Over the last 16 years, Irish designer Orla Kiely has gone from strength to strength.
Beginning her career making hats, bags and clothing, Orla has evolved into an iconic international brand selling not only textiles and accessories, but also homeware and furnishings – all in her signature retro style.
Orla Kiely House is a stunning collection, full of beautifully-made items that hark back to days gone by - and we are proud to be stockists.
The collection includes both living and dining furniture which encompasses everything from plush, cosy sofas in a selection of bold fabrics, to versatile dining chairs and extending dining tables - all of which feature graphic prints, striking colour combinations and unusual finishing touches.
Below is a shot of her popular, retro-style Two Seater Sofa in vivid orange – a subtly curvaceous piece with a solid beech frame and buttoned back.
Sitting alongside the sofa is the Orla Kiely House Wall Unit, Coffee Table and Armchair which work collectively to bring the mid-century look bang-up-to-date.
The Orla Kiely House kitchen range is characterised by walnut wood with hits of olive green and muted greys combined with her famous repetitive prints.
The star-piece has to be the Sideboard – a practical piece that is a great place to both store away and display. It also has inlays her iconic stem print – a design which the designer describes as ‘simple and graphic and really versatile’, and also happens to be her personal favorite.
Since the popularity of TV shows such as Mad Men, retro mid-century furniture has seen a rise in popularity, but Orla’s designs are no fad – they are built to last and are here to stay.
Their unusual and surprising colour combinations keep her designs fresh and unpredictable, while the excellent quality materials and craftsmanship used to make them unsure that they will be here for a very long time to come.
Our favourite piece? It has to be the luxurious Day Bed, below, in mandarin and natural, what about you?
Steel has long been an essential material for the design industry.
It is, and always has been since its discovery in 1913 by Harry Brearley, used in all areas of design from cutlery and jewellery to larger items such as furniture. It is hard-wearing, long-lasting and beautifully reflective making it not only extremely practical, but aesthetically-pleasing too. We have all had experiences with the material from using the ‘best’ cutlery that came out only on special occasions, to proudly displaying our shiny football trophies.
As 2013 marks the 100 year anniversary of the discovery of stainless steel, Galvanize Sheffield is curating a month-long event to celebrate the material. There are a number of exhibitions happening all over the city including Designed to Shine at the Millennium Gallery, Stain-Less at The Sheffield Institute for Art, and Aesthetics of Manufacture at the Butcher Works Gallery. If you are based in Sheffield and fancy popping along to some of the events, you can find the full event list here
As a Sheffield-based company that sell many items in this material, we were asked to be a part of the Designed to Shine exhibition. Many furniture manufacturers continue to use steel in their products, so we had a lot to say about its use in furniture design - both past and present. You can see our Marketing and Communications Manager, Toni, in the video below talking about Tom Dixon’s Etch Web Pendant Light, a contemporary design launched this year, made completely from steel. The video will be on display at the Designed to Shine exhibition until October.
Tom Dixon isn’t the only manufacturer using steel in his designs, however. Nest sell a vast collection of items – from design classics first produced in the 1920s to modern day designs being produced right now - that use this material.
Tom Dixon’s wide range of products include a number of items made solely from this material – including the Etch Tea Light Holder and the Etch Shade, both of which glisten when lit.
The Knoll Wassily Chair, designed in the 1920s by Marcel Breuer, was the first chair to be made from tubular steel and it had a lasting impact on the furniture industry.
For more contemporary pieces, Dutch manufacturers Moooi rely heavily on this material for their beautiful Raimond Suspension Light which is made from polished stainless steel and LED lights.
Additionally, a great example of this material being used in a decorative way is the Driade Miss Lacy Easy Chair – a beautifully patterned chair that just radiates luxury and elegance.
But the list doesn’t stop there. Many items use steel as their base material - such as the Eames’ Hang it All, naughtone’s Trace Coffee Table and the iconic Race Furniture Roebuck Chair to name a few.
So it’s clear to see that this material is here to stay. Its durable properties mixed with its aesthetic beauty make it an ideal material, especially in furniture and lighting design, and it’s great to see it finally being celebrated. The Galvanize festival runs until the end of May, so be sure to pop down to one of the events before then.
In two days time, the film of the year - The Great Gatsby - will finally hit our screens. Set in east coast America, the film depicts decadence, glamour and the American Dream in the 1920s.
While the story is well-known for being a social commentary on the economic prosperity in the post-war years, it’s the showmanship, costumes and lavish sets of Baz Luhrmann's screen adaptation that have really got us excited. Decadent furnishings are the only thing that will do for the wealthy residents of fictional West Egg - think chandeliers, plush velvet furnishings, the finest walnut cabinets and, of course, lots of gold.
The decadent look needn't only belong on the silver screen, however. Channel the Roaring Twenties in your own home with our selection of items.
For your star piece the Muuna Josephine Sofa or Driade Vigilius Armchair would fit the bill very well indeed. These art-deco-inspired designs are made from luxuriously soft velvet and have an effortlessly curvaceous shape that perfectly embody 1920s living.
Complement your dream sofa with an American walnut cabinet from Ginger & Jagger. This beautifully patterned cabinet with antique brass finishings is a piece to treasure for life.
No 1920s abode is complete without a dash of sparkle and what better way to add this than with a statement chandelier? Driade have a fantastic piece with the aptly-named The Empire Suspension Light. This gorgeous piece will dazzle whether it’s lit or not.
Nest is delighted to welcome Areti into their growing lighting collection.
The design team consists of creative sister duo Guillane and Gwendolyn, who create wonderfully unique designs that are stylish and practical. The duo began designing for Areti in 2008 after lengthy experience in architecture and design practices all over the world. Areti is predominantly based in London in the UK, but the team also work with skilled craftsmen and manufacturers in Sweden and Germany.
Last week we had the pleasure of interviewing Guillane and Gwendolyn, and we are pleased to share our conversation with you guys today. The duo answered our questions on why they started their own practice, what their favourite items are and what a typical day is like at Areti – read below for the full, insightful interview.
Both of you had careers before starting Atelier Areti – what made you want to set up your own design practice? It’s important to have worked for other people before you set up your own practice. You can learn from the way others approach design, manage a project, manage an office etc. When you work for an already well established office, you also get to work on large complex projects, which is of course exciting and a great learning ground. But there comes a point where you’ve done similar things several times and you feel that you are not learning as much anymore.
Most importantly though, when you design for someone else, you don’t have the last word! We’ve both been lucky to have been given a good amount of responsibility and freedom, but there is always a limit. And at some point, your desire to get the design exactly how you want it becomes so strong, that you take the risk to do it on your own. But when you start your own practice, you usually start working on much smaller projects than when you were employed - but that’s not a bad thing. When you have your own practice, all of a sudden you are dealing with a lot more than just design, and so it’s good that you start small scale.
While before we worked on larger architectural and interior architecture projects as well as urban design, currently we focus solely on objects – lights and furniture.
Areti’s first lighting collection was inspired by Guillane’s final year project at Central St. Martins – can you tell us a bit more about this please? We were asked to work with glass as a material. The idea for this project was to explore the way glass reflects and absorbs light depending on the type of glass. There was thus an inner sphere made of frosted glass and outer sphere made of clear crystal glass. The inner sphere acted as a diffuser to spread the light evenly and reduce the glare. The refracted light was then ‘captured’ so to speak by the surface of the crystal glass, thus emphasizing the exceptional clarity and shine of this material. We were convinced of the first prototype and decided to develop it further by engraving simple patterns into the outer surface. ‘Simple’ turned out to be not as simple as first thought - engraving straight lines on a round surface proved to be difficult. As is often the case with ‘simple looking’ designs, they are actually very intricate when it comes to the details of fabrication.
You have both lived in numerous places through your work, do you have a favourite city? Neither of us really has a favorite city. Every city has its charm and its drawbacks. For everyday living I (Gwendolyn) quite like Amsterdam or Berlin. For the occasional visit I can name many places! As an architect I of course love Paris, NY, Rome - the usual suspects. I (Guillane) used to live in Paris and it is still a special place for me, the beauty of it still touches me every time I go. I also like Milan a lot and of course London, mainly for its diversity and open-mindedness.
The Areti Alouette Light has been popular with the Nest customers, do you have a personal favourite design from your collection? Our favorites tend to be our latest designs, simply because we get very excited about projects while we work on them. At the moment these include the Squares or Mimosa lamp for example, but also our yet-to-be-released new designs! We are also quite attached to our first designs such as the Kirchschlag or the Alouette because we started out with them.
How has growing up in Austria inspired your designs? To be honest we’ve never thought about that. Probably what has inspired us more is the fact that we have lived in many different places and thus are not attached to any particular ‘style’. We’ve always been a ‘foreigner’, so to speak. When we lived in Austria we were considered (and considered ourselves, as one often defines oneself by difference), French because we spoke French at home. When we lived in Germany we were Austrian because we came with an Austrian accent. When we lived in France we were German, because that’s where we had gone to high school and when we were in the US, we were simply considered European. Coming to a foreign place allows you to look at everything from politics to culture with curious eyes. We’ve learned from each place we lived in, not just regarding design – it’s been at times stressful, but overall an enriching experience.
Can you describe a typical day at Atelier Areti for us? There is no typical day! As we work in different places (London and Frankfurt), we communicate by Skype. Every one or two months we meet in person to work together more intensely. We design in a rather old fashioned way. We sketch an idea and usually, the end product is rather close to that initial sketch. We of course do detail drawings, make models and have to adjust the design as we work on the prototypes with the manufacturer - but generally speaking, the first sketch already contains the essence of the project. What we really enjoy is that by setting up our studio, the two of us can work together. While there is some friction of course, as is the case any time two people work together, it’s quite minimal. We have similar ideas about art and design and that makes working together a pleasure because there is an inherent understanding and most energy is put into pushing a project further rather than having to convince the other person of ones own opinion. So it doesn’t matter who comes up with the first sketch or idea for a project, most of the time, we end up both being convinced by it and developing it further or dropping it. While this sounds like quite a plain statement and one would assume partners always work like this, we know from past experience, that this is not to be taken for granted.
With the sharp increase in home renovation and building shows, the UK, as a nation, are becoming more and more involved and immersed in architecture.
There are more blogs, websites and TV shows on the subject than ever before, and more and more of us are actually building and designing our own homes too. I know that it is a personal dream of some of our team to do just that, but how about you? Is it something you have dreamed about doing for a long time?
This increased interest in architecture and large-scale home renovating has really caught our attention, so we have compiled a list of our favourite architectural projects from this year. Although we have a slight preference towards spacious homes with high ceilings and glass panels, there are a few surprising elements to these homes - like an indoor Zen garden and a grass roof for instance. So please let us know your thoughts – which style of architecture do you prefer? Have you built your own home? Get in touch via our social media channels – we are always up for a chat!
Edgeland House – Austin, Texas
The first house we take a closer look at is Edgeland House in Texas, designed by Bercy Chen Studio. This home mixes Native American architecture, cutting-edge technology and ecological concerns - creating a dramatic yet eco-friendly home.
The ecological merits of Edgeland House are vast. Firstly it has been erected on disused brownfield land, making use of abandoned areas. It has been designed with genuine thought to the original landscape by being built 7 feet into the ground - reducing the visual impact on the landscape. And lastly, it has a grass roof – allowing for maximum energy efficiency.
The building itself is constructed from a steel frame, and is fitted with double-glazed tinted low-E glass panels and concrete retaining walls. It is a striking design made from honest materials. The interior of the house is unique in that it is divided into two clear sections – one for sleeping and one for living/entertaining, which can clearly be seen in the photo above. The omission of a hallway was one that was made on purpose – to encourage more time spent outside whilst moving between the two areas.
The house was built to essentially "enhance one's experience of nature" says architect Bercy Chen - something that can be seen immediately from the outset.
Continuing the modern lines and angles from Edgeland House, we take a look at Flip House, a quirky property located in the heart of San Francisco.
This project proves that you don’t need to build your own home from scratch to have your own ‘grand design’. The owners approached local architectural firm Fougeron Architecture looking for an ‘edgy’ remodel of their original home. Although large structural work was carried out (floors were lowered and ceilings were raised), the bones of the house were already in place.
Flip House has been updated with stunning angled glass panels covering the whole of the back wall which work to bring in plenty of natural light – more so than traditional straight glass windows. The interior has been completely renovated with modern furnishings in modern materials – perforated metal staircases, white sofas and transparent Kartell furnishings. The interior has been re-designed to be conducive to modern-day living, giving the home a spacious feel.
One of the main reasons this project caught our eye was due to its location in heart of a metropolitan city. Many architectural projects are built in remote areas, so it’s great to see a large-scale project being carried out in the middle of a busy city, thus proving that you don’t need to move to the outskirts to have your perfect home.
Lastly we take a look at the Optical Glass House by Hiroshi Nakamura, based in Hiroshima. This project is unique in that it is constructed using contrasting materials – man-made concrete and glass sit happily alongside natural timber, stone and indoor Zen gardens.
The outside façade of the Optical Glass House features a two storey glass wall constructed from 6,000 borosilicate glass bricks. The bricks, which are more durable than conventional glass, offer privacy without being impenetrable.
Indoors, numerous Zen-like gardens are dotted throughout offering a place of tranquility from the bustling city life outside. In addition to these green spaces, the interior is constructed from even more glass bricks (to maximize light), built-in wooden furnishings and stone floors. The main reason this home made it onto our list is the use of these materials, which work to create a warm, cosy interior whilst still maintaining a contemporary feel.
Image: Koji Fujii / Nacasa & partners via Designboom
If you’re thinking (or dreaming!) of designing your own project, why not have a look at Dezeen, Design Milk and Designboom for some online inspiration. Alternatively, print-based resources include Icon Magazine and Grand Designs Magazine – both of which are packed full of inspiring projects and news.
The brothers were born in the French town of Brittany in 1971 (Ronan) and 1976 (Erwan) and began designing together in the late 1990s. Since then, they have designed for an impressive list of manufacturers, including Kartell, Flos, Magis, Vitra and Nani Marquina among many others.
The brothers’ careers really began to take off in 1997 when they exhibited at Salon du Meuble in Paris with their Disintegrated Kitchen design – a flexible kitchen solution for modern homes. The brothers’ talent was spotted by Giulio Cappellini - owner of Italian design firm Cappellini – who swiftly gave the brothers their first industrial design projects.
After this initial breakthrough in product design, the brothers began experimenting with spatial design. Their first project came in the form of an exhibition space for Issey Miyake’s new collection of A-Poc clothes in Paris.
In 2002 the brothers met with the chairman of Vitra, Rolf Fehlbaum, and their careers really began to escalate. A flurry of designs for the iconic brand emerged in the ensuing years, including the Alcove Sofa, the Slow Chair, the Vegetal Chair and Corniches – all of which are now household names.
Their time working with Vitra really heightened the brothers’ profile and many collaborations came along after this. In 2004, the Bouroullec’s worked with Magis where they designed two complete furniture collections – the Striped and Steelwood collections – as well as a number of individual items.
In 2009 the brothers embarked on a creative project with Kvadrat called Clouds. Clouds was a modular system of small triangular textiles that lay somewhere between furniture, curtains and installation. Pushing the boundaries of modern design, this project again opened new doors for the brothers’ flourishing careers.
In 2011 the Bouroullec’s continued their experiments in textiles and designed the Losanges Rug for Nani Marquina – a hand crafted, hand spun and beautifully detailed woolen rug.
