02.19.25

Up and Coming

This Parisian Designer’s Furniture Looks Like it Was Left Out in the Rain

Following a storm, there’s a moment when surfaces are left covered with beautiful, randomly dispersed droplets that glisten until they evaporate. In his new series — appropriately titled After the Rain —Parisian designer Quentin Vuong has been able to recreate this effect with startling accuracy across a series of blackened oak furniture pieces, upon which he painstakingly hand-applies black epoxy resin. Currently on show at Galerie Gastou, the series is the latest example of Vuong’s delicate approach to imbuing his works with intriguing details that require significant time and focus to achieve.

11.03.20

Up and Coming

In Lucas Morten’s Hands, Scandinavian Design Becomes Something Much Darker

Swedish designer Lucas Morten’s Klot chair is sculpted from Styrofoam and his Skal vases are formed from stiffened burlap cloth. These improbable materials are the result of his general curiosity about life and his constant search for beauty. “The whole philosophy behind my objects revolves around breaking the Swedish heritage of ‘functionality first’,” he says. “I’m really inspired by the total beauty that can be found beyond practical aspects and interested in what that kind of beauty means to the human being.”

03.01.16

Studio Visit

Beautiful, Textured Wall Hangings By the Los Angeles Studio All Roads Design

Janelle Pietrzak has made a name for herself as a Los Angeles-based textile artist and one half of All Roads Design, the creative studio she runs with boyfriend Robert Dougherty. It’s fair to say her thickly textured woven wall hangings helped usher in the trend; in Pietrzak's distinctive work, abstract fields of color and looping yarns meet shaggy, silky fringe in pieces that are warm and fuzzy yet elegant.

11.06.14

Excerpt: Exhibition

A New Layer at Östasiatiska Museet

Turns out we're not the only ones who have noticed Scandinavia's re-emergence as a design powerhouse. In 2012, at the behest of the Taiwanese government, the National Taiwan Craft Research and Development Institute invited five Swedish designers — Gabriella Gustafson and Mattias Ståhlbom of TAF, Matti Klenell, Stina Löfgren, and Carina Seth Andersson — to visit their country in order to work with craftsmen to explore the world of lacquer techniques. From Taiwan's point of view, the project was meant to boost interest in their native lacquer craft and to investigate the effects of combining lacquer work with Scandinavian design. But it was also a very savvy business decision: "Many producers in Taiwan are curious about the performance of IKEA, Muuto, and Hay ━ the entire Scandinavian success story," says Klenell. "A lot of questions have been asked about that kind of thing: 'How can we learn about design, how can we start up businesses?'" The impact of the collaboration on Taiwanese design culture is still to be seen, but the physical results will be on view starting next Tuesday and until February 8 at Stockholm's Östasiatiska Museet, or the Museum of Far Eastern Antiquities.

02.05.14

Sighted

Assembly’s 2x Aluminum Mirror

As journalists, it’s basically our job to be professional busybodies, so there’s almost nothing that gives us a bigger thrill than when designers offer us a sneak peek at what they’re working on next. This week, those designers were the unfailingly prolific Pete Oyler and Nora Mattingly of Brooklyn-based Assembly, whose work we’ve featured extensively on the site. Their brand new piece is the 2x Aluminum Mirror, which is crafted from a solid sheet of 1/4-inch aluminum that’s been finished with two different techniques in order to create both reflective and opaque effects on the same surface. Says Oyler, “It’s part of a broader collection of work, to be released at ICFF in NYC this May, that bridges highly skilled hand and machine processes to explore extremes, subtleties, and possible outcomes within common materials.” Of course we decided to snoop around a little more and asked Oyler to tell us a bit more about it.

02.04.14

Excerpt: Exhibition

Kueng Caputo: Never Too Much at Salon 94

Kueng Caputo’s first moment of fame came a few years ago from a series called “Copy,” where the two design-school friends would purposefully mimic a recently released work from a major talent by creating an exaggerated or distilled fakery of that piece. The process was meant to be a tongue-in-cheek homage to the original artists as well as a way for Sarah Kueng and Lovis Caputo to explore how those pieces had acquired their specific character or value. Whatever lessons they learned from that experiment must have stuck, for in the last two years, the Swiss design duo have released two collections that seem predestined for design greatness.

