Advertisements

Roberto Burle Marx Exhibition at NY Botanical Garden Celebrates Brazilian Modernism

An aerial view of  Modernist Garden at the New York Botanical Garden’s “Brazilian Modern: The Living Art of Roberto Burle Marx.” Photography courtesy of the New York Botanical Garden.

 

The exuberance of Brazilian Modernism is now on full display in the Bronx as “Brazilian Modern: The Living Art of Roberto Burle Marx” opens Saturday, June 8, at the New York Botanical Garden. The largest botanical exhibition ever mounted by the NYBG, it combines a horticultural tribute to Burle Marx—one of the most significant Brazilian artists and landscape designers of the 20th century—with insights into his vibrant artwork and textiles and his advocacy for plant conservation.

To do so, the NYBG converted a lawn outside the Enid A. Haupt Conservatory into a lushly landscaped Modernist Garden, replicating the bold designs of Burle Marx via striking black-and-white patterned pathways, curvilinear planting beds, and a large water feature that recreates the look of one the designer installed in the Banco Safra headquarters in Sao Paulo. Visitors wander amid palm trees, elephant’s ears, bromeliads, coleus and other plants Burle Marx used in his garden designs.

The Modernist Garden replicates the bold patterns and curvilinear planting beds Roberto Burle Marx favored during his prolific career as a landscape designer. Photography courtesy of the New York Botanical Garden.

 

The indoor Explorer’s Garden furthers the journey into the world of South America’s tropical rainforest, while the Water Garden highlights Burle Marx’s use of plants from a variety of regions and includes a mix of the NYBG’s own water lilies as well as tropical water lilies favored by the landscape designer. Raymond Jungles, a Miami-based landscape architect who was a protege of Burle Marx in the 1980s and early 1990s, designed the three gardens for the NYBG.

“This is the biggest living exhibition we have ever done, “ said Todd Forrest, Arthur Ross Vice President for Horticulture and Living Collections at the NYBG, “but it matched Roberto Burle Marx’s larger-than-life spirit.”

Read more: How Brazilian Furniture Designers Carved Out Their Distinctly Modern Aesthetic 

The Modernist Garden is an homage to Roberto Burle Marx and includes a water feature recreating the look of one the Brazilian designer installed in the Banco Safra in Sao Paulo. Photography courtesy of the New York Botanical Garden.

 

In the Art Gallery of the LuEsther T. Mertz Library, a collection of Burle Marx’s landscape designs, paintings, drawings, and textiles are displayed, and in the Rotunda the look of his home—where he loved to entertain guests with elaborate dinner parties—is recreated, allowing visitors to draw parallel between his artistic vision and horticultural passion. Burle Marx’s artwork is vibrant and abstract and his gardens and public spaces striking in their use of bold and sensuous curves. 

Artwork by Robert Burle Marx is displayed in the Art Gallery of the Lu Esther T. Mertz Library at the New York Botanical Garden. Photography courtesy of the New York Botanical Garden.

“Roberto Burle Marx was a total work of art,” said Edward J. Sullivan, Ph.D, the Helen Gould Shepard Professor of the History of Art and Deputy Director of the Institute of Fine Art at New York University, who curated the gallery exhibition.

Roberto Burle Marx in his studio in the Sitio, outside Rio de Janeiro, which has been recreated in the Rotunda of the New York Botanical Garden’s LuEsther T. Mertz Library. Photography courtesy of the New York Botanical Garden.

Burle Marx, who was born in 1909 and died in 1994 , was a principal figure in Latin America’s modernist art and garden movement in the latter half of the 20th century. He created more than 3,000 landscape projects in his long career, notably the undulating pedra portuguesapromenade along Copacabana Beach in Rio de Janeiro and the patterned pavement along Key Biscayne Boulevard in Miami, which wasn’t installed until a decade after his death.  

“Brazilian Modern: The Living Art of Roberto Burle Marx,” which also features Brazilian music and dance performances, runs through September 29, 2019.

Read more: Andreas Fuhrimann Gabrielle Hächler Architekten Brings Latin American Modernism to Swiss Villa

For More Information About This Blog Post, Click Here! 