2011 also marked the brothers’ presentation of the Flos Piani Lamps at Euroluce in Milan. Again, these instantly became classic designs and have since been produced in a plethora of finishes and sizes.
Most recently, the brothers have been working with Danish manufacturers Hay on the Copenhague furniture collection. Designed for the University of Copenhagen, the Copenhague collection features a series of practical items that have been designed to have a domestic feel, whilst still being able to be produced for the contract market. The collection includes a chair, stool, table and desk which all come in a selection of colours and finishes.
The varied and creative work of the design duo has really struck a chord with the design community and we can’t wait to see what’s next!
Last week saw the return of the most important furniture fair in the world, ‘iSaloni’ in Milan.
Showcasing the biggest furniture and lighting brands during the 52nd installment, over 2,500 brands were on show across 24 halls, as well as numerous events taking place outside the fair in central Milan. It is a true feast for the senses and a comfortable shoe is highly recommended!
We had the pleasure to visit over three days and here are our highlights.
Day one was spent at the fair itself. It was great to see Knoll, Cassina, Cappellini and Poltrona Frau back at the fair and their stands and new products did not disappoint. Displaying design classics alongside brand new designs, there was a real buzz surrounding these long-standing iconic brands.
The Poltrona Frau stand exuded elegant opulence and the smell of high-quality premium leather was divine. The craftsmanship is hard to ignore and their new products - the Mamy Blue Lounge Chair and Antohn Sofa (designed by Jean-Marie Massaud) - were firm favourites.
Vitra launched a variety of product extensions and this year colour was the key theme. From Hang it All’s in ice cream shades, to the classic Eames Storage Unit’s (ESUs) in fresh autumnal tones (chosen by Dutch designed Hella Jongerius), to the Prouve Standard Chair in pale yellow (citron) and dark grey (which really worked), colour was abundant.
On the flip side they launched the Eames Lounge Chair in a deep black version, a very chic and aesthetic tweak to the original design, along with new bases for the Eames side chairs in dark maple, black maple and powder coated basic dark.
Kartell’s stand was once again all singing and dancing! The stand depicted a Galleria and products worthy of note are the new Clap Armchair designed by Patricia Urquiola and their move into bathroom design with the launch of their collaboration with Ludovica and Roberto Palomba, ‘Kartell by Laufen’.
The collection includes a mirror, a container unit with shelves, a stool/occasional table, a lamp, wall shelves and a towel holder made of various colours of PMMA.
Monochrome with hints of primary colour was the theme at Artek, who do this look so well. The re-issued LUKKI range designed in the 1950s by IImari Tapiovaara makes a welcome comeback.
Day two was all about central Milan and ‘Fuori Salone’ what lies outside of the fairground and what a perfect day to wander the streets visiting the satellite events.
We kicked off at MOST (hosted at the Museo Nazionale della Scienza e della Tecnologia) for a traditional British breakfast and a private presentation by Tom Dixon of his new ‘Rough & Smooth’ collection.
The ‘Rough & Smooth’ collection is a story of opposites, materials, honesty and textures. Inspired by the two sides of the British character the collection embodies uniqueness. The Gem range includes furniture, lighting and accessories and each piece is unique with a textural finish inspired by the natural world.
The Cell family compliments their popular Etch collection and continues Tom’s fasciniation into refined precsicion engineering, manufacturing and low energy lighting.
The smooth, handblown glass Flask pendant offers diffused lighting suitable for any environment and looks stunning hung in small groups.
Other products launched include MASS, Bell, Spun, Fan and a range of new ECLECTIC accessories (coming online soon).
MOST had a lot to offer visitors and it was great to see new and emerging brands on show. Tom’s collaboration with Adidas to design a travelling, ‘Capsule’ fashion collection was fun, unique and, at the same time, intriguing.
After a quick metro ride we ended up in the Brera design district of Milan to see what EDIT by Design Junction had to offer. Housed in the recently rennovated La Pelota venue, it was great to see award-winning British brand Modus taking centre stage, who’s new Geta Sofa by Arik Levy was a joy to discover.
It was an absolute pleasure to meet Guillane Kerschbaimer, one half of sister duo behind Atelier Areti, who’s products are lovingly hand made with quality and sustainability in mind.
Ercol showcased fresh, new, contemporary designs including the gorgeous walnut and oak Svelto sideboard.
A short walk led us to the traditional Lee Broom Crystal Bulb Shop for a refreshing change of pace as well as scenery. The twists on the Crystal Bulb (launched last year) were fabulous and included a frosted version, table lamp and chandelier, which we know you’ll all love.
The stand-out product for us this year has to be the new Ro Chair designed by Jaime Hayon for Republic of Fritz Hansen. Ro (meaning tranqulity in Danish) is a style icon in the making and was inspired by the thought of creating tranquility in a fast-paced urban environment and exudes unpretentious glamour.
Jaime Hayon reflects “We put a great deal of effort into the form of the chair, which is inspired by the human body. We wanted a chair that was comfortable as well as beautiful. My goal was to create a slim and elegant chair that encourages reflections and comfort.”
The Ro Chair is available in nine carefully selected designer colours, “colour being the most important thing you can do right now in terms of communication” says Jaime, and will be released in September 2013.
Dinner took place at Savini, a favourite haunt for the world’s celebrities since the turn of the century due to it’s location close to the Manzoni theatre, across from the Duomo and in the oldest shopping mall in Italy ‘Galleria Vittorio Emanuelle II’.
Dessert came in the form of an ‘Unexpected Welcome’ by Moooi in the vibrant and bustling Tortona district. Our visit coinsided with the Frame Moooi Award 2013 event and security was tight. After some serious hustle and bustle and a fair bit of queuing we entered the 1.700m2 location which was transformed into a series of stylish living spaces inhabitated by a number of colourful and suggestive mannequins! It was great to see yet more colour here and the French house music helped to set the tone and atmosphere.
Following a well-needed sleep we started our final day back at the fair in Rho, with the morning focus being all about lighting at Euroluce.
Foscarini Launched four brand new products as well as LED versions of their four best sellers Twiggy, Tress, Caboche and Big Bang. The Yoko Table Lamp designed by Norwegian designers Anderssen & Voll is reminiscent of a bubble about to burst over a light source; it is simple with a clear design focus on both form and function.
Diesel with Foscarini continued to drive forward its rock and roll theme launching Crash and Bell, a pair of suspension lamps. Crash is inspired by the top of a drum, and Bell, the percussion.
Oluce impressed us this year with a number of exciting new products, of note is the re-issued Zanuso 275 Table Lamp originally designed in 1963, and the Empty Suspension Light which gives both direct and reflected light through its light source and cleverly faceted interal surface.
Soft architecture and technology was the focus at Flos and the new table lamp ‘Volt’ designed by Rodolfo Dordoni summed this up brilliantly. Rodolfo has focused on the LED heat source and the way in which it is cooled by transporting distilled water along a central tube, which he made the focal point of this fascinating table lamp with an almost art deco feel.
We finished our final day in Hall 16 and we had a lot to fit in!
Colourful, vibrant and fun are the three key words to sum up Moroso’s optimistic and warm offering. The Hood Lounge Chair by Patricia Urquiola was welcoming as were the bright fluro shades on the Wood Bikini Chairs.
Relaxed sophistication with a Scandinavian edge was the theme at Arper and with a distinct move towards the family-friendly home. Their new children’s Saya Chair was super cute.
Nordic brand Muuto continued to grow their collection with the launch of the new Oslo Sofa & Ottoman – which is slim, simple, curvy and very comfortable with a forgiving seating position and springy seat.
Sancal launched the ‘tierra’ collection with a re-focus on the home environment and family-friendly designs in pretty shades of pink, grey, pale blue and a snip of apricot. The Tecno Sofa by Rafa Garcia is chic, practical (with removeable zipped covers), extremley comfortable and hides a wireless electronic system that enables you to move the seating position to exactly your liking.
Our time in Milan this year was full and hectic but thoroughly enjoyable and we look forward to bringing you all the latest news from our next design event ‘Clerkenwell Design Week’ in May – stay tuned!
The design world once again alights at Milan for the annual Salone Internazionale del Mobile or the Milan Furniture Fair as it’s also known.
To call it a grand affair would be somewhat of an understatement. Salone is the veritable design mecca, a high society event replete with the great and the good from all quarters of what is undoubtedly an eclectic design world.
This year’s Salone theme is Milan, interiors of tomorrow. Design is ubiquitous, a bridge that links past, present and future. It is a powerful mediator between making something better or making it worse. As such, designers with a considered approach to design problems, those who think about design’s true potential and meaning, are necessary protagonists and leading lights in a densely populated field. Their vision can greatly enhance the lives of future generations, because they think not only about today, but also about tomorrow.
&Tradition Mayor Sofa. Image via Nest. ‘Mayor’ was created in 1939 for Søllerød City Hall, Denmark, by Arne Jacobsen and Flemming Lassen. Its reissue by &Tradition won the award for ‘Best Reissue” at the Wallpaper* Design Awards, 2013.
If we are to consider the interiors of tomorrow, then we must think about design as being virtuous or good. In advocating for design that is good, the acclaimed industrial designer, Dieter Rams, championed a number of good design principles. For example, good design should be innovative, aesthetic, unobtrusive, honest, long-lasting and as little design as possible. Perhaps within our current economic climate, people are thinking harder about what actually matters to them. In design this can equate to a rejuvenated appreciation for contemporary products, interiors and architecture that are designed with the highest levels of craftsmanship, exude quality and are enduringly modern. Moreover, many people want to have an emotional connection with design. With an eye on the future, they are firmly against ‘throwawayism’, choosing objects that are made with natural materials and built to last.
Prouvé RAW Special Edition Fauteuil Direction. Image via Nest. Vitra’s classic design by the innovative French designer Jean Prouvé has been reinterpreted in a modern version by G-Star RAW.
A great number of companies and designers who embody the quintessence of good design are directly, or indirectly, working to bring about a change in societal attitudes to design. They are concerned with designs that are beautifully crafted, long lasting and timeless in their execution. This is true of companies such as Gubi, Vipp, Vitra, Republic of Fritz Hansen and Carl Hansen & Søn, to name but a few. Television and film have a role to play too. Many of us have fallen head over heels for that modernist tour de force that is Mad Men. It may be a time-capsule of 1960s Americana, but much of its style remains relevant today and will continue to be relevant far into the future.
If Milan’s theme is interiors of tomorrow, then two interior spaces that people will find particularly pertinent in this regard are the home and the office. But what of their utility and function? It is fair to posit the idea that we have reached a tipping point in how we conduct our daily live-work balance. Where it may once have been a rarity to work at home, it is now becoming more and more common practice. This is especially true where we see a rise in the number of small businesses, freelance working and those magnanimous employers who are relaxing the strict protocol of employees being present in the office from Monday to Friday. The question then arises - if the home is the new office, how do we structure this environment? And conversely, as our expectations of better working environs increase, how do we improve bland and often unwelcoming office surroundings?
Carl Hansen CH110 Desk. Image via Nest. Designed by Hans J. Wegner.
Ideally, design should be less autocratic than is often the case. For example, where offices are designed so that employees will work in a specific way or where homes are built so that people will live in a prescribed manner. Architects, planners and designers have the aptitude to think about people’s needs and their likely changes in behaviour as we progress further into the 21st century. As such, design is a powerful force for betterment.
At this year’s Salone, French Architect Jean Nouvell is curating an exhibition of office spaces. He believes that frequently, “our apartments make better places to work [and that] often it is better to live in the space designed to be an office” (Dezeen). Nouvell considers a generality of solutions in design as being bad for everyone involved. Perhaps most interestingly, Nouvell proposes that furniture companies should have less of a divergence between domestic and commercial products; that furniture is for both office and home. (Dezeen)
Bridging the divide between the home and office, social working or shared working spaces are becoming more sought-after by entrepreneurs and freelancers. Eschewing the simple staid office plan, these environments are increasingly looking to design in order to add an innovative wow factor. Communal work spaces accommodate an array of working situations: from small desks for solo workers to larger tables for teams and informal meetings; lounge areas to interact, network and chat, and designated private meeting spaces. People are able to move around and typically no one has a fixed abode. Design furnishings and lighting add to the overall creative vision and help bolster expression, passion and professionalism.
When working from home, the delineation of an office space is important - or is it? Some of us may choose to have a desk in a dedicated room that is our study or office. Others may choose to set up shop at the dining room table, camping out until the kids come home from school or it’s time to cook dinner. And there are some who may grab their MacBook, curl up on the sofa and begin writing that article or report. Given the correct tools and enough design savvy, it is of course feasible that people are able to create a home working environment that suits their own particular manner. It is certainly something that many of us choose to consider when thinking about the work that we do.
Milan’s insights and revelations about the interiors of tomorrow will doubtlessly effervesce during the festival, taking shape in both form and conversation, helping to define and influence the future state of design. But as already expressed, design is ubiquitous; its past is a link to its future. The interiors of tomorrow may not be so dramatically different to the good interiors of yesterday or today, but merely refined and improved upon versions.
Gerard McGuickin is a freelance design writer and blogger for his creative design bureau, Walnut Grey Design.
As you read this we will be on our way to the Salone Internazionale del Mobile in Italy, also known as the Milan Furniture Fair – Europe’s largest design event.
Milan is known internationally as the place to be for the latest design news and product releases from the largest furniture and lighting brands. It is an exciting and insightful event and one that is certainly not to be missed.
Over the last few weeks we’ve kept our ear to the ground and have made a hit list of this year’s ‘must-see’ events and shows. There’s a lot happening in a just a few days but we hope to fit it all in. Continue reading to see where we’ll be and what we’ll be checking out.
As well as the traditional fair, Milan often has events running alongside the exhibition. This year the two events we hope to visit are MOST and EDIT.
MOST, held at Milan’s Museum of Science and Technology, is an event arranged by Tom Dixon. It showcases the latest collections and products from the brand, as well as displaying new pieces from numerous other designers. It aims to be a creative hub for the fair by promoting a forward-thinking culture. They aim to attract visitors from all disciplines, including retailers and the media.
EDIT, presented by Design Junction, is a carefully curated exhibition, featuring a select group of brands. Alongside displays from world-renowned names, there will also be live workshops, installations and pop-up eateries. Brands exhibiting include Ercol, Modus, Innermost and Areti, among many others. Edit will take place in the heart of the Brera district in Milan.
Because of Milan’s reputation for design, many major brands’ showrooms are based there - we hope to be popping into a few of these while we are in the city. Top of our list is Republic of Fritz Hansen showroom located on Corso Giuseppe Garibaldi 77 in the heart of Milan, where Jaime Hayon’s new ‘Ro’ chair will be featured.
We are also hoping to pop into the Moooi showroom – where the winner of the Frame Moooi Award for 2013 will be announced.
Within the actual fairground at Rho, there are numerous halls with dozens of exhibitors inside each space. This year Hall 20 will be a hive of activity as many of the big-name brands are showing there. On our list is Knoll (stand C01 / D02), Vitra (stand C05 / D04), Cassina (stand D01 / E06), Magis (stand C15 / D12), Artek (stand C08) and Kartell (stand A15 / B14) among many others. We’ve heard that there will be new releases from the following brands so we will be making the effort to see all these stands as well. These include Zeitraum (Hall 7 stand L14), Punt (Hall 10 stand C20), BD Barcelona (Hall 16 stand F32), Nanimarquina (Hall 16 stand E33) and E15 (Hall 16 stand E53). Remember to keep your eyes glued to our social media sites to see the new items as they are revealed!
To top the fair off, 2013 is the year of Euroluce - the international lighting sector exhibition. At the top of our ‘must-see’ list are Flos (Hall 13 stand C09 / D18) and Foscarini (Hall 11 stand A19 / B18 – A29 / B24).
It’s going to be a great event and we’re looking forward to sourcing some new products and designs. Follow us at the fair via our social media channels, Facebook, Twitter and Pinterest and keep your eyes peeled for some live updates.
Also, to tie-in with the exhibition, Gerard McGuickin from Walnut Grey Design, will be guest blogging for us on Wednesday to talk about ‘The Interiors of Tomorrow’ – check back here on Wednesday to see the full post.
To coincide with the release of our Sofa Buying Guide, we have put our heads together and chosen our top ten sofas.
Here at Nest we know that purchasing a sofa is one of the biggest investments you will make for your home, so it needs to be right. To help you choose the right model for you, we have put together a handy guide that talks you through some of the main factors to consider when making your choice. We take a look at size, fabric, filling and how to look after your item among many other factors. So if you are on the lookout for a new suite, take a few moments to have a look through our guide.
To mark the release of our guide, the team at Nest has chosen their all-time favourite sofas. Here are our top ten.
The Vitra XS Polder Sofa is a cool, classy design from Hella Jongerius. Its unusual configuration is in fact highly practical, allowing for a relaxed lifestyle. It is available with either a left-hand or right-hand armrest and comes in green or red. Also available in an XL version.
The recently re-released Mayor sofa from Arne Jacobsen has won all our hearts in the Nest office. Its elegant wooden base and curved, studded back really make this sofa stand out. It is available in a selection of colours, but it is the golden yellow that gets our vote.
The Muuto Rest has a relaxed and informal feel, whilst still looking smart and elegant. It can be upholstered in a choice of Kvadrat fabrics – all of which are hardwearing and soft to touch.
The Normann Copenhagen Onkel (the Danish word for Uncle), is a sofa that combines the simplicity of modern forms with the soft curves of the pre-50s era. It has a lacquered wooden frame and is upholstered in Gabriel fabrics.
The classic mid-century Studio Couch was first introduced in the 1950s by Lucian Ercolani, the founder of Ercol. It is available either with or without back cushions and comes in a large choice of woods.
The SCP Oscar Sofa is a relatively new addition to our collection. It was designed by British designer Matthew Hilton and is made in the UK using sustainable materials.
The Fredericia Haiku Sofa is an expressive and unique design from Danish/Italian design duo GamFratesi. Its playful curves and contrasting colours really set this piece apart from many other sofa designs.
Since its release in 2011, the Favn Sofa from Jaime Hayon, has constantly been in our top ten sofas. It has a beautiful and fluid shape and comes in a selection of bold, statement colours, making this a real stand-out piece.
Known for their exceptional quality and craftsmanship, Poltrona Frau’s collection of leather sofas really do not disappoint. The Kennedee Three Seater Sofa incorporates a modern quilting of the back cushions and has a beech wood frame with steel feet. It is available in a collection of colours from white (Polare) to red (Cremisi).
The Florence Knoll Three Seater Sofa is an iconic design from the celebrated designer Florence Knoll. It was first produced in 1954 and is now available upholstered in either fabric or leather.
Our top 10 includes a range of styles from classic to contemporary, as well as a mixture of fabrics and colours. As ever, we would love to know what you think.
Get in touch via our social media channels (Facebook, Twitter, Pinterest) and let us know your thoughts!
To celebrate the Easter period, and to introduce you to our sweet Rosendahl Rabbit, we have made a short video. Check it out below – we hope you like it as we had a lot of fun making it!
In Taschen's glossy new tome 'The Culture of Plastics', Deyan Sudjic takes a look at the 20th century's three most important landmarks in furniture design.
At number one is Thonet's introduction of mass produced furniture. Number two is the breakthrough use of tubular steel in home furnishings, initiated by Marcel Breuer in the 1920s. And at number three is the use of plastic - with Sudjic (Director of the Design Museum) singling out Joe Columbo's 4867 Chair as the representative design of this movement. While the likes of Charles and Ray Eames were experimenting in fibreglass and other such revolutionary materials, it was actually Kartell that began using plastic in furniture design in a serious way. Kartell's impact on 20th century design can often be overlooked, so it is great to see such a figurehead advocating the importance of the Italian brand. Below we take a look at Kartell's history and their impact on modern, contemporary furniture.
The now-iconic Italian company was founded in 1949 by Giulio Castelli – a chemical engineer with a passion for new materials. The company began producing automobile accessories but soon expanded their range into home furnishings. Desperately wanting to combine ‘technical innovation with cutting-edge design’, Castelli led Kartell into what it is today - an experimental design house with a plethora of design classics in its back catalogue.
Kartell made their breakthrough in the pop culture, plastic-loving era of the 1960s. Their bright and colourful plastic kitchenware (dustpans, lemon squeezers, colanders, dish racks), from Gino Colombini really spoke to the people of the mid-20th century. The products were bright, fun, easy to clean, store and stack and marked a shift from the previous decades of austerity. With designers such as Joe Colombo, Marco Zanuso and Anna Castelli at the helm, Kartell became an international force in the furniture industry and a household name.
By the 1970s people were increasingly keen on accepting Kartell's bright, fun and experimental designs and the company grew rapidly. Their reputation was consolidated with an exhibition at the New York Museum of Modern Art (MoMA) titled 'Italy: The New Domestic Landscape', which showcased a number of Kartell pieces.
The 1980s marked a shift in those at the top of the Kartell ladder. In 1988 Castelli’s son-in-law Claudio Luti took the helm and ‘re-energised’ the company. He did this by bringing in a new wave of designers such as Philippe Starck, Piero Lissoni and Ron Arad. Consequently, a flood of iconic designs soon emerged. Luti still remains at the helm today.
Between the late 1990s and the early 2000s, Kartell was the first company in the world that used polycarbonate to produce furniture – Philippe Starck's La Marie Chair was the pioneering piece. From then on in, they began their experiments in transparency - a type of product they are now synonymous with. Throughout this period Kartell continued to hire a plethora of world class designers whose names were already widely known, including Patricia Urquiola, and a number of classic Kartell designs were born. These include Ron Arad's Bookworm and Starck's Louis Ghost Chair.
To this day, Kartell continue to push the boundaries of contemporary furniture design. Their experiments in plastic are still in full force and they are continually producing iconic designs that are fun, functional and, more importantly, accessible to all. Throughout their 60 year history they have redefined the use of plastics - changing it from an undesirable, industrial product to a fascinating material with a modern aesthetic.
Even if plastic isn't your cup of tea, we all have a favourite Kartell piece, which, I think, speaks volumes. So, I think it’s safe to say founder Castelli's ambition to 'make products that were beautiful, innovative and above all surprising' has well and truly been achieved.
Today we take a closer look at one of the world’s best-loved chairs, the iconic Series 7, and also look into how to spot a fake.
The chair, also known as the Model 3107, was first designed in 1955 by architect and designer Arne Jacobsen. It was made using the same innovative technique used to create the Ant Chair three years previously. The chair is constructed using a pressure-molded wood veneer technique, using nine layers of veneer. This technique allowed the seat to be molded to fit the body, creating a comfortable chair which negated the need for upholstery. The chair has a chrome four-legged base with rubber feet.
The Series 7 is now Fritz Hansen’s best-selling design, with over 5 million units being sold to date, and is one of the most recognized chairs worldwide. It was propelled to stardom in the 1960s when model Christine Keeler posed on the chair for photographer Lewis Morley. It has now graced numerous TV shows worldwide including Danish thriller The Killing, British soap Eastenders and Channel 4’s debate show 4thought.tv.
Last year saw the launch of a collection of new finishes and colours for the classic chair. The chair is now available in 9 different types of wood - Maple, Ash, Beech, Cherry, Oregon Pine, Elm, Oak, Walnut and Dark Stained Oak - and is also available in the following colours: white, light grey, dark grey, black, yellow, orange, red, petrol blue and sage green.
Unfortunately, as with many iconic designs, many copies have arisen in recent years. Copyright laws state that designs are only protected for 25 years after the issue date, compared to the 70 years of cover literature, art and music receive. Cheap fakes and imitations are not something we tolerate here at Nest, so we want to highlight a few common factors that show the difference between a licensed original Series 7 and a fake.
How to spot a fake
- Fake Series 7s have a much thicker, and less subtly molded, seat
- The ‘waist’ of the fake chair will be more pronounced than it should be, and will often break at this point.
- There will be no unique ID number on the underside – something which all licensed originals have
- Fakes have much less strength and will snap under pressure
The Elle Decoration ‘Fight the Fakes’ campaign is also something we fully support. The campaign, which is backed by notable figures Sir Terence Conran and Sir James Dyson, aims to achieve equal copyright laws for design. Find out more on the campaign here.
The Series 7 in the photographs is made from walnut.
This video by The Republic of Fritz Hansen clearly demonstrates the difference between the real and the fake – the footage speaks for itself. If you want good design that lasts, invest in the original and not a copy.
I recently had the pleasure of visiting Copenhagen (København) and here is my personal insight into the truly captivating Danish city that pays homage to design greats Poul Henningsen, Kay Bojesen, Poul Kjærholm, Finn Juhl and many more.
The first thing to hit you as soon as you get off the plane and escape the airports clasp is the light, it seemed strangely brighter, offering a welcome hug.
Due to time constraints I hopped in a taxi straight to my hotel, the five star design hotel SKT. PETRI, in the heart of the Latin quarter. Upon entering my hotel room I was greeted with the sounds of traditional music being played on an accordion on the street below, sending me straight back to childhood tales of Hans Christian Anderson. The hotel’s branding and staff were better than the furnishings especially in my room itself (maybe my expectations are too high!), but brownie points for the bathroom which was well designed and very spacious. The Magis Puppy Chair’s in the hotel lobby added a nice fun element and a pop of colour. The dark bar area was low lit with &Tradition Milk NA1 Table Lamps and GUBI Bar Stools encircled the bar.
Walking around the city it’s hard not to notice how flat and open it is, the architecture doesn’t over-shadow or confine you like in other major European cities and it is well set up for the commuter cyclist. The scent of roasted almonds, fresh pancakes and cinnamon waft through the air periodically, which along with the intoxicating winter sun is delightful. The cold bites but not for long as you look around the city which is full of beautiful colours, traditional Danish architecture and an embracing oh so friendly family atmosphere. Each building with its rustic charm and character seeks to be a friendly face encouraging you deeper into its heart. Worthy of note are the street lights – unobtrusive, strangely alluring and beautifully intrinsic.
After a short walk and passing the Rundetaarn (Round Tower) I venture into HAY House. The showroom is set across two floors in the heart of the city centre and is clean, simple, pared-back, well styled and beckons you to, well, just stay! The HAY collection sits happily in the space as if it was always meant to be and the soft grey and pastel palette is refreshing.
The city’s high streets are mixed brilliantly with high-end boutiques, restaurants, cafes, department stores and independent stores catering for the ever stylish Scandinavian shopper and intrigued tourist.
That evening I dined at the infamous GEIST, headed up by well-known chef Bo Bech and located opposite the Royal Danish Theatre, up the road from the Royal Opera House, round the corner from Parliament and a stone’s throw away from the canal. GEIST is a dark, candlelit restaurant in shades of anthracite grey, black and silver. The relaxed atmosphere was subtly lit with unobtrusive pendant and wall lights. The open-kitchen takes centre stage with customers sitting on Fredericia Spine Barstools (in black of course). The funky house music is periodically broken up by sounds of laughter and chat. The food is fresh and simple with a focus on proper ingredients. I chose three dishes including Tongue of Veal with Carrots and Coarse Mustard, Pot Roasted Cauliflower with Black Truffle, Air In Air In Air Tiramisu and a Cafe Latte. The staff were friendly, amiable and knowledgeable.
As I sat in the taxi on the way back to the hotel and looked up at the lit windows piercing the dark it was hard not to spot a Danish classic hung with pride – particular favourites being the PH Artichoke and PH Snowball suspension lights from Louis Poulsen and designed by Poul Henningsen.
The first half of my second day was spent at Normann Copenhagen’s flagship store, a little off the beaten track and a good half an hour walk from the main buzz of the city. The small entrance and shop window leads you up a catwalk style narrow corridor with small displays either side including a rainbow display of Brick Cushions and then the whole space opens up into an amazing double-height Aladdin’s cave of Scandinavian design. Two of my particular favourites are the Onkel Sofa with its contrasting fabrics and tones and the super practical Toj Clothes Rack.
As interior trends often stem from the catwalk shows, we were pleased to see monochrome elements all over London Fashion Week.
Many shows, including Topshop Unique (pictured above) updated the classic black and white palette with hits of electric yellow – something which we think will translate into our homes really well.
We’ve been inspired by this modern palette, a refreshing take on an all-time classic, and have put together a collection of products that channel this trend. We have picked a classic sofa as our star piece, the Cassina LC2 Two Seater Sofa in black leather, which is a design classic that will never date, and have accessorized with a mix of modern pieces in white and yellow.
This week we take a closer look at the elegant Zanotta Toi Side Table, a modern piece that fuses technology and style.
The Toi was designed by Italian designer and architect Salvatore Indriolo in 2012.
Its name was chosen as a play on the word 'toy' as Indriolo wanted to express the table's sense of fun as well as its inherent usefulness.
It was also supposed to represent the fact that it can be picked up and put down whenever needed. Above is an insightful initial sketch of the Toi by the designer.
The Zanotta Toi is a practical addition to a bedroom or living room and can tidy-away those small items that are part of our everyday lives, whether that's your reading glasses or knitting needles! It also lends itself to almost any interior style. Its fluid shape is reminiscent of the infamous Tulip range by Eero Saarinen, making it fit well in a mid-century modern interior, and its sleek satin finish also makes it suitable for a stylish minimal interior.
The simplicity and intellegence of the Toi is also in-keeping with so many other pieces Zanotta has produced, like the effortless Greg Three Seater Sofa and the highly practical Leonardo Desk. Zanotta are known for their quality and innovation and this table perfectly exemplifies that philosophy.The Toi's frame and pedestal is made from polyurethane and varnished in either white, black, red or blue. The table top is made from aluminium covered plywood and can swivel 360 degrees, revealing a cleverly-concealed organiser compartment. It stands at 50cm high and has a diameter of 42cm. To see the Toi in action check out our video highlighting its key feature - the sliding table top. Shop the Zanotta Toi at Nest now
Patricia Urquiola’s elegant lighting series, Tatou, takes its name from the French word ‘armadillo’ and draws its influences from that of armour.
It is inspired first and foremost by the protective layer of the armadillo’s shell, but also by that of antique Japanese protective armour, something designer Urquiola is fascinated by.
The inspirations behind Tatou are instantly seen in its shape – the final design is made up of four methacrylate plates that combine to form the dome of the shade. These overlapping plates not only emphasise the light’s origins, but also create a highly decorative appearance and decorative lighting effect.
The perforated shade of the Tatou allows for a harmonic play on light and shadow. The light floods the lamp, but it filters through discretely to the eyes – this, in the words of Urquiola, ‘creates a harmonious play of light and shadow through the shade’s three-dimensional construction’.
