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Posted by Kat Bauman  |  30 May 2014  |  Comments (0)

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Ladies & Gentlemen Studio knows how to play with their shapes. Tucked into a dim upper corner of Sight Unseen OFFSITE, their booth was a highlight of the bright show. Their booth was cosy and inviting, dotted with beautiful glowing glass forms and nonsensical toys. Founders Dylan Davis and Jean Lee met while studying industrial design at the University of Washington, and after some travels, they're still based in Seattle, applying a materials-heavy approach to thing-design.

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L&G has previously garnered attention for their sculptural pieces and jewelry, and their new "Shape-Up" collection of lights is a clear outgrowth. As they noted in a pre-show interview with Sight Unseen, their emphasis on strong geometry and multi-discipline dabbling sometimes results in surprising cross-breeding. Almost all of the pieces on display featured glass elements made in collaboration with the glass artist John Hogan. In the same interview, Lee discussed tinkering with the shapes, imagining the bold "noodle" shape as a candleholder or wall-hanging planter. Fortunately for us, it wound up as one of the most striking elements in the four part Shape-Up ceiling light. Intended to be modular, the four lights can be arranged at different heights and clustered in any array your heart desires (within corded reason). The result is a very careful jumble of shapes with simple lines; glowing jewelry for your ceiling.

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Posted by core jr  |  29 May 2014  |  Comments (0)

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By Ali Morris

As in recent years, the line 'designed and made in Brooklyn' was perhaps one of the most common quips at NYCxDesign 2014, and long may it continue, especially when the work being produced is of the caliber of Moving Mountains' work. Stationed at the Javits Center for ICFF last week, Moving Mountains is run by Hawaiian-born Syrette Lew who debuted an excellent collection of furniture and lighting pieces, which is, happily, all designed and made in and around Brooklyn. "It's just more expensive doing it locally," explains Lew. "You could go overseas where there's higher minimums but it's a totally different ball game. I like working with people. Part of the joy is finding a really amazing fabricator, talking through the design, figuring out what could work."

Lew studied economics at UCLA before going on to complete a degree in Industrial Design at the Academy of Art in San Francisco. After graduation, she took a job with furniture giant West Elm, where she spent her days designing furniture for the mass market. After five years, Lew decided to set up her own studio designing bags and jewelry but waited another year before starting work on a furniture collection. "I had to take a break because after having designed for other people for five years I didn't even know what my aesthetic was anymore. I was taught to think in a certain way but it's slowly coming out," she says. Last week, Lew scooped the ICFF editor's award for Craftsmanship, and it's not hard to see why. Moving Mountains' debut collection balances traditional woodworking techniques with playful touches of surface pattern and flashes of brilliant color; the precise form of the credenza is enlivened with a confetti marquetry pattern while the back of the Douglas fir A-Frame mirror is finished in an unexpected vibrant orange that reflects on to the wall to create an intriguing warm glow.

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Posted by erika rae  |  28 May 2014  |  Comments (0)

IntroNY-Storefront.jpgPhoto by Alex Welsh

The white walls of INTRO/NY made for the perfect display space for the venue's ample lighting designs. All of the weekend's shows had a good mix of design genres, but lighting fixtures—from wire task lamps to magnetic standing tube varieties—seemed to be on Smallpond founder Paul Valentine's mind as he curated this pop-up boutique at the Openhouse space located at 201 Mulberry in Soho. Lucky for me, I can describe one of my favorite design topics in one, overused movie buzz-phrase: "I love lamp." Needless to say, I felt right at home among Valentine's picks.

At the bottom of the stairs into the main gallery space, Canadian design studio Castor's minimalist tube lamps immediately caught my eye. Co-founder Brian Rich turned out to be a delightfully snarky conversationalist as he walked me through the product selection. Castor—which, as their business card states in bold, "is French for Beaver"—offered a wide selection of finishes, technology and styles available to take in. The most fun to play with came in the form of a magnetic tube light that lit up once the LED bulb is connected with the base (pictured below).

Castor-Comp.jpgCastor's "Induction Tube Light" (left) and "Conic Section Pendant Light" (right)

Meanwhile, my companion, a photographer, gravitated toward Castor's "Reflector Floor Lamp." Upon first glance, you'd assume it's a misplaced piece of photography equipment with its golden light umbrella looks.

Castor-GoldLamp.jpgCastor's "Reflector Floor Lamp" // Photo by Alex Welsh

Castor-TubeLightComp.jpgCastor's "Recycled Tube Light"

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Posted by core jr  |  28 May 2014  |  Comments (0)

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This article was originally published in the C77 Design Daily, Vol. 1, Issue 4, on Monday, May 19.