NeoCon 2019 Social Highlights: Day 2

Continue reading NeoCon 2019 Social Highlights: Day 2

Groves & Co. Brings Subtle Luxury to an Executive Suite for Michael Kors

PROJECT NAME Michael Kors Executive Suite
LOCATION New York
FIRM Groves & Co.
SQ. FT. 2,000 SQF

A fast pace and high pressure are mainstays in the world of fashion superstar Michael Kors and his husband, fashion designer Lance Le Pere. But they like their surroundings understated and serene. For years, they have been drawn to the layered modernism of Groves & Co., which designed their three residences in New York and Florida. When it came time to renovate the 2,000-square-foot executive suite where Kors and Le Pere work, they asked Russell Groves to bring his subtle luxury there as well.

Inside the executive suite at the Michael Kors headquarters, a Mart Stam chair stands on a wool rug in the office of creative director Lance Le Pere. Photography by Tim Williams.

In the same building as the Manhattan headquarters of Michael Kors, the clothing and accessories company, which recently acquired Versace for approximately $2 billion, the office consists of four main areas arranged in an enfilade: reception, conference room, and an office each for Kors and Le Pere, who is the creative director of the women’s collection.

Custom walnut desks outfit reception. Photography by Tim Williams.

 

“Unlike his public persona, Michael’s personal aesthetic is quite pulled back,” Groves begins. “He works with color all day long, so he requested a neutral space.” The walls and ceiling are painted white; black and grays appear in flooring and furniture, Groves playing with textures and finishes for visual interest. Walnut, oak, Italian marble, glass, and stainless steel compose the materials palette,  with faux fur blankets and pillows from the Michael Kors Collection and wool and leather details adding softness. Classic furnishings by the likes of Charles and Ray Eames and Florence Knoll are rooted in mid-century modernism.

Pieces by Florence Knoll, Paul McCobb, and Warren Platner furnish reception. Photography by Tim Williams.

 

The result is a calculated visual palate cleanser. “Russell immediately understood the combination of efficiency, elegance, comfort, and personality that are so important for our work environment,” Kors states. But simplicity, Groves suggests, is actually hard to engineer. “It’s like a fashion show,” he says. “Behind the screen it’s utter chaos. But when the model walks down the runway, it looks effortless.”

Keep scrolling to view more images of the project >

La Pere works at a custom marble-topped table. Photography by Tim Williams.
Kors’s office also includes a Charles and Ray Eames task chair and an ebonized-oak credenza by Knoll. Photography by Tim Williams.
The conference room is visible from reception through a series of pocket doors. Photography by Tim Williams.
Fabricius + Kastholm chairs face each other in Kors’s office, where flooring is oak. Photography by Tim Williams.

Read next: The Best of DIFFA Dining by Design 2019

> See more from the April 2019 issue of Interior Design

For More Information About This Blog Post, Click Here! 

Rrudi Designs Pared-Down Pop Art Lighting

Jakob Weth, Jonas Lang, and Jan König of Rrudi. Photography courtesy of Rrudi.

 

Art direction, product design, and photography are the respective specialties of Jan König, Jonas Lang, and Jakob Weth. But the trio has found common ground as Rrudi, shorthand for “rudimentary,” an allusion to starting from scratch. Among their first lines is Get Lit, a limited edition of illuminated wall sculptures informed by pop art illustrations and neon signage. The quirky graphics are printed on polymethacrylate that is CNC-milled. An aluminum profile outlines the contour, and then LEDs dimmable by remote control are mounted on MDF and slid inside. Each is self-descriptive: Banana, Egg, Cheesy, Snake, and Okay.

Cheesy by Rrudi. Photography courtesy of Rrudi.
Banana by Rrudi. Photography courtesy of Rrudi.
Egg by Rrudi. Photography courtesy of Rrudi.
Snake by Rrudi. Photography courtesy of Rrudi.

Read next: 6 Fantastical Lighting Fixtures

> See more from the April 2019 issue of Interior Design

For More Information About This Blog Post, Click HERE! 

Idan Naor Thinks Horizontally for a Brooklyn Brownstone

From the Source stools gather at the custom horizontal walnut grain island, lit by Foscarini pendants. Photography by Cheng Lin.

 

The archetypical Brooklyn brownstone is a study in verticality, with a few stories of narrow corridors and dark rooms piled atop each other. However, when the local Idan Naor Workshop got the chance to reprogram a gem from the 1920s into a 5-unit apartment building, they decided on a different direction: horizontal.

This 2,350-square-foot apartment jettisons the piles of hallways and instead utilizes a gallery to connect public areas to the three bedrooms. Ample natural light floods the expansive open plan. And everywhere founder Idan Naor turned the usual orientation of things on its head. “The flower nook in the guest bathroom is leftover space from a vertical mechanical chase and allows for much-needed counter space,” he notes. Subway tiles are installed in herringbone patterns. “We flipped the grain direction in the kitchen millwork to amplify the composition,” he says. “And even the Sub-Zero fridge doors are flipped from the typical orientation to better accommodate traffic flow in the kitchen.” It’s a cool idea.