12.18.13

Up and Coming

Lola Lely, furniture designer

Lola Lely was born in Hanoi, Vietnam, but, having moved to London when she was only five, the rising design star can claim native east Londoner status — a rare feat in the area’s bustling international design scene. Her interest in making dates back nearly as far; her mother, a seamstress, was always “knitting or crocheting, making clothes or coasters.” Her Foundation tutor, ceramicist Bo Davies, guided Lely down the path to product design, to satisfy her interest in various disciplines and materials. But now that she’s there, she says, “none of my projects seem to have an end point. I like restlessness, when I don’t know where something is going. It's a little bit serendipitous.”

11.20.13

Studio Visit

Adi Goodrich, Set Designer

Instead of making things as a way to survive obsolescence, the physical remainders that will outlast us all, Adi Goodrich’s work lives for only a few days before being broken back down into pieces. “I’m not really into all that ego of trying make stuff that stays forever,” the Los Angeles-based designer admits. “I’m much more interested in the cycle of creativity, in making things happen, and surrounding myself with everyone who wants to come with.” Which means that Goodrich, who was just honored with an Art Directors Club “Young Guns” award, might have willed herself into a perfect job: set design.

08.05.13

Studio Visit

Christy Matson, Textile Artist

In the parallel universe of false starts, where every cabinet is filled with tools you’ll never use again and every heart with ideas that didn’t stick, artist Christy Matson is a welcome presence, a reminder that sometimes lost things have a way of finding you again. Matson bought her first loom before she’d ever woven, certain that she would take immediately to the repetition and logic of it: “I was, like, I’m going to love weaving, I just know it! I had never met a textile-related process I didn't like,” Matson says. “And then I took a weaving class the next semester and hated it. I thought, this is it? This is boring.”

07.08.13

Sighted

Q+A With London Textile Designer Hannah Waldron

If I was a bit late to the Hannah Waldron party, only discovering her work in May at the Here & There exhibition that Field and Various Projects put on during our Noho Design District event, it's probably only because I have a deep, embarrassing secret that, until today, I've never admitted publicly: I don't know why, but I just don't like most contemporary illustration all that much, particularly when it's figurative. Which means that I can sometimes throw the baby out with the bathwater, failing to notice the work I do love because I'm so busy filtering out the work I don't. Waldron definitely falls into the former camp for me, probably because she has such an intricate, graphic style — she's more influenced by the Bauhaus, for example, than the aesthetics of street art or cartooning. The woven Map Tapestries she exhibited at Here & There (and previously at Rossana Orlandi gallery in Milan this past April) feature long, abstract representations of her journeys from one place to another, plotting the transition in landscape between, say, Tokyo and a hot spring in Japan's Gunma prefecture (pictured above). Check out some of Waldron's works in this lovely Q+A, excerpted below, that ran recently on Designboom.

01.30.13

The Making of

Shatter Vases by Pete Oyler and Misha Kahn for Assembly

If you have a great design sense, and if you enjoy sending people flowers, you've probably noticed by now that the two don't exactly tend to play well together. Unless you're clued into a place like The Sill, our new favorite Brooklyn-based succulent delivery service, you know your lucky recipient is most likely going to receive their posies in some boring glass trifle that will inevitably end up in the freebie box at his or her next garage sale. That's why when young designers Misha Kahn and Pete Oyler hit up a Salvation Army looking for castoff vessels to experiment with for their latest project, they had absolutely no trouble filling up their cart. It's tough out there for a generic FTD vase, especially one whose emptiness eventually reminds you of a failed relationship or a hospital stay. Kahn and Oyler decided that, just in time for Valentine's Day, they'd take their thrifted castoffs and give them new lives as objets d'art, filling them with colored resin and shattering them in place (hence the name).

08.20.12

Sighted

Study O Portable’s Neon Alphabet

Whereas most of us may never fully grasp the meaning behind the testicular descension metaphors and self-referential glyphs woven throughout Matthew Barney's Cremaster Cycle, the message behind his Drawing Restraint series — which has seen the artist challenge his creation process with obstacle courses and 270-pound dumbbells — couldn't be more relatable: creativity flourishes in any struggle with limitations. Many designers, for example, profess to do their best work under the pressure of client briefs; then there are those, like the London duo Bernadette Deddens and Tetsuo Mukai of Study O Portable, who in the absence of such briefs will invent their own rules to work around. Since they started their studio in 2009, the couple have been using the alphabet as a testing ground for aesthetic and material experiments, producing letter sets in various combinations of wood, leather, and plastic that must conform to strict, self-imposed standards of size and legibility. "It's really satisfying to work on the puzzle an ABC poses depending on one's materials and techniques," says Deddens. Their most recent is the Neon Alphabet, "a cross between signage, jewelry, and a font" that debuted at Design Miami/Basel this June with Belgian gallerist Caroline van Hoek.