through August 24 at The Stedelijk Museum, Amsterdam.
Gaetano Pesce At the Guggenheim: On Kawara's Obsessive Daily Records How do you enter the immense body of repetitious work left by the late On Kawara? You might approach it as an effort to document existence: through five solid decades the Japanese artist marked the elemental components of his days on earth—the dates, the locations, the paths he traveled, the times of day he awoke, the sheer fact of his life’s continuation for one more day. “On Kawara – Silence,” the artist’s current retrospective at the Guggenheim, presents Kawara’s work as just this: a record of time, place, and habit as the systems that govern our daily lives. The museum’s unique layout amplifies Kawara’s output, generating significance through the sheer mass of material presented. The Guggenheim’s High Gallery offers a prelude of sorts to Kawara’s best-known works in Title (1965), a triptych of early riffs on the date paintings that show more conceptual freedom than his later series. Exhibition view, courtesy of the Guggenheim Museum Kawara’s persistence is staggering.
Papanek Foundation The Official Site of Raymond Loewy ARAM | Eileen Gray Born in Enniscorthy, County Wexford, Ireland in 1878, Eileen Gray spent her childhood in London and was among the first women to be admitted to the Slade, where she took up painting in 1898 before undergoing an apprenticeship in a London lacquer workshop. The experience she gained in working in this highly specialised medium was to influence her profoundly when she moved to Paris in 1902. After further training in lacquer work and cabinet making, she quickly established herself as one of the leading designers of the lacquered screens and decorative panels so beloved by the followers of art deco, and even managed to cause a riot by showing a stark white lacquered boudoir at the 14th Salon des Artistes Décorateurs in 1923. In 1922 she opened her own gallery, Jean Désert, in Rue du Fauborg Saint Honoré as an outlet for her designs. During the 1920s and 1930s she became one of the leading exponents of the revolutionary new theories of design and construction.