It was imperative for Urquiola that the Tatou series, although mass-produced, still managed to ‘retain strong artisan connotations.’ This is evident in the elegantly patterned design and symmetrical shape. Similarly, producing Tatou in its three colours (white, ochre, black) was no accident either. It was decided that these colours were the best for obtaining different, aesthetically-pleasing lighting effects.
For Urquiola, the Tatou series wasn’t just a product – it was an emotional item also – and its name is ‘consistent with the emotional function’ of the item. Tatou is available as a Table Lamp, Floor Lamp and Pendant Light.
The Vitra Eames DSW Plastic Side Chair, designed by American duo Charles and Ray Eames in 1950, has become one of the most popular chairs of the 20th century.
It was originally produced in collaboration with Zenith Plastics for the MOMA’s Low-Cost Furniture Design Competition, and later became the world’s first industrially manufactured plastic chair.
Charles and Ray were dedicated to the mid-century ethos of providing good quality, affordable design to the masses, and thus spent much of their careers experimenting with different materials and manufacturing methods. It was in this experimental wave that the DSW was first established.
The duo liked the idea of the chairs seat being a shell that was moulded to the body – thereby making upholstery an unnecessary element. This also fitted in well with their modern approach to design.
The DSW is part of a large collection of chairs designed by the Eames’ in the mid 1900s. Its name is made up of the initials that describe its characteristics – D refers to dining chair, S refers to side chair, and the W refers to the wood of its legs. The DSW’s seat shell is made from hardwearing polypropylene and has steel struts in black with solid maple legs. It measures W46 x D55 x H81cm, with a seat height 41cm.
It is available in a number of colours, many which reflect the mid-century modern era in which it was first produced.
There's no one quite like Donna Wilson. Her colourful, patterned and humorous designs have won her many awards and made her a favourite in the design world.
Donna, who strives to create products that “make people smile”, established her studio in London's east end in 2003, shortly after graduating from the Royal Collage of Art. Her initial success came with her quirky knitted creatures - the personalities of which were loosely based on those of her friends. However, it wasn't long until her collection grew to include furniture, ceramics, textiles and fashion accessories.
In 2010 Donna won the prestigious 'British Designer of the Year' title at Elle Decoration's British Design Awards - an accolade also won by the likes of Lee Broom and Benjamin Hubert. This spawned many collaborations, including one with British retailers and manufacturers SCP - a collection that we are proud to stock at Nest. This collaboration includes the Nos Da collection - a series of brightly woven throws and cushions all woven in Wales on a family-run mill.
Keen to keep British craftsmanship alive, Donna uses UK-based manufacturers and suppliers wherever possible. Every single one of her cushions are made here in the UK, her woollen goods are hand-cut and finished in her London studios and her ceramic collection is produced in Stoke-on-Trent.
Nest are proud to support British talent and we are pleased to stock a large range of Donna's designs. As well as the popular Nos Da collection we also stock her Ernest, Frank and Henry pouffes, Fort Trays and a large selection of rugs, including her Fairisle, Braid and Mountain Spot collections.
If Donna's playful designs have caught your eye then watch this space, as we will be adding more of her items online soon.
We get up close and personal with the legendary British designer Tom Dixon
Q. From a retailer's point of view it's great you launch new products and finishes on a regular basis - how important is it to you to keep updating and refreshing your collection?
A. Previously once a year, at Milan only, now twice a year – Milan and London in September. It is important to make the process from design to production faster and faster to beat all the copies.
Q. The Fin lights which you launched during last year's Milan furniture fair show their inner workings on the outside – is the concept of turning things inside out one that you'll be pursuing?
A. I have previously been described as an invertebrate designer, in that I focus on the inside and the makings ahead of the final appearance of the product. With Fin, everything you see is purely functional. We have chosen to make the mechanics the hero rather than cover them up - even to magnifying the inner LED workings with a giant acrylic lens.
Q. The shadows created by the new Etch Web Pendant Light are both mesmerising and intriguing – do shadows play a big role when you are starting a new design concept?
A. Our focus on Luminosity this year continues and key to that is showing people the lighting effects our products can create and not just what they look like sculpturally. Shadows are one such effect. The lights in the Etch family produce some of the most interesting shadows because the acid-etching process used to make them which allow us to produce detailed patterns with the metals.
Q. Your choice of colour and finish is very unique and clearly continues to have industrial connotations – we particular love the acid pop of fluoro – do you have any plans to introduce further key colours into the collection?
A. Last year we introduced a new colour – blue – with the Fin Light - which is interesting as blue is a colour not often used within interiors, it is more commonly associated with electronics or sports equipment.
Q. Luminosity was a great success in Milan last year - how do you see it developing into 2013?
A. This year we want to demystify man-made lighting and show the multitude of ways it can be used and produced…starting with this new collection and the way we demonstrate it in our newly designed London shop
Last week we braved the snow of Stockholm to make it to the annual Furniture Fair. It was our first time in Stockholm but as we’d heard the fair is renowned for supporting and encouraging new talent, as well as showcasing the best big-name brands, we were very excited to be going.
We saw a whole lot of exciting design – some of which will be making its way on to the Nest site very soon so keep your eyes peeled. We also had the pleasure of seeing some new designs from established names such as Tom Dixon, Muuto and Flos among many others.
Armed with our comfiest shoes and suitcase (for all the brochures!) we headed straight to the fair for one full, jam-packed day of design.As there was so much to see we started straight away and headed for the Fredericia stand first – one of our current favourites. They had a fab display with the new Pato chair being the centre of attention.
Moving on we headed to the Tom Dixon stand where the twinkling light of the Etch Web Pendant Light caught our eye. The Etch created a beautiful display and, judging by the amount of people gathered around, was one of the most popular pieces at the fair. Tom Dixon also created a buzz with their visually stunning Fin display which featured the Round and Obround versions in blue copper and aluminium.
Colour was a large part of this year’s fair, with many brands showcasing their products in new pastel hues. Montana, Hay and Muuto launched some items in pretty pastels, perfect for spring! We particularly liked the Montana storage systems in lilac, pink and mint and the new Hay DLM Side Tables in peach and rose. We will be adding the new colours to our range very soon so watch this space. Also worth a note is the Hay Mags Modular Sofa which was looking cosy in a soft, muted biscuit/grey.
A few new finishes were also unveiled at the fair. A particular mention goes to the Flos Piani Big by Ronan and Erwan Bouroullec in wood and concrete which were just stunning. The new materials suit the lamp’s boxy shape so well.
After a busy design-filled day we headed back to Sheffield, catching a wonderful sunset over Stockholm on the way. We cannot wait to visit again, and maybe next time we’ll get to see a bit more of the beautiful city as well.
We’d love to know what you think of our highlights from this year’s fair – why not let us know via Twitter, Facebook or Pinterest?
If you are a fan of modern, innovative design that is eco-friendly, then you will love this new range of lights from Graypants
If you haven’t heard of Graypants before then here’s what you need to know. The design team, which is based in Seattle and Amsterdam, is headed up by Seth (Creative Director), Jon (Design Director) and Alan (Production Manager). Following their design philosophy of ‘Dream.Scribble.Make’, Graypants create inventive and practical lighting solutions for both the home and business uses. Their current project is the Scraplights lighting collection - a series of fantastically shaped pendant lights which are all made from locally-sourced, salvaged cardboard.
We’ve fallen in love with these stylishly creative lights and we’re sure you’ll love them too. Don’t believe us? Then check out these images below of the lights in action…
Don’t they look great? We really love the impact of the large-scale Sun Pendant Light, it’s so dramatic. If you like what you see head over to our brand page where you can view the full collection and a video of the team creating one of their lights.
The Scraplights come in a variety of shapes from circular to disc-shaped, all of which are shown below. From left to right is the Ausi, Bell, Disc, Drop, Drum, Moon and Sun lights.
We don’t know whether it’s because of all the snow and dark nights we are having at the moment, but we’ve certainly been inspired by Elle Decoration’s February 2013 Shopping Palette. Full of inky blues, deep aubergines and muddy greys, this is the colour palette we’re chanelling in our homes right now – so suited to this time of year.
Modern yet sophisticated, dark but still maintaining a fresh and new feel, we love it! Here are our choice of products that channel the dark and stormy theme perfectly. The key item is the Fritz Hansen Favn Sofa in dark blue, a beautiful piece that radiates luxury.
We add texture with the beautifully soft GAN Sail Rug and accessorize heavily with cushions, glassware and trinkets. Finish this look with some luxurious metallic lights in brass and gold, they will really stand out against the inky backdrop. Our picks are the brass BestLite BL2 Table Lamp for a low, reading light and the Artek A330 Pendant Lamp for an all-over glow.
Today we take an in-depth look at one of our favourite new designers, Marc Krusin. We explore his past and current projects and share an interesting Q&A, where he reveals everything from his inspirations to his design processes - we hope you enjoy the read.
Marc Krusin graduated from Leeds Metropolitan University with a BA (Hons) in furniture design. He began his career in Milan where he collaborated with various studios, including the prestigious design firm, Piero Lissoni. Here, he oversaw projects for international clients including Alessi, Kartell, Flos and Thonet.
In 1998 he co-founded the Milan-based group, Codice 31, with five other emerging designers. The group’s first appearance was at the 1998 Milan 'Salone Satellite' exhibition, and they went on to enjoy great expansion and success.
In 2004 Marc established his own company, Klay, which specialised in natural objects from world cultures. Marc’s clients included Fontana Arte, Viccarbe, Pallucco, Saporiti, Bosa ceramiche and Glas Italia among others.
However, it his work with Knoll Studio, since 2007, that we are most familiar with. Here, he has not only designed iconic pieces such as the Knoll Marc Krusin Lounge Chair and End Table, but he has also designed interior spaces - most notably Knoll's own showroom interior in London. Here at Nest our favourite Marc Krusin design is the effortlessly stylish Lounge Chair With Arms - a beautifully simple and angular piece that lends itself to any interior style. To see more of Marc Krusin's furniture collection for Knoll, head over to our designer page
Now, time to hear from the designer himself.
What is your design process? Usually I create the intention to design the product/space in question but I don't actually do anything! I don't think about it, I don't start sketching. I just have the intention and the commitment to design it. Then ideas start coming. And I've noticed that the less I think, as in the more present I am, the more the ideas flow.
How do your ideas develop? Once the idea is clear, I make some sketches. When these are clear, I make a 2D cad drawing which, in the case of furniture, I print out in 1:1 scale, and re-work with a pen (and sometimes repeat this process many times). When the 2D drawings are clear, we will develop a 3D drawing. We adapt this little by little. In the case of furniture or product, we then move to full-scale prototypes and adapt them until they are just right.
Where do you get inspiration for your designs? I don't know. Certainly nowhere specific. But I'm sure somewhere in the mechanism there are influences from what we admire and what we come into contact with on a daily basis: books, cinema, and just general stuff around us.
What's your favourite city and why? I love travelling and so rather than one, there are several around the world that I am very fond of - each with its own pros and cons. But if I have to name one then it has to be London - which is why we live there. Of all the places I've visited and lived, London is the most complete and balanced. There is a lot going on in the professional and creative sectors.
Who are your design heroes? Designers are not heroes to me and so I don't have any. But I do very much admire the work of many designers and architects. Some to mention may be: Luis Barragàn, Mies Van Der Rohe, Piero Lissoni, the Bouroullec brothers, Patricia Urquiola, Frank Lloyd Wright, Gio Ponti, Kensaku Oshiro... The list goes on. I also often appreciate single projects regardless of who designed them. What I really admire is when something has been done with extreme care, sensibility and love. This is immediately evident in a project. Likewise, it is immediately evident when corners have been cut, when care has not been taken and when objectives, other than creating excellence, have got in the way.
What's your favourite design object? I don't have favourites! I could write a list of things I admire but it would be a very long one!
At the end of last year Pantone released their hotly-anticipated Colour of the Year and, taking over from 2012s Tangerine Tango, is the cool Emerald.
This elegantly vibrant shade has been chosen for its association with 'growth, renewal and prosperity', according to Pantone, and is set to be everywhere in 2013, from the catwalk to home interiors. So why not get ahead of the game and add jewel-like hue into your home with our selection of products? We have everything from small accessories that add a flash of colour, to larger items such as tables and lamps, which create a stunning visual impact.
Our favourite item has to be the Zanotta Aster Coat Stand - such a fun and interesting design. It will also add some un-expected colour into an entranceway.
Will you be adding this cool colour into your home this year?
A new year is the perfect time to invest in that iconic piece of design you've had your eye on.
Design classics are classics for a reason - they are carefully crafted from the finest materials and have striking designs that will look as good in the next 50 years as they do now. So we've put our heads together and come up with our top 5 ultimate design investments.
Designed by Achille Castiglioni and Pier Giacomo Castiglioni in 1962, the Flos Arco Floor Lamp combines the finest materials with beautiful design. The instantly-recognisable 'arc' of the large-scale light makes this a modern piece that is as much of a work of art as it is a practical lighting solution. It has a base made from Carrara marble and a polished aluminium domed shade, which can be positioned at different heights. The Arco light has remained unchanged and the current production is exactly the same as the ones produced in 1962. The light's iconic status has been sealed by its inclusion in the permanent collection of the MOMA, in New York.
The Vitra Eames Lounge Chair & Ottoman was designed by husband and wife Charles and Ray Eames in 1956. Initially produced for their filmmaker friend, Billy Wilder, as a birthday present, the design was instantly popular and has now become one of the most covetable designs by the American duo. Its soft leather upholstery and cherrywood frame makes this an item that is both luxurious and built to last.
Designed by Le Corbusier, Pierre Jeanneret and Charlotte Perriand in 1928, the Cassina LC2 is an identifiable icon of modernist design. It is part of the Cassina I Maestri (Cassina Masters) collection and is one of their most sought-after designs. The industrial look and boxy shape is what made the sofa so popular back in the 1920s and is also what makes it attractive today. Cassina use only the finest leathers to make the LC2 so it will be part of your home for many years to come.
The iconic-shaped Snoopy Light was designed by the same duo that designed the Arco floor light, and was first revealed in 1967. It has a white marble base and a black enamel reflector which provides a direct light, making it useful for all areas of the house. Its practical properties and innovative shape make this a timeless item that will be used over and over again.
The Tulip Dining Table was designed by Eero Saarinen in 1956 to clear up the 'slum of legs' in tables of the time. It was designed in a period where new materials and technologies were constantly being developed, so the Tulip Table benefitted from this. Its curved shape was breathtakingly advanced at the time and that modern feel is still present even today. It is part of a series by the Finnish-American designer that includes a chair and a coffee table.
Remember our Winter Sale is now on until 31st January, so you can invest in that statement piece for up to 20% less.
Walking around the city it’s hard not to notice how flat and open it is, the architecture doesn’t over-shadow or confine you like in other major European cities and it is well set up for the commuter cyclist. The scent of roasted almonds, fresh pancakes and cinnamon waft through the air periodically, which along with the intoxicating winter sun is delightful. The cold bites but not for long as you look around the city which is full of beautiful colours, traditional Danish architecture and an embracing oh so friendly family atmosphere. Each building with its rustic charm and character seeks to be a friendly face encouraging you deeper into its heart. Worthy of note are the street lights – unobtrusive, strangely alluring and beautifully intrinsic.
Today we take an in-depth look at one of our favourite new designers, 