An AllModern floor lamp further brightens the sun-drenched master bedroom, with a Mitchell Gold + Bob Williams chair. Photography by Cheng Lin.
In the master bath, a custom teak and limestone vanity supports a Duravit sink and Watermark faucet; behind the MTI soaker bathtub is a wall of Stone Source’s chiseled limestone. Photography by Cheng Lin.
AllModern’s table lamps rest on vintage side tables in the second bedroom. Photography by Cheng Lin.
A rug from Safavieh defines the third bedroom. Photography by Cheng Lin.
Subway and penny tiles from Lazer Marble clad a second full bathroom, with a Toto toilet. Photography by Cheng Lin.
A Louis Poulsen Snowball pendant hangs above a vintage dining table, above herringbone floors of rift and quartered white oak. Photography by Cheng Lin.
Vintage Barcelona chairs boast custom refurbished cushions in the living area, around a vintage Paolo Piva coffee table and DWR sofa. Photography by Cheng Lin.

Continue reading Idan Naor Thinks Horizontally for a Brooklyn Brownstone

CVL Luminaires Designer Builds on Childhood Fondness for Flashlights in Wonder Series

Wonder by Émile Cathelineau for CVL Luminaires. Photography by Vincent Poinas.

 

During childhood camping trips with her family in France, Émile Cathelineau fondly remembers using flashlights during the night. Now a member of the design and product-development department at CVL Luminaires, she builds on those memories with Wonder, her table-lamp and sconce series. The textured polymethacrylate diffuser is surrounded by a brass frame finished in polished brass, graphite, nickel, or copper. The steel body comes in the same options as well as six paint colors including Mango, Dark Blue, Dark Red, and Vintage Green.

Wonder by Émile Cathelineau for CVL Luminaires. Photography courtesy of CVL Luminaires.
Wonder by Émile Cathelineau for CVL Luminaires. Photography courtesy of CVL Luminaires.

Read next: Rrudi Designs Pared-Down Pop Art Lighting

> See more from the April 2019 issue of Interior Design

Continue reading CVL Luminaires Designer Builds on Childhood Fondness for Flashlights in Wonder Series

New and Noteworthy: 7 Recent Awards, Retrospectives and Partnerships

From award recognitions to exhibition openings, we’ve rounded up the most important design news from the past several weeks.

1. Rottet Studio named AIA Houston’s 2019 Firm of the Year

Rottet Studio senior staff accepts the award. Photography by Mark Johnson.

Rottet Studio is on a roll! From revamping the New York Stock Exchange (which won a Best of Year award in 2018) to opening the Hotel Alessandra in Rottet’s hometown of Houston, the firm has shown its undeniable presence in the design world. Rottet Studio received the award in early April during the Celebrate Architecture Gala at the Lone Star Flight Museum. 

The bar at Bardot, Hotel Alessandra’s cocktail lounge, combines walnut, brass, and resin. Photography by Eric Laignel.

2. Michael Anastassiades exhibits “Things That Go Together” retrospective

Michael Anastassiades’s ‘Things That Go Together’ in partnership with Flos. Photography courtesy of Flos.

The Best of Year award-winning duo is back. Flos partnered with designer Michael Anastassiades for his 12-year retrospective at the Nicosia Municipal Arts Center in his hometown of Cyprus, Greece. The show’s content ranges from Anastassiades’s design process to his research and includes his collaborations with Flos. The exhibit will run through July 20th.

3. “Gorham Silver: Designing Brilliance 1850-1970” opens at RISD Museum

Circa ’70 Coffee and Tea Service by Donald H. Colflesh for Gorham Manufacturing Company, 1960. Silver with ebony and Formica. Photography courtesy of RISD Museum.

RISD Museum’s Elizabeth A. Williams curated 120 years of creations by American silver manufacturer Gorham. The collection ranges from 19th-century objets d’art to Cubist-inspired coffee service, all crafted with Gorham’s signature glistening metal. The exhibition runs from May 3rdto December 1st.

Cubic Coffee Service by Erik Magnussen for Gorham Manufacturing Company, 1927. Silver with gilding, ivory, and oxidized decoration. Photography courtesy of RISD Museum.
Egg Spoon by Gorham Manufacturