The shifted elliptical shape is inspired by natural forms and provides passive shading. The building’s interior is split along a North-South axis, creating natural ventilation.
Since each pod is customizable, interested buyers can inquire about pricing with Revolution Precrafted Properties.
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by MHProNews
Filipino real estate developer “Robbie Antonio defines the art of living by living with art,” writes Keren Blankfeld in Forbes. Antonio launched Revolution Pre-crafted Properties with the aim of offering designer class to his nation’s middle class.
“I want the homes to be perceived as art pieces,” Antonio says of the typical 1000 square foot homes that sell for about $300,000. He has partnerships with such notables as Donald Trump, Paris Hilton and Forbes.
His firm has global ambitions, with buyers from diverse locations such as Russia and Central America. He contracts the building to various production centers. Some of the production facilities are using advanced robotics.
U.S. factory builders…are you watching developments like this?
Related Links: About Robbie Antonio , Contact
Robbie Antonio defines the art of living by living with art. The 39-year-old Filipino real estate developer owns a Rem Koolhaas mansion in Manila decorated with MoMA-worthy works by Damien Hirst, Takashi Murakami, David LaChapelle and Marina Abramovic, among others.
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by Rosa Bertoli, Wallpaper*
For the third year, Design Miami/ Basel presented the large-scale projects of Design at Large, welcoming visitors to the South Hall of Messe Basel.
Eschewing a traditional booth, the Design at Large initiative invites gallerists to take part in a curated project that explores different points of view on design. This year, publishing heiress Martina Mondadori(opens in new tab) took the helm of the project, focusing on the theme of nature and outdoor living, explored via an eclectic mix of structures and installations.
Mondadori chose the theme of ‘Landscape’, she says, to ‘invite designers and galleries to confront themselves with the outdoors and re-imagine the space within gardens’. Mondadori cites inspirations such as 19th century British follies and Italian garden labyrinths as the starting points for her theme. The reactions from the nine participants were eclectic and diverse, proving that such a remit can excite and inspire creative ideas.
Installed like a canopy at the very entrance to the fair were Tom Price’s ‘PP Trees’ (created in collaboration with Victor Hunt gallery), an eerie forest made of polypropylene pile that invites visitors to question attitudes towards plastic and nature.
Inside the space, Galerie Patrick Seguin participated with the 1956 ‘School of Villejuif’ by Jean Prouvé, a temporary emergency structure for the Parisian suburb which in true Prouvé fashion could be installed and dismantled in a short time. The prefab acted as an anchor in the large venue, with further installations dotted around it in the cavernous hall. These included Kengo Kuma’s ‘Owan’ pavilion, part of Galerie Philippe Gravier’s ‘Small Nomad House Project’, an initiative dedicated to the marriage of art and architecture. Nearby, Dimore Studio’s ‘Verande’ took a completely different approach; presented like an outdoors and indoors space at once, the tent was furnished with Britt Moran and Emiliano Salci’s outdoors collection hidden in a deep forest of palm trees and enlivened by blue curtains and a soft breeze produced by the ceiling fans.
Nearby, two installations were presented in close conversation with each other: Masatoshi Izumi and Koichi Hara’s ‘Stone Tea House Meditative Alcove’ and Enea Landscape Architecture’s bamboo composition offered a corner of tranquil serenity.
On the other side of the show, Dutch designer Kiki van Eijk’s ‘Civilised Primitives’, developed with Nilufar, was a collection of handcrafted objects in bronze that invited viewers to ponder about survival in the present world. The collection was displayed under a large Bedouin-style tent featuring an abstract watercolor motif by the designer, in collaboration with print specialist Exposize.
Ron Arad’s ‘Armadillo Tea Canopy’, presented by Robbie Antonio’s Revolution Pre-Crafted Properties, is an independent shell structure for indoor or outdoor use, a multifunctional piece which can offer shelter as well as serve as a meditation space. The modular canopy is composed of five individual shells fixed together with exposed brackets and fixings, with the possibility of extending it by adding further elements.
Visitors to the fair took full advantage of Alexandra Kehayoglou’s ‘No Longer Creek’ installation, created in collaboration with Artsy. The Argentine rug maker reimagined the now transfigured Raggio creek, north of Buenos Aires, and through her work brought back to life its vegetation. People could walk and rest on the large tapestry, immerse themselves in its landscape and interact with the piece – it is in fact a Design at Large tradition that visitors often have the chance to get up close and personal with the structures and installations on show, offering a more intimate experience with design and expanding its boundaries beyond the gallery walls.
INFORMATION
For more information, visit the Design Miami/Basel website
Related Links: About Robbie Antonio , Contact
Revolution sources its designs from 30 architects, many with stellar credentials: Zaha Hadid, I.M. Pei, Rem Koolhaas, Tadao Ando and Richard Meier. Headquartered in Manila, Revolution outsources manufacturing to various worldwide factories. Base price: $250,000 to $500,000.
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by Rosa Bertoli, Wallpaper*
Until two years ago, Martina Mondadori was mainly known as the heiress of her family’s editorial empire. Born and bred in Italy, Mondadori comes from the illustrious family owning the eponymous publishing house, of which she now sits on the board.
Publishing, it seems, is second nature for Mondadori: following a degree in philosophy from Milan’s state university, since 2006 she has been involved in various editorial projects, such as the Cultural Content Factory, which she founded ten years ago, specialised in the creative and editorial direction of projects related to art, book publishing and design, subsequently working for Italian magazine Tar before founding Anew, an editorial platform mixing contemporary art and fashion.
But it is in 2014 that her name became more clearly associated with art and design publishing, when she founded Cabana, a visual periodical she launched in collaboration with German creative director Christoph Radl. Structured like a chunky visual journal, the quarterly publication gathered Mondadori’s visual world and presented it through a collection of tableaux, illustrations and essays on art and design. This move was inspired by her own love of collecting, and observation of contemporary craftsmanship which she distilled into what she describes as a very specific visual universe.
This year, the Cabana universe collides with Design Miami/ Basel, as Mondadori was invited to curate the latest instalment of the annual Design at Large programme as well as contribute a graphic makeover to the fair’s identity. ‘Rodman [Primack] was one of the first supporters of Cabana,’ says Mondadori. ‘He admired its diversity and how it offered a nostalgic aesthetic element in a world where conceptualism seems to be the rule.’
The eclecticism behind Cabana is very telling of Mondadori’s own collecting attitude: ‘I have always been interested in different arts and crafts, and mixing important pieces with flea market finds.’ Mondadori collects painted ceramics from Central America and Eastern Europe, and Italian design from the 40s and 50s, Giò Ponti and stil novo. From her contemporaries, she admires the works of similarly eclectic souls: Martino Gamper, Dimore Studio and Bethan Laura Wood, designers that are very representative of what she calls the ‘Cabana mood.’
A Design Miami/ Basel initiative now in its third year, Design at Large offers an oversized point of view on design. Previous curators focused on temporary structures and what goes on inside of them, and for this third edition, Mondadori decided to give the show a change of scenery. Her selection focuses on the outdoors; she developed the theme of Landscape in collaboration with Primack and invited galleries and designers to explore this theme.
‘Historically, architects have always been attracted to gardens and parks,’ she explains, citing ancient Greek gardens and 19th-century English follies. ‘I loved to see the diversity of the projects we commissioned, rich of formal and creative ideas.’ The selection ranges from ’s Armadillo Tea Pavilion to Dimore Studio’s leafy veranda, presenting the duo’s debut outdoors collection. There is ’s abstract Owan structure, merging abstract forms with architectural thinking, and Kiki van Eijk’s ‘Civilised Primitives’, a collection of bronze objects that explore primitive survival in a modern world.
‘Both Cabana and Design Miami/Basel are concerned with environments and living spaces,’ says Mondadori. For her, she explains, what is most interesting about merging these two aesthetics is to create a break and a strong contrast. ‘In a way, Cabana represents the exact opposite of Design Miami/ Basel: aesthetic vs form, decoration vs concept. Combining them is the most interesting challenge!’
INFORMATION
Design Miami/Basel runs from 14–19 June 2016. For more information, visit the website
by Ann Binlot, Architectural Digest
For its 11th edition, Design Miami Basel continues to show a strong selection of 20th- and 21st-century design in the Herzog & De Meuron–designed Messe Basel, right across from Art Basel in the titular Swiss town. The fair, which runs through June 19, features 46 galleries from around the globe (including New York’s Friedman Benda, Copenhagen’s Dansk Møbelkunst Gallery, and Rotterdam’s Galerie Vivid). Artist-designed jewelry over at Elisabetta Cipriani and Louisa Guinness provides wearable works, while New York–based Demisch Danant chose to display rare pieces by French designer Pierre Paulin. Swarovski highlighted the Designers of the Future, while Design at Large shows large-scale architectural structures. “My interest is trying to tell a more round story, a deeper and broader story about 20th-century and 21st-century design. It fleshes out in different ways year after year,” says Design Miami executive director Rodman Primack. Here, we select some of the highlights of Design Miami Basel 2016.
“It was his Bureau d’Etudes, so every decision in terms of architecture, design, engineering, prototypes, models, everything, was made in this building,” says Patrick Seguin, who mounted an actual copy of Jean Prouvé’s office—one of the most impressive displays at the fair—complete with original details, in his stand. After Prouvé moved out, the building had several occupants—the latest being a swingers club and brothel—before Seguin, who owns the most Prouvé structures in the world, purchased the work space.
Berlin architecture firm Kuehn Malvezzi worked with Finnish design company Artek and Danish textilemaker Kvadrat to create an experiential lounge composed of inverted rooms. “The rooms move to the middle, and the furniture is arranged around them,” explains Artek managing director Marianne Goebl. Midcentury sofas by Finnish designer Ilmari Tapiovaara are covered in Kvadrat fabric designed by Raf Simons. “It has a bit of a Memphis impact, and we felt this sofa is a bit like a mannequin,” says Goebl. “It’s very simple, and you can dress it however you want.”
Milan-based Erastudio Apartment-Gallery brought in a chair and couch designed in 1974 by Memphis pioneer Ettore Sottsass. The furniture initially had a less-than-stellar reception upon its release in the ’70s, but the Memphis resurgence is sure to bring a more positive reaction this time around. “As you can see, it has the look of a carpet—look at the footrest,” says Sumit Gupta, a member of the sales team at Erastudio Apartment-Gallery. The chair does, indeed, evoke the feel of Aladdin on a flying carpet.
Aage Porsbo designed this brass chandelier, produced by Kemp & Lauritzen, for the Skovlunde Church in Denmark in 1972. With only 28 copies in existence, the sleek object is a hot commodity. Unfortunately for collectors, the one Dansk Møbelkunst brought to the fair has already sold for nearly $25,000.
To mark the late French designer Pierre Paulin’s current retrospective at the Centre Georges Pompidou, New York gallery Demisch Danant brought together a group of rare Paulin pieces created between the late 1960s and mid-’80s. Three standouts include the lime-green F286 Multimo three-seater sofa, the F271 Multimo chair, and the 1981 Cathedral table, whose curved aluminum panels were meant to emulate Notre Dame’s arches.
Though the inimitable architect and designer passed away in March, her legacy lives on over at stand G47, where a selection of her furnishings are on display, including curved marble tables from the Mercuric collection, barnacle-like Tau vases, and the smooth-as-ice Liquid Glacial chairs, cocktail table, and stools.
Design Miami executive director Rodman Primack referred to the Diego Giacometti bookcase as a museum piece, and it’s easy to see why. Giacometti made the stunning bronze item for Marc Barbezat between 1966 and 1969, when the publisher commissioned him to create a room of books. The shelves stood in Barbezat’s apartment until recently.
London-based Louisa Guinness Gallery created a museumlike exhibition highlighting jewelry designed by the likes of artists Man Ray, Louise Bourgeois, Pablo Picasso, and Anish Kapoor. Over at London gallery Elisabetta Cipriani are the Ai Weiwei gold bracelets that emulate the rebar the Chinese artist gathered from fallen buildings after the 2008 Wenchuan earthquake.
Revolution Precrafted Properties presents the Ron Arad Armadillo Tea Pavilion in the Design at Large section of the fair. Built for indoor and outdoor use, this independent shell structure “provides an intimate enclosure, shelter, or place of reflection within a garden, landscape, or large internal space,” as the wall text reads. The modular components allow for a number of configurations, making it a versatile structure wherever it goes.
by Crash redaction
A global fair for design, Design Miami/ Basel celebrates its eleventh edition with an exceptional offering, starting on June 14th and over nearly a week, and this year with the partnership of Crash. This time around, the international design fair welcomes new exhibitors, such as Galerie Alain Marcelpoil (Paris), MANIERA (Brussels), or Gate 5 (Monaco), adding to the list of prestigious galleries already represented: Carpenters Workshop Gallery, Galerie Downtown Laffanour, amman gallery, Friedman Benda, Galerie VIVID, to name but a few. The 2016 edition promises to be particularly exciting for design enthusiasts all around the world. First with the solo exhibitions it offers and that extend the reach of design onto other fields. Just like Ai Weiwei’s pieces of wearable design presented by Elisabetta Cipriani (London), the first ever created by the Chinese artist. Not to miss are also the works of French Art Deco designer André Sornay, presented by Galerie Alain Marcelpoil. For the third year, the Design at Large program returns with a common theme: landscape. The past two years have proven to be very successful for Design at Large, and this year will be no exception. It will present nine substantial works of design that play with their relationship with nature. Each work is a wonder for the eyes, just like Jean Prouvé’s Temporary School of Villejuif (presented by Galerie Patrick Seguin). Designed 60 years ago, it demonstrates Prouvé’s inimitable approach and forward-thinking mind with a structure that melts into the environment. Ron Arad’s Armadillo Tea Pavillon also reunite the concepts of design and nature and creates a pavillon resembling the armor of the animal. It is presented by Revolution Precrafted Properties. This year again, Swarvoski shows its support to young designers with the Swarovski Designers of the Future Award. Four finalists have been chosen by the Crystal House to create works using crystal as their main inspiration and material, whatever their field of expression may be. Learn more about the initiative in our previous feature HERE.
There is so much more to discover at Design Miami/ Basel, go to www.basel2016.designmiami.com to do so.
And don’t miss our latest issue Crash 76 Cruel Summer, exclusively distributed within the fair for its entire duration.
Design Miami/ Basel, from June 14th to 19th, Hall 1 Süd, Messe Basel.
by Rima Sabina Aouf, Dezeen
Design Miami/Basel 2016: this year’s Design Miami/Basel fair opens today in the Swiss city, where a six-tonne stone meditation space, a modular armadillo and designs by Zaha Hadid are among the highlights.
The collectible design fair is taking place from 14 to 19 June 2016, and will provide an opportunity to browse creative furniture and fanciful objets d’art presented by international galleries.
Many of the must-sees at the event come from the Design at Large programme of installations, this year curated by founder and editor-in-chief of Cabana Magazine, Martina Mondadori Sartogo, and themed around nature.
New exhibition platform Design Curio also promises interesting displays. Based on traditional cabinets of curiosity, it features assemblages of objects put together by designers, curators, innovators and gallerists.
Here are our picks of installations and displays that shouldn’t be missed:
Owan by Kengo Kuma
Taking inspiration from Japanese tea bowls and fish scales, architect Kengo Kuma‘s metal screen installation is intended to be an indoor and an outdoor space at once. While the structure’s thin metal shell looks like it offers little protection from the elements, it is actually lined with a waterproof membrane.
Called Owan, the structure is made from a metal referred to as a “memory alloy”, which means it can be bent into new forms when heated.
Designed to be movable, the installation is part of Galerie Philippe Gravier’s Small Nomad House Project, which also includes Kuma’s wooden pavilion from last year’s FIAC event in Paris and a stacked-box pavilion by fellow Japanese architect Sou Fujimoto.
Maxéville Design Office by Jean Prouve
A demountable office by French architect Jean Prouvé that was until recently being used as a swingers’ club has been restored for display at Design Miami/Basel.
The structure, now known as the Maxéville Design Office, began life in 1947 at the historic Ateliers Jean Prouvé in Maxéville and is being presented by the Galerie Patrick Seguin, frequent champions of Prouvé’s work.
While other Prouvé creations at the site were destroyed after his departure from the company in 1953, this one remained concealed behind cladding and over time served as the atelier’s design office, a plumber’s office, a restaurant and finally a swingers’ club called Le Bounty. Find out more about Jean Prouvé’s Maxeville 35 demountable office »
Civilized Primitives by Kiki Van Eijk
Each of the objects in Kiki van Eijk‘s new furniture collection is modelled on branches found in the forests surrounding the Dutch designer’s Eindhoven home, and cast in bronze.
From an A-frame daybed of intersecting sticks to a tall and gnarled candelstick holder, each is based on branches that have been sanded on three sides and left textured on the last – giving rise to the “civilized” and “primitive” aspects of the collection’s title.
As part of the Design at Large program, the collection is displayed in an outdoor Bedouin-style tent, created using the large-scale printing processes of Dutch company Exposize. Van Eijk’s Physical Interaction light sculptures, which are turned on through unusual interactions like blowing on a mobile or lighting a flint, are also on show inside.
Zaha Hadid design exhibition
The late Zaha Hadid may be best known for her architecture, but her fluid forms also translated into some memorable design objects, which are now the focus of an exhibition during Design Miami/Basel.
Included in the display is her Liquid Glacial range of acrylic stools and tables, designed to resemble ice formations, as well as her Valle shelves in slashes of black granite.
The exhibition has been put together by her firm, Zaha Hadid Architects, to commemorate her contribution to the field of design following her unexpected death earlier this year.
Stone Tea House Meditative Alcove by Masatoshi Izumi and Koichi Hara
Last month, Vietnamese architect Vo Trong Nghia said he makes his staff meditate every day to help them “resist cravings and improve concentration”, after he installed a space for relaxing activity at the Venice Architecture Biennale.
The trend has continued at Design Miami/Basel, which is hosting a hulking but hollow stone cube called the Stone Tea House Meditative Alcove by Japanese sculptors Masatoshi Izumi and Koichi Hara.
Weighing in at six tonnes, minus the 18 tonnes of stone carved out from its middle, it is intended to provide a sanctuary from the busy world beyond. The installation sits within the natural surrounds of a spatial intervention titled In a Silent Space the Landscape is the Sound, designed by Enea Landscape Architecture.
Armadillo Tea Pavilion by Ron Arad
Another calming space is Israeli designer Ron Arad‘s Armadillo Tea Pavilion. Assembled from five moulded wood shells, it resembles the overlapping body armour of an armadillo.
Its components are modular, so it can be configured to suit different spaces, and the shells can be made in a variety of timbers depending on whether it will be used indoors or out.
The Armadillo Tea Pavilion comes from the catalogue of Revolution Precrafted, a company that aims to “democratise high-design and architecture” by providing prefab structures from more than 30 famous designers – including Tom Dixon, Marcel Wanders, Kengo Kuma and Zaha Hadid. It launched its first design at last year’s Design Miami, the sister event of the Basel edition.
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Related Links: About Robbie Antonio, Contact
by David Pescovitz, Boing boing
Architect Ron Arad designed this lovely indoor/outdoor shelter, called the Armadillo Tea Pavilion. The shells are made from the likes of oiled plywood or PVDF-coated timber composite. The hardware is brass and bronze.
The Armadillo Tea Canopy is designed as an independent shell structure, for use indoors and outdoors, and provides an intimate enclosure, shelter or place of reflection within a garden, landscape, or large internal space. In its basic configuration, the Pavilion comprises 5 moulded shells, each made of repeatable, modular components which are mechanically-fixed together with exposed fixings and stiffening brackets. The modularity of components provides freedom to configure the tea canopy to suit a number of arrangements, which can be expanded when using additional shells.
A limited number of Armadillo Tea Pavilions are available from Revolution Precrafted.