By Anne Quito

Paul Valentine has a bold mission: To introduce good design to America.

Granted, Valentine realizes that the United States already has its own thriving design scene, and that international design is not exactly unknown here. But he believes that there is still a wealth of great designers and brands—especially from the U.K.—that are not getting in front of American audiences.

So last year, Valentine mounted a capsule exhibition on Broome Street that he called INTRO/NY. The three-day event allowed him to spotlight work from seven innovative product design companies, including delightful yellow-and-cyan shelving units from London's Very Good & Proper and sculptural seating solutions from the British brand Modus. Building on the momentum of that inaugural showcase, Valentine has brought INTRO/NY to the bigger venue of Openhouse Mulberry this year, a move that will allow him to almost double the number of exhibitors.

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More space also means greater diversity. "I chose to show a spectrum of aesthetics and material processes," Valentine says. He selected the Swedish company Massproductions for "the quality of their furniture production." New Zealand's Resident made the cut because of its work with new LED lighting technology. Toronto's Castor stood out for its use of repurposed materials. In addition to furniture and lighting, this year's show will also feature lifestyle products such as bicycles, bags, tableware and everyday objects.

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Posted by core jr  |  27 May 2014  |  Comments (0)

SUOFFSITE-ImRevolting-1.jpgPhoto by Alex Welsh

This article was originally published in the C77 Design Daily, Vol. 1, Issue 2, on Saturday, May 17.

By Ali Morris

"There's really something deeply personal about them," says LA-based arts writer-cum-curator Su Wu looking at her carefully curated selection of weird and wonderful ceramics. Twenty-two designers from across the globe have each sent her anything between two and 40 pieces of their work to sell at her pop-up shop at Sight Unseen OFFSITE last week. Varying in shape and style, each design tells a story about its origin as well as the makers themselves. "With ceramics you have to make something, throw it into the fire and hope that it comes out as something good, and I think that's reflected in the personalities of people who make pottery," she muses. "They're used to a certain amount of accidents and unplanned outcomes. I may be a total crunchy Californian but that's a really appealing thing to me."

Wu uncovered many of the participating designers while researching for her inspirational art, fashion and design blog, 'I'm Revolting,' as well as through writing stories for online design magazine Sight Unseen. Noticing that a lot of Wu's contributions to the site were ceramics-focused—which Wu says was totally unintentional—it was Sight Unseen founders, Jill Singer and Monica Khemsurov, who first broached the idea of Wu running a pop-up ceramics shop at their show during NYCxDesign.

SUOFFSITE-ImRevolting-2.jpgPhoto by Alex Welsh

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Posted by Mason Currey  |  27 May 2014  |  Comments (0)

AQQ-ROLU-Conversation-1.jpgLeft: Seven Stacked Benches (After Shelves) by ROLU. Right: Temple by AQQ Design

This article was originally published in the C77 Design Daily, Vol. 1, Issue 3, on Sunday, May 18.

Last month, with ICFF and New York Design Week looming, I arranged for Matt Olson and Matthew Sullivan to get on the phone with me for what I was describing as "a long conversation about furniture design." Olson is one third of ROLU, a Minneapolis studio whose products include furniture, landscape design, urban planning and collaborative public art, among other work. And Sullivan runs AQQ Design in Los Angeles, where he produces furniture and objects that show a keen interest in the experimental spirit of postmodernist design (although he might cringe at that oversimplification); he also writes a twice-monthly column about lesser-known design figures for Core77.

I chose these two because I admire their work, and also because I thought that they could provide a sort of outsider's perspective on the industry—both make furniture, but their work is more about engaging with design history than producing and selling chairs for people's homes and businesses. Indeed, as I found out during our conversation, neither one considers himself "a furniture designer" exactly, and getting them to talk about just furniture design was impossible. Over the course of two wide-ranging telephone calls, they touched on everything from the nature of capitalism to their youthful punk-rock days and Robert Filliou's theory of the poetic economy. What follows is a condensed version of our conversation.

Maybe we can start by talking about blogging—you're both active bloggers, and it seems to inform your design work.

Matt Olson: I'm an avid blogger, and have been for many years. I started in 2005 as a kind of marketing attempt for the studio, and it was an utter failure. But I got into the habit of waking up in the morning and posting something. At some point, I asked the rest of the studio if it would be cool if I just did it for myself. And then I started writing about what I was actually interested in. It's led us to a wild community of like-minded designers and artists—both on the blog and now, increasingly, on Instagram too.

Matthew Sullivan: Yeah, I was a detractor of blogging at first. But now I really feel that it is an amazing thing, and that it's only going to get more interesting. I also think it's problematic, though, just because it's so image-based. There are lots of images of things that really require your physical presence. Like, Matt, I just saw some Donald Judd stuff on your blog. He would say, I think, that a photograph of my work is meaningless.

MO: Judd would say that. I wouldn't.

MS: But this proliferation of images—like, you can have entire histories that you can scroll through in 30 seconds. Literally, if someone posted the whole history of art, the main pieces, you could be done in less than three minutes.

MO: See, that's what I want. That's absolutely what I want. Because of the Internet, we live in a time when history is free of institutional or academic constraints. And I think it allows the images and the objects in them to live their own life in some way.

MS: Yeah, I think that it does democratize and deinstitutionalize a lot of things. And I like that it makes things less precious. Because that's the most annoying aspect of art—and why furniture in particular is interesting to me, because it's not as precious.

MO: I was actually just reading an interview last night, where one of the Memphis designers was talking about the conflict of trying to make something that was acceptable to her, and all of the sudden it gets so expensive, because it's so rare and difficult to produce, that it becomes completely out of reach to most people. And I was thinking to myself: Well, with online imagery, now you can get the spirit of something without possessing it. That's why I don't really think of what we're doing as furniture design. I think it has as much to do with photography and conceptual ideas as functional furniture.

MS: That's nice to hear you say, because that's exactly how I feel. I always think that that's one of the silliest things about design—the idea that design is solving, like, an engineering problem. I don't think that's what we do. We're cultural; Memphis is cultural. It's not about ergonomics or anything like that. Everyone wants to think that design is a problem-solving thing primarily, when it's really not, or that's not the main thing.

MO: Yeah. I'm good at making problems, not solving them.

AQQ-ROLU-Conversation-2.jpgROLU's Box Chair Square (After Scott Burton)

AQQ-ROLU-Conversation-3.jpgAQQ's Pinget (left) and Sarraute

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Posted by core jr  |  27 May 2014  |  Comments (0)

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In anticipation of this year's NYCxDesign / NY Design Week festivities, we caught up with a few of the curators of the major satellite exhibitions that take place from May 15–20. Although they are referring specifically to their 2014 event(s), their insights apply to past, present and future exhibitions.

This article was originally published in the C77 Design Daily, Vol. 1, Issue 3, on Sunday, May 18.

By Anne Quito

Monica Khemsurov and Jill Singer had a vision. Sensing the decline of the print periodical format in 2010, the former editors of I.D. decided to branch out and create their own magazine on the web. "We had an idea and we immediately printed business cards that weekend," Khemsurov says. Pitching their plan on Kickstarter, Khemsurov and Singer built Sight Unseen to be a portal into the habits and habitats of an emerging creative class of designers working across furniture, interiors, art, fashion and related disciplines.

Working from independent offices—Khemsurov in Brooklyn and Singer on the Lower East Side—the duo scours blogs, Pinterest and Instagram, conversing via Skype chat when something catches their eye. They also attend design fairs together, and constantly meet with designers in search of new talent to feature. As Khemsurov puts it, "Our approach is to cast as wide a net as possible, sifting through as much primary material as we can."

SightUnseen-OFFSITE-1.jpgPhotos from Sight Unseen OFFSITE by Glen Jackson Taylor

But Sight Unseen is not just an online magazine. Since its launch, Khemsurov and Singer have published print editions, organized pop-up shops and curated exhibitions. During the last four New York Design Weeks, they produced Noho Design District, a satellite fair with a low-key downtown vibe that served as an alternative to the Colossus of Midtown that is the International Contemporary Furniture Fair. "ICFF is very important to American design but we thought that there was room for an extra platform to give emerging talent a chance to shine," Khemsurov says.

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Posted by fueledbycoffee  |  26 May 2014  |  Comments (1)

CB-Sketch-2014-05-16-23_03_31.jpgThis illustration was originally published in the C77 Design Daily, Vol. 1, Issue 2, on Saturday, May 18, 2014

Posted by core jr  |  26 May 2014  |  Comments (0)

YesWeCanada.jpgHinterland; Knauf & Brown; Zoë Mowat

This article was originally published in the C77 Design Daily, Vol. 1, Issue 4, on Monday, May 19.

By Ali Morris

Amongst the deluge of new design exhibited across the city this weekend, three of our favorite emerging talents just happened to hail from more northerly climes. Based in the urban centers of Vancouver and Montreal as well as the forests of British Columbia, each of the studios are less than five years old but have all been thriving as part of Canada's small but strong design scene.

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The youngest of the three is duo Knauf and Brown, made up of Calen Knauf and Conrad Brown, who only graduated from the design program at Vancouver's Emily Carr University last year. What they lack in years, they make up for in determination and drive; with pieces already in production with Brooklyn-based Souda and Taiwanese brand Esaila, the studio has already exhibited in Paris and Germany this year alone. Now showing in New York City at Sight Unseen's OFFSITE show, Knauf and Brown's slick new collection is based around tactility and interaction. Called 'Standard' and made in wood, metal and leather, the pieces include a mobile side table and storage container with an upholstered interior, a rotating vanity mirror and a clever interactive table lamp, which caught our eye. Split into three parts, the lamp's two LED light sources are presented like flower stems that can be slotted into a copper grid vase charged with a 12-volt current (which they assure us is totally safe to touch). When the metal stems of the LED lamps make contact with the vase structure the lights turn on—a poetic gesture that Knauf describes as, "no more cumbersome than using a standard switch. You just have to touch the lamp when you want to use it."

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Taking a more rough and ready approach, Riley McFerrin of Hinterland makes his furniture from salvaged driftwood and logs found in his own rural backyard. Having moved "out to the sticks" in British Columbia four years ago, resourceful McFerrin scours the beach and forest in search of wood that he can transform into stools and tables. He set up Hinterland two years ago and officially launched his debut collection at last year's ICFF. Returning to the Javits Center this year, pieces include a pendant with a framework made from pigmented driftwood and a copper-framed ottoman with an elasticated seat woven with multicolored pieces of rope. "It's based on the local fishermen's crab traps in BC. When the traps get damaged, they fix them with rope work and they're amazing," enthuses McFerrin. "They're like these gorgeous objects that are totally utilitarian and I thought it would be cool to take the concept and transform it into something completely different."

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Posted by core jr  |  26 May 2014  |  Comments (1)

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In anticipation of this year's NYCxDesign / NY Design Week festivities, we caught up with a few of the curators of the major satellite exhibitions that take place from May 15–20. Although they are referring specifically to their 2014 event(s), their insights apply to past, present and future exhibitions.

This article was originally published in the C77 Design Daily, Vol. 1, Issue 1, on Friday, May 16.

By Anne Quito

"Good coffee makes the difference," says Odile Hainaut, one half of the curatorial team behind WantedDesign. "Last year, a visitor stayed for half a day at our exhibit because the coffee was good. These details matter. Our goal is to create an enjoyable experience where people can relax and take their time."

With over 9,000 visitors last year, WantedDesign is one of the most popular destinations during NYCxDesign, and Hainaut and her co-founder, Claire Pijoulat, are not rushing anyone out the door. The phones were ringing off the hook during my interview with them last April, but the gracious curators didn't seem to be in a hurry.

"The curation of WantedDesign involves three components," Pijoulat says. "One-third is the design showcase. Another is the interaction with the students and the general public. And the third is the community conversation that's fostered in the space and online."

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WantedDesign, in fact, started with a conversation. In 2010, Pijoulat met Hainaut through a mutual friend, who intuited their kindred sensibilities. Their initial conversation centered on what they felt was missing in New York's design community—its lack of fervor and connectedness—and their shared passion to augment it.

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Posted by Kat Bauman  |  23 May 2014  |  Comments (0)

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ICFF is a source of inspiration whether you go to collect carpet samples, to show off your revolutionary new line of blond bentwood furniture, or to leave fingerprints all over Tom Dixon's gleaming display and aspirations of future wealth. Among the sconces and recliners, I was thrilled to see one project that paired the show-standard stylish ambition with a dream of worldly good. Back in Booth 1376, one plywood project stood out bulkily from the crowd. "Out of Failure" is the product of a University of Cincinnati capstone studio course, aimed at designing a better disaster relief shelter.

In cases of emergency, there is often a long, painful gap between the event and the arrival of a FEMA relief trailer. Filling the gap is a vital issue for the health and sanity of affected populations, and most interim options are both lackluster and relied on for much longer than intended. Using Haiti as a test case, students aimed to create a cheaply produced, easily constructed, permanent-feeling structure that could house six people with dignity, AND meet the varied needs of daily life in the region. They did a swell job.

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Posted by core jr  |  23 May 2014  |  Comments (0)

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By Ali Morris

It was during a trip to independent furniture show BKLYN Designs last year that New Yorkers John Neamonitis and Charlie Miner came up with the concept for their new website, WorkOf. Launched in January of this year, WorkOf is an online platform that is helping New York's thriving designer-maker community to reach consumers while providing consumers with a new way of discovering hard-to-find design. "I was walking around [BKLYN Designs] and there was all of this really amazing work," says Miner. "I was asking people, 'Where would I go to buy this stuff? Is there a somewhere where I can find it all in one place?' and everyone told me it didn't exist." Surprised and frustrated by the response they were getting, Neamonitis and Miner set about creating a solution.

WorkOf functions like a collective online storefront for its community, directing traffic to the designers' websites and online stores. "We launched with 20 makers but have nearly 40 now," says Miner, reflecting on a very busy five months. While every designer brings his or her own unique style to the table, the pieces are united by a raw, industrial aesthetic that identifies them as handmade in Brooklyn. Industrial brass lighting fixtures come courtesy of Workstead and Allied Maker, while Stefan Rurak's heavy, reclaimed wood furniture and the blackened steel frames of Vidi Vixi's pieces are softened by Calico's ombre wallpapers and Fort Makers' painterly fabrics.

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Although membership of WorkOf is free, applications are carefully considered. Miner explains, "Although we're certainly open to people approaching us—I mean, that's what we want to do, to support the community—we also want to be sure that the artists we represent are commercially viable; that they can scale to meet demand and that they can handle customers in a professional way because it reflects on everybody. It's not a hobbyist platform, it's not for amateurs."

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Posted by Ray  |  22 May 2014  |  Comments (0)

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A shorter version of this article was originally published in the C77 Design Daily, Vol. 1, Issue 2, on May 17, 2014.

There was a kind of carnival atmosphere at the opening party of Reclaim 3: Carte Blanche—the inaugural exhibition at the new Colony co-op / showroom space—which was Jean Lin and Jennifer Krichels' goal, perhaps, when they commissioned the three wildly disparate interactive installations from Brooklyn's Fort Makers, The Principals and UM Project by Françoise Chambard. The sheer spectacle of the work belies the fact that proceeds from sales (of related objects and accessories) goes towards charities of the designers' choice, and, if nothing else, it's a refreshing change of pace from the more commercial shows.

The Principals' "Space Trash," pictured at top, was a personal favorite, although you really have to see (and try) it in person to get what it's about. More on each project below.

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- UM Project presents "Maypole," an ensemble of 16 new LED lamps based on the acclaimed Craft System series, connected around a center pole by colorful cords and synchronized together. All proceeds from UM Project's fundraising will be donated to the High School of Art and Design in New York City. UM Project's installation is made possible with the generous support of Acces I/O, BAGGU, Color Cord Company, Dolan & Traynor, Lenovo, Nooka, and Parallel Development.

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Posted by core jr  |  22 May 2014  |  Comments (0)

Colony-Group.jpgJean Lin at center, with (from left): Kyle Garner, Sit and Read; Kellen Tucker, Sharktooth; Kai-wei Hsu, KWH Furniture; Pete Oyler, Assembly; Nora Mattingly, Assembly; Hiroko Takeda; Michael Maloney, Colony; Hillary Petrie, Egg Collective; Crystal Ellis, Egg Collective; Ryden Rizzo, Allied Maker; Will Kavesh, Token; and Emrys Berkower, Token

This article was originally published in the C77 Design Daily, Vol. 1, Issue 2, on May 17, 2014.

Launching in Manhattan next month, Jean Lin's new design showroom will bring together a dozen studios to share space and collectively raise awareness of independent American design.

By Mercedes Kraus

Jean Lin is taking a real estate gamble in Chinatown, and she's gathered a group of emerging designers to ante up with her. At 324 Canal Street, Lin has leased and rapidly renovated a 2,000-square-foot showroom that will soon be the headquarters of a new venture called Colony. Described by Lin as "a designer's cooperative," Colony will be something unique in New York's design landscape—not quite a gallery or store, and not exactly a co-op either, but an experiment in pooling resources to boost the profile of independent design.

The idea started to take shape last year, as Lin's conversations with designer friends revealed some common business struggles—especially the need for showroom space in Manhattan. Designers kept telling Lin that they lacked a central location to send potential clients to see their work in person, something that is especially crucial for doing business with the interior designers, architects and retailers who might order work in large quantities.

"Having a presence in Manhattan is huge," says Stephanie Beamer of Egg Collective, a Brooklyn-based furniture-design studio founded in 2011. "That's really where clients with purchasing power are. But for young designers, it's virtually impossible."

Egg Collective is one of 12 design businesses that have signed on for Colony's launch. The others are Allied Maker, Assembly, Meg Callahan, Flat Vernacular, KWH Furniture, Zoe Mowat, Sharktooth, Sit and Read, Hiroko Takeda, Token and UM Project. Nine of the 12 are based in New York City, with the others within a few hours by car or plane: Long Island (Allied Maker), Providence, Rhode Island (Meg Callahan), and Montreal (Zoe Mowat). Their businesses have been around for as little as two years and as long as a decade. Many of them focus on furniture, but there are also designers of lighting, textiles, wallpaper and household objects.

Starting in June, they will be using the second floor of 324 Canal Street as a joint showroom, occasional exhibition venue and community hub. But first, for Design Week, the space will play host to a pair of exhibitions—a salon-style teaser for Colony and the third edition of Reclaim NYC, an annual design exhibition and charity sale co-founded by Lin.

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Posted by core jr  |  22 May 2014  |  Comments (0)

NY-2014-ICFF-GALLERY.jpgPhotography by Glen Jackson Taylor and Alex Welsh for Core77

Has the ICFF has found it's mojo again? The trade show that serves as the anchor for New York's design festival took a noticeable hit after the 2008 economic collapse, many designers either stopped exhibiting, scaled back or presented at a competing satellite show leaving the furniture fair light on for talent and press-worthy design. This year saw a number of new designers exhibiting for the first time, overall delivered a higher standard of work and attendance was strong. For some reason, probably shipping logistics, there is still a disproportional amount of lighting, objects and wall furnishings compared to large scale furniture pieces but companies like Moooi did their best to bring a taste Milan to the Javits Centre and Shimna showcased their stunning 13ft long table with intersecting pylons.

Bernhardt design who have helped launch numerous emerging designers with their ICFF Studio partnership celebrated their 125th anniversary this year and to mark the occasion, designer Frederick McSwain created a series of family tree wall sculptures inspired by the growth rings found in the cross section of a tree trunk. Chicago-based designer Felicia Ferrone launched her debut furniture collection bravely opting for white carpet in the booth, London-based Cycloc returned after a brief hiatus with some brand new wall mounting fixtures and accessories for bicycles, and Artek picked up an ICFF Editors Award with their multifunctional task chair 'Rival' designed by Konstantin Grcic.

Tom Dixon's booth was beautifully designed from a branding perspective, and Uhuru's beacon style booth was a super efficient use of space with divided sections to present each of their product lines. Checkout our gallery for more highlights and we suggest adding the ICFF back on your list of must see exhibitions next year.

More NYCxDesign Photo Galleries
» Wanted Design
» Sight Unseen
» Satellite Shows

Posted by Ray  |  21 May 2014  |  Comments (0)

Collective2-ToddMerrill.jpg

This article was first published in the C77 Design Daily, Vol. 1, Issue1, on May 16, 2014.

Having been to an event at the cavernous Skylight at Moynihan Station before, I wasn't sure what to expect when I learned that the cavernous garage space—the historic James A. Farley Post Office, next to Penn Station—would be hosting the second annual Collective Design Fair. Then again, last year's inaugural event was at Pier 57, a floating extension of West 15th Street just south of Chelsea Piers, so perhaps the choice of warts-and-all raw spaces is intended to mark a sharp contrast with the exquisite vintage and contemporary design objects on view.

In any case, Collective 2 looked good... precisely because it looked a lot like money. This is not so much a critique but a fact: Frequently likened to DesignMiami/, Steven Learner's Collective effort is aimed squarely at a subset of the discerning audience of the concurrent Frieze New York art fair and is generally on point. Between the high production value of the show itself and a critical mass of dealers and galleries at the upper extremity of the market—it's a small world after all—the fair offers a nice survey of what is an admittedly narrow niche.

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Collective2-BDDW.jpgBDDW

As these things go, the ambiance is a pastiche of understatement and opulence, punctuated by contemporary 'statement' pieces that come across more as interjections than proper sentences (i.e. Humans Since 1982's clocks at Victor Hunt). So too do these objects—from classic pieces by Wendell Castle and George Nakashima to contemporary ones by Cheryl Ekstrom and Joseph Walsh—bear price tags that are typically multiples of Manhattan zip codes.

For the most part, I didn't bother to ask; rather, I found myself musing on the paradox of treating design as art. I've always been a little bit put off by "Do Not Sit" signs sitting atop chairs, whether it's at a heavily-trafficked tradeshow or in a Soho showroom—prototypes aside, I'd been led to believe that these things are meant to be used, and my personal favorites followed suit.

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Posted by erika rae  |  21 May 2014  |  Comments (0)

Inception-Lead.jpgPhoto by Alex Welsh

What better way to celebrate fantastic cinema than with a movie-scene-replica-turned-quirky-decor-item? (That's rhetorical—because there shouldn't be a better way.) Winding my way through the student projects, textile demos and hyper-modular displays at WantedDesign, I found Seletti quietly nestled next to DWR with a simple display that I couldn't help but poke and prod. Designed by Luca Nichetto, Inception is their newest product. It is an ambiguous little design fashioned after New York City's topography, featuring hotspots like Central Park and Fifth Avenue.

To save you some anticipation, I'll state the (somewhat) obvious: The overarching theme and inspiration for this design is the Leonardo DiCaprio silver screen hit we all spent a good hour or more contemplating post-credits. The monochrome mats are made up of miniature silicone skyscrapers of all sizes. Imagine a Godzilla version of yourself looming over the city and pulling up a perfect square of New York's inner-city grid and you've got the right shape/geography in mind.

Inception-Brochure.jpgPhoto by Alex Welsh

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Posted by core jr  |  21 May 2014  |  Comments (0)

NY-2014-satellite-Gallery.jpgPhotography by Brit Leissler and Glen Jackson Taylor for Core77

Since New York Design Week's repositioning as NYCxDesign, the extended design calendar (12 days) has meant more art and design exhibitions can be presented under the official event umbrella adding a much needed critical mass to gain public awareness. Our photo gallery coverage by no means captures the density of exhibitions, pop-up shops and workshops that took place but it does provide a taste of some of the interesting stuff we saw.
» View Gallery

More NYCxDesign Photo Galleries
» ICFF
» Wanted Design
» Sight Unseen

Posted by core jr  |  21 May 2014  |  Comments (0)

Sight_Unseen_2014-Gallery.jpgPhotography by Brit Leissler and Glen Jackson Taylor for Core77

One of the most anticipated shows this year was Slight Unseen's "OFFSITE" presenting almost 50 emerging design studios in a massive two-story 20,000 square ft. raw space. After founding the hugely successful multi-venue Noho Design District in 2010, curators Monica Khemsurov and Jill Singer were faced with increasing challenges to secure affordable spaces in the neighborhood and took the opportunity to move, rebrand, and connect the annual exhibition with their design blog Sight Unseen.

Some of our favorites included new work from Rosie Li, Bower, DAMM, Ladies & Gentlemen, and the anti-design I'm Revolting pop-up ceramics shop. Visitors—well the brave one's—were treated to a healthy snack at the MOLD Future Food Cafe who were serving summer rolls with crickets as part of their research into nutritious food from sustainable sources. The OFFSITE debut was packed throughout the weekend, the opening party line was a nightmare running around the block and exhibiters were treated to some really great exposure for their wares, we can't wait for next year!

Interview
NYCxDesign Curator Profile: Monica Khemsurov & Jill Singer of Sight Unseen - OFFSITE, On Point

More NYCxDesign Photo Galleries
» ICFF
» Wanted Design
» Satellite Shows

Posted by core jr  |  20 May 2014  |  Comments (0)

C77DD-EmergencyBenches.jpgPhotography by Ikon Photo and Nudesignstudio

It's been a whirlwind of a weekend, but from the feedback we've been hearing so far, the Nimble Scooters—spent a good part of Monday revisiting WantedDesign with our friend Jamie Wolfond, whose fantastic Emergency Benches we had set up outside WantedDesign).

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If you still haven't seen the finished product, you can still grab a copy here and there at some of the shows that are finishing up in the next few days—dash;we'll post locations via @C77DD on Twitter. If you didn't make it to NYC for the festivities, catch up with the #C77DD on Twitter and Instagram for some behind-the-scenes pictures and updates. And make sure to keep an eye on the website for additional NY Design Week content to come, as well as some of the features from the very pages of the Daily.

And lest we forget, here is the solution to the crossword for C77DD Issue #4 [PDF].

Until next time, faithful print enthusiasts!

JamiWolfond-C77DD.jpgDesigner Jamie Wolfond with his Emergency Benches

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Posted by erika rae  |  20 May 2014  |  Comments (3)

CYQL-SideView.jpgCYQL's exhibit set-up at last weekend's WantedDesign Launchpad showcase // Photo by Alex Welsh

All it took was a fashion show, a particularly inspiring Halloween and a little bit of stolen style from a Greek goddess. Sophie Hones—CYQL designer and DesignLaboratoire owner—had her first go-around repurposing bicycle inner tubes while crafting a Medusa headdress for a Halloween-themed fashion show and has since been hooked on the material. Soon after her repurposed debut, she found herself with a group chair assignment based on the simple brief of incorporating "fun materials." With all of the leftover inner tubes taking up space at home, Hones decided to put them to good use in her seating design.

CYQL-ThenAndNow.jpgThen and now: Hones' first encounter with bike tube design (left) and the CYQL exhibit at WantedDesign (right)

By taking a ball and wrapping the residual tubes, she came up with a design that nailed what she was going for aesthetically, but fell short in performance. "I just glued the tubes around the ball," she says. "I had to develop the process a little further because it just fell apart." It turned out to be an easy switch from gluing the tubes together to creating one long spool of sewn tubing to get the hold she was looking for.

CYQL-TopShot.jpgPhoto by Alex Welsh

After a bit of networking with local bike shops, she was able to source more material for her rubber chairs. Aside from machine washing the tubes and sewing them together, Hones keeps the rubber looking just as it had on it's last ride. "I always try to show the prints, wear and tear of the inner tubes," she says. "If they have been broken, I sew them to repair them, making a scar. If they've been repaired by the bicycle owner and there's a patch, I leave it. I try to take advantage of the tube's character."

continued...

Posted by core jr  |  19 May 2014  |  Comments (0)

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It's official: The last issue of the C77 Design Daily—#C77DD for all of you social media inclined folk—is hitting the newsstands this morning! get your hands on the latest copy to peruse our finds from ICFF, WantedDesign, Sight Unseen OFFSITE, INTRO NY and all of the other pop-up shows and parties that are wrapping up in the next day or two.

We spent our Sunday revisiting some of the shows and exhibits we wanted to spend a little more time with—and we recommend you do the same today. Stop and grab the latest issue from one of our newsies. They're raring to go with the kind of energy that comes with bearing good news.

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C77 Design Daily at NYCxDesign 2014
@C77DD on Twitter
@CoreJr on Instagram
Mobile Guide
Print Guide

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Posted by core jr  |  17 May 2014  |  Comments (0)

We're halfway through our four-day run for the C77 Design Daily and it seems like people are diggin' it. There's plenty of content within those pages and the weather happens to be absolutely perfect today, so we'll keep this short and sweet.

We'll also be checking out some of the parties and opening receptions that are happening at this very moment, so smile for the cameras!

» Look for the newsies or they'll come looking for you!
» #DesignersReadingtheC77DDatICFFonTheirChairs (and more)
» Tweet at / Follow @C77DD for updates!

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Posted by core jr  |  16 May 2014  |  Comments (0)

Well, it was a long night and an early morning, but the C77 Design Daily is off to a good start. Our team of newsies has delivered the very first batch of Issue #1 to Sight Unseen OFFSITE, WantedDesign, Matter and of course our Official C77 Design Daily Reading Room at INTRO/NY.

Look for these friendly faces as they pound the pavement in Soho and cruise around Chelsea via Nimble Scooter!

Stay tuned for more updates...

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C77 Design Daily at NYCxDesign 2014
@C77DD on Twitter
@CoreJr on Instagram
Mobile Guide
Print Guide

Posted by core jr  |  14 May 2014  |  Comments (0)

NYDW2014-Mobile-1.jpg

Screen images not simulated: That right there is our mobile event guide for NY Design Week 2014 (the widely-accepted colloquial name for second weekend of NYCxDesign), which kicks off tomorrow night. As both design week and our own editorial offerings evolve—we're making a newspaper, maybe you've heard of it—the mobile guide offers a slightly different selection from years past: The folks at NYCxDesign have put together an impressively comprehensive event guide for just about every art and design event that is happening between May 9–20 this year, and we partnered with them to produce a printed event guide that you will certainly be seeing around the city if you have not grabbed one already (we're also updating the list of stockists). Here's the PDF of the print event guide, for you fogies and print fetishists (guilty as charged!).

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We'd also like to take this occasion to announce our mobile agenda for this weekend: We're currently forging ahead with the C77 Design Daily and we'd like to offer you, dear reader, a chance to see your work in print! Simply tag your Tweets and Instagrams with #C77DD and we'll take care of the rest!

Speaking of which, are you following @CoreJr on Instagram yet? We'll be reporting live this weekend online and off, so you can get your regular dose of beautiful images and teasers from the events and exhibitions and stay tuned for the full story in print.

Those of you who have nothing better to do can stalk our C77DD distribution team at @C77DD, where we'll be posting updates from our delivery truck and pop-up reading rooms!

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So:
Mobile Guide
Print Guide
@C77DD on Twitter
@CoreJr on Instagram
...and #C77DD wherever else you may roam!

Posted by Ray  |  11 May 2014  |  Comments (0)

YokoOno-MyMommyIsBeautiful-1.jpg

Well this is kind of nice: Seeing as Mother's Day falls in the middle of Frieze New York, Chelsea-based Galerie Lelong has taken the occasion to exhibit Yoko Ono's "My Mommy Is Beautiful," a kind of 'crowdsourced' piece that dates back to 2004. Comprising (according to the wall text) "Artist's instructions, paper, pens, tape, table, chairs," the piece has apparently been realized in various forms, from writing directly on the wall and pasted photos; the current incarnation caught my eye for its passing resemblance to the charrette trope of Post-Its on the wall.

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Happy Mother's Day!

Frieze New York is open through Monday, May 12; details here