Tantris, Germany
For over 40 years, Tantris has held its position as one of Munich’s top dining experiences. In addition to Michelin-starred cuisine, the restaurant’s rich interior scheme has been key to its success - not least that of the Main Room designed by renowned Swiss architect Justus Dahinden. ‘Red as a lobster, black as truffles,’ this is the heart of Tantris - with walls that arch steeply to the centre of the room and wide glazed façades.
In November 2012 owner Fritz Eichbauer asked interior designer Danilo Silvestrin to create a new light piece to sit above the reception area to the main room, one that would work alongside the existing Asian sculptures and striking colour scheme. Previous glass chandelier installations had proved unsuccessful, so Silvestrin adopted a different approach.
“I recommended a gold colour that would, in my opinion, represent a congenial match with the existing rooms, while I was convinced that the form of the new chandelier should be something very much contrasting with the restaurant’s architecture,” he explains.
Silvestrin contacted Christoph Matthias, the owner of Lichtlauf, with a proposal to adapt the company’s existing Lichtenfest piece, amplifying it to over two metres in height and giving it a new computer-generated shape.
The pendant is created from ten layers of aluminium, worked together by hand and finished in gold leaf. Three dimmable 230W Osram Halolux Ceram lamps sit within the piece. Manufactured and installed by Matthias and his team, the new chandelier fills the space with smooth golden light, while reflecting the fiery colours of its surroundings.
“In collaboration with Mr Matthias, we created a real marvel,” says Silvestrin, “One that harmonises perfectly with its orange-red ambience and which - as a counterpoint and real eye-catcher - blends in with the surrounding architecture.”
Profile: Studio Drift
There is a tendency among many to draw division lines between science and nature, to paint one as clinical, progressive or dangerous; the other as wild, rich or untamed. Not so Studio Drift, a Dutch collective who have taken on the role of mediator between these two worlds. “Our goal is to create a dialogue between nature and technology, a perfect combination of knowledge and intuition, science fiction and nature, fantasy and interactivity,” they state. “In this way, we hope to emphasise the metaphysical quality of human sensations and to make manifest spiritual and emotional values. “At the heart of everything we create is the fluctuating relationship between nature, technology and humankind.”
Founded in 2006 by Ralph Nauta and Lonneke Gordijn, graduates of the Design Academy Eindhoven, Studio Drift have exhibited their work across the world. From the V&A in London, to Salone del Mobile in Milan, via World Expo Shanghai, Design Miami, Design Week Tokyo, Museum of Arts & Design New York (and many more) – the warm reception received in each country bears witness to the universal appeal of their bio-inspired approach.
The duo cite their complimentary skills - Nauta’s expertise in crafts, materials and production techniques, and Gordijn’s sense for shapes and strong concepts – as the key to their successful amalgamation of nature and technology. The Fragile Future 3 series, created in collaboration with the London based Carpenters Workshop Gallery, is a perfect example of their work. Each piece incorporates real dandelion seeds, hand attached to an LED core and hard wired into a modular network of phosphorous bronze wires. Both modern laser cutting and traditional metalworking techniques are used to construct the cubic framework that can be custom created to grow across walls, around corners or into three dimensional sculptures and chandeliers.
“Light is an important aspect of our work, but it is used as a material or an ingredient not as illumination,” says Nauta. “The Fragile Future chandelier is not about being able to see in the dark – it is about conveying emotion and referencing the fact that light is the basis of all life. It is also a piece that demands to be nurtured and cared for in order to preserve its aesthetics and continue to enjoy it, and that too was important to us.”
While Fragile Future speaks of the delicate balance of nature, two further pieces Flylight and Shylight reflect the beauty that can emerge from patterns and responsive movement found in the natural world. Flylight comprises a flock of suspended glass tubes that individually illuminate in response to their surroundings and in doing so create poetic waves of movement across a space. The piece uses electronic sensors that detect the presence and proximity of an observer and cause the tubes to react in self-organising patterns in accordance with an inbuilt set of rules - developed in cooperation with mechanical engineers, industrial designers and nano technology specialists Klaas van der Molen and Luuk van Laake.
Shylight replicates the processes employed by flora when attracting pollinators and protecting itself from danger. “With Shylight we wanted a whole range of different stages that a flower can be, translated into a product that touhes the viewer in multiple ways. Using technology, both mechanic and electronic, we wanted to show a living picture that has many manifestations.”
Each piece comprises an aluminium ‘cocoon’ that houses the movement and lighting controls – deliberately made visible from below. Multiple silk layers slowly emerge, fanning out like a ballerina’s skirt until, sensing danger, it darts back into a budlike shape. On its own or in multiple piece ceiling-mounted displays, the Shylight can be iPhone controlled, or programmed to dance to a choreographed musical score.
Studio Drift continue to tour the world with their work; having just shown Flylight - the biggest version yet - at PAD in Paris, they will soon be launching a new collaboration with a brand at Euroluce in Milan and will be exhibiting a new coloured-glass work at Design Miami Basel later this year.
Sevens Shopping Mall, Germany
The Sevens shopping centre on Düsseldorf‘s Königsallee had already run through twelve successful years of operation before owners Centrum decided it was time for a revamp. RKW Architektur und Städtebau were brought in to re-engineer the space to create a more inviting entrance area, open out the central atrium, and expand retail units on the lower levels.
The centre, named after its seven storeys, houses around 35 tenants in a retail space of approximately 19,000 sqm, including a number of high profile retail brands. The electronics chain Saturn is the anchor tenant, occupying a large multi-level unit within the space, while on the mall’s ground floor, fashion and lifestyle retailers predominate. On the lower level there is a food court with nine restaurants and bars.
The remodelling took place partially during normal operation, with Kardorff Ingenieure Lichtplanung responsible for redesigning the lighting.
Upon entering the mall, a new, calmer spatial effect is immediately evident. RGB LED cove lights have been embedded in the ceiling above the passages around the atrium, leading into the building to the escalators and elevators, located at the far end of the mall. LEDs with RGB control are integrated into the coves and can be adjusted to match the tenants’ colour preferences: orange, for example is the colour of choice for the Saturn store, which occupies floors one through five.
The atrium space was redesigned to provide a clearer overview of the mall, achieved by centring the arrangement of escalators and introducing a clean, fresh look. Circolo fixtures from Sattler are suspended from the undersides of the layered atrium ceilings creating a pleasing repeated pattern as visitors look upward through the space. These large scale, chrome rings incorporate an LED light source to illuminate the soffits above.
In a move to accommodate fewer, but larger tenants, the retail units on the ground, first and second floors, were gutted and replaced by a new floor plan. The food court on the lower level was also reformatted, with a custom-made luminaire, designed by Kardorff, introduced into the space. Dubbed Galanthus, these special fixtures provide a warmer, cosier atmosphere, with warm-white light sources to contrast with the relatively cooler light in the atrium.
The Galanthus - manufactured by Interferenz Lichtsysteme in floor standing and pendant versions - have a flowing, organic shape. Tubular armatures open out into large scooping shades with opaque glass diffusers at their heart to conceal the standard ceiling luminaires that have been integrated into the piece for ease of maintenance. Each head is flocked on the inside to create a velvet-like lining, alternating between red-yellow and green-blue to match the branding of the associated tenant. From above this vibrant interior is hidden from view. A chrome-plated exterior proffers a distorted reflection of the surrounding space, helping the pieces to blend with the more stylish aesthetic of the atrium.
“Architecture is always unique - a rare thing in our industrialised world,” notes Volker von Kardorff, principal at Kardorff Ingenieure. “Clients like to have a bespoke fixture – it’s like the icing on a cake. The Galanthus fixture is a unique design object created exclusively for Sevens. Its extroverted form and expressive colours form a strong contrast to the subtle, white architecture.”
Nature vs Nurture
As the painter Edward Hopper once observed, “No amount of skilful invention can replace the essential element of imagination.” He was absolutely right; imagination and the human, emotional experience of imagining are an essential element of design. When we look at a product, we start thinking about what it can do, how it would feel to hold, touch and experience. The same happens when we look at the beauty of nature. Whether on a holiday or just viewing a photo of a beautiful place in nature, we start imagining; we desire to indulge in the feel and experience of all that attracts us to that place. It is the result of visual beauty and the exciting promise of novelty, adventure and mystery.
From extensive psychology and neuro research, we know that many of our decisions are reinforced by affective memory structures1. Essentially this means that as our brain recognises things, it produces associated emotional responses to them. These are the result of neuro connections, the strength of which is important as they lead to more predictable decisions. Neuro connections made during emotive experiences, for example, are stronger and more durable. Subsequently they will have a stronger effect on the brain’s decision-making. There are numerous designs that incorporate influences from nature - either as a consequence of, or an attempt to capitalise on, our deeply rooted emotional connection to it.
Nature consists of both subtleties and extremes. It is diverse and dynamic, but always in harmony and many times visually just beautiful. When harmony is at risk, it will self-adjust and recover. Nature is a system. Everything is connected and continuous in an infinite (yet flexible and adaptable) loop. Nothing is waste. Everything is used and re-used. It is the opposite of the thoughtlessness and arbitrariness with which many things are designed these days and what seems to be acceptable. An understanding of - in part - how we make decisions and at the same time the way nature seems to work, is important for the way we design products. If a natural (influenced) aesthetic has an appeal and could positively affect our decision to buy products, should we as designers apply this? From a corporate perspective the answer would most likely be yes. If there is an appeal and desire, companies will be in favour, as it means the products will sell. To design this way would be a marketing driven choice though. Instead, the design process should always be exactly that: design driven. The design process should focus on users and how they will interact with and experience the product. From that, the ‘right’ aesthetic decisions will become clear. Design and nature have one strong similarity; only the strongest will survive. As designers we brainstorm and ask ourselves many questions as part of the ideation, prototyping and iterating process. At every part of that process only the strongest ideas are carried forward. So it might not be survival of the fittest, but definitely survival of the best.
Only from a deep understanding of the users and the design process, should product shapes, material, feel and overall aesthetic arise. It is a result of careful considerations and constant iteration. Instead of just looking at aesthetics, I believe there is something far more important to consider though. We should be looking at nature for how it works as a system. This is something the Japanese have understood and done well for a long time. They are known for using natural forms and materials in their designs. They have a very clear understanding of how things should be; simple, quiet and functional. Using influences from nature not just because it looks good aesthetically but also because it works so well as a system. A great example of this is their traditional housing. It is simple, very adaptable and incorporates natural materials like wood, rice fibres, clay, paper and glass. These traditional-build homes are never cluttered or ‘out of style’. Every part can easily be replaced or adapted. The Japanese know how to design and make things in a way that is simple, balanced, functional and aesthetically beautiful. Not superfluous or screaming for attention. Nature teaches us that we need balance. Harmony is better than divergence. Nature can show us how we can design things that are very interesting and appealing visually, and at the same time are calm and consistent. Every detail is correct.
It is clear that designing with nature as inspiration should not only mean exploring visuals and materials. As designers we should above all think about what is natural for us as humans. Like how it is natural for us to feel texture, detail and shape. That is what our hands are made for. It is also natural for us to desire and want something that looks beautiful and evokes certain emotions. This is how we are ‘wired’. In nature everything has certain colours, form and material for a reason. Genuinely designing with nature as inspiration should result in making those same types of considerations. As designers we need to focus on what the interaction and experience should be like for the user, how it should function and how its users will feel. We need to obsess about every little detail and use the right design principles. Only then can there be a product that not only looks right, but also feels right. Not just in the present, but also five, ten or twenty years from now. I’m making the point that the first thing we need to do is always be conscience about the fact that designing products needs to make life easier and at the same time should respect nature, our natural resources and make use of what is natural for us humans. That is the truly important thing we can learn from nature. We simply need better design, and to start applying these principles now.
Citations: 1 - TNS – The Secret Life of the Brain.
Thomas Wensma is founder of Ambassador Design.
info@thomaswensma.nl
twitter.com/thomaswensma
Rothschild Hotel, Israel
Located on Rothschild Boulevard at the heart of Tel Aviv’s cultural and financial quarter, the Rothschild Hotel occupies one of many modernist classics that make up the White City UNESCO world heritage site.
Built in 1934 in the ‘International Style’, the building recently underwent a complete renovation, creating 25 luxury suites for both short- and long-term accommodation. Included among the hotel’s many design flourishes is a bespoke, ten-metre tall lighting piece that climbs through the centre of the main staircase.
The installation is a collaboration between the interior design team (Michael Azulay and hotel owner Avi Ifrach) and lighting designer Aviad Petel.
The group came together after Petel wrote to the Diaghilev Live Art Boutique Hotel – also run by Avi Ifrach - to enquire about exhibiting some of his recent work on a temporary basis. After reading the proposal, Ifrach came back with an alternative offer – to create a piece for the new Rothschild.
Inspiration for the installation came from the climbing Ipomea Tricolor plant. The ‘stem’ – constructed from rolled metal and wrapped in fabric by designer Orit Barzelai – curves organically through the space. Starting in the ceiling, its descent is unsupported until it reaches its lowest point, just two metres from the ground.
The nine lamp heads are a continuation of Petel’s Grappa range, constructed by sewing together wood veneers to create structurally solid shapes that reference both petunia flower heads and old gramophone amplifiers.
“The installation was tricky,” Petel notes. “There were various constrains including variable angles at every floor and the need for accurate lampshade positioning relative to the stairs.”
With technical assistance from two further team members, Oren Berry and Avi Saina, the perfect balance – both structurally and aesthetically – was achieved. Each fitted with a standard 7W lamp, the Grappa heads emerge at different heights and angles, carefully positioned to throw light towards the stairways, and provide a sympathetic drama to the tastefully restored 1930s interior.
Exhibitors at the The ARC Show selected as Lend Lease's chosen suppliers
A partnership between May Design Series and the SBID (The Society of British Interior Design) has been struck by exclusively offering to all exhibitors at the show an opportunity to become a preferred supplier to Lend Lease.
Lend Lease is one of the world's leading fully integrated property and infrastructure solution providers. Projects globally include Darling Harbour (Sydney, Australia), The Central Mississippi Medical Centre (USA) and closer to home, the enormous and prestigious Bluewater retail park.
It also includes the redevelopment of the Olympic Village in East London. Much of its work is commercial (hospitals, airports, hotels etc) but interestingly, as consultants to the communities sector, Lend Lease has delivered in excess of one billion pounds worth of mixed-use developments with residential accommodation.
Lend Lease and the SBID have formed a long term partnership to promote a shared ethos and commitment to design excellence and create vibrant, sustainable communities where people will want to live, work and play.
SBID is the national representative organisation to the European Council of Interior Design and Architecture and together with Lend Lease they are creating ‘The SBID Ethical Supplier List' to consist of product suppliers for this partnership.
May Design Series exhibitors participating at this year's event will be able to register on the list. The May Design Series consists of four different elements - The ARC Show, DX, Interiors Ldn and kbb London. Further information will be released to exhibitors from May onwards for UK projects.
Andrew Vaughan, Brand Director at UBM said: “If you were not thinking about exhibiting at the May Design Series until now, then think again as this could be a once in a lifetime opportunity for the future of your company to supply on a very large scale, especially as there is no timeframe as the scheme will be ongoing. The agreement will take effect immediately after the May Design Series trade show.”
SBID President Vanessa Brady added: “This is a wonderful opportunity for all member sectors including interior designers and manufacturers to participate and provide the highest standard design, surfaces and products for landmark developments. Joined up specification makes perfect sense, it's the ultimate win for all stakeholders.”
Full details for exhibitors will only be available at the show. The May Design Series exhibition will be held at ExCeL London 19th-21st May.
For free tickets, or for further information about the May Design Series, please visitwww.maydesignseries.com
Ab Rogers and Vanessa Brady lend creative talent to May Design Series.
Renowned designer Ab Rogers and interior design industry leader Vanessa Brady will be lending their creative talents to the May Design Series 2013 - a new, intelligent, commercially focused event for the A&D and high-end retail community.
Rogers, whose vivid designs and unique concepts can be found throughout the Tate Modern, Pompidou Centre and the Science Museum, has been hand-picked to design a totally unique trade show experience that will take visitors on a journey through a ‘city-scape’ environment. The May Design Series is comprised of four shows – The ARC Show, kkb, Interiors and DX – and each of these will form their own district while also worked together to create one coherent experience. By playing with off-set footprints and exaggerated perspectives and planes, Ab’s designs promise ‘to create moments of drama, capturing and engaging the visitor’s attention’.
“The May Design Series will offer a totally different experience from a typical trade show environment,” Rogers reveals. “Our design is inspired by the city, a complex collection of streets and avenues punctuated by landmarks in the form of bars, innovation centres and lecture theatres. These will serve as hubs where visitors can congregate, learn, converse and be inspired by design and all that the May Design Series has to offer. We will exploit the areas above the stand, projecting up into the space and suspending structures within this void. Our ambition is to create a network of generous, sociable and communal spaces to encourage learning, play and rest.”
President and Founder of the Society of British Interior Design (SBID), Vanessa Brady has been brought on board for her acute industry knowledge and design expertise. The only London-based event to be supported by SBID, The May Design Series was selected by Vanessa for the high calibre of business providers and visitors from around the world the show is guaranteed to attract. Having previously worked together on the shows EcoBuild, Sleep and kbb Birmingham, SBID and the May Design Series form a natural partnership, promoting interior design through both the professional, retail and contract sectors.
Vanessa Brady comments: “For decades London has been perceived as the global destination of design. Where other cities have successfully created 'must attend events' we have yet to establish a world class show for the design industry. The May Design Series has addressed that gap in the market, creating a platform to showcase design on a world stage as the pinnacle of Britain's interior design industry. The stage is set and the world will be watching, visiting and buying at this long awaited and much anticipated destination.”
The May Design Series includes the newly launched INTERIORS LDN and DX and the established ARC Show and kbb LDN. The event will take place at London ExCeL, May 19-21 2013.
www.maydesignseries.com
Slingerlamp
Slingerlamp, originally launched in Milan, is the latest design by Richard Hutten, better known for his playful concepts ‘No sign of design’ and ‘Table upon table’. Its shape is intended to “evoke the sensation of a party” with a particular focus on the of restaurant spaces .
The Slingerlamp is made in Holland at NgispeN’s own factory using the latest in laser cutting technologies. It comes in a variety of colours.
Laerdal
Laerdal’s clean Scandinavian inspired lines provide subtle, flattering soft light. Aditi’s trademark volcanic basalt like exterior hides a deeply glazed white and lusciously textured interior, that serves to bounce and scatter soft light around the inside of the 16 inch diameter bowl.
Finnieston Lamp
The Finnieston Lamp from designer Samuel Chan features an accordion neck that extends and rotates - a familiar mechanism given new charm by being handcrafted in wood. The lamp shade, too is solid wood – a development made possible by the very latest LED technology.
Facet Pendant
The Facet Pendant is the latest addition to the Facet family. Available as a stand alone fitting, it can also be used to great effect in multiples to create larger feature installations. The piece - designed by Tom Kirk Lighting - is available in polished stainless steel, black nickel and gold.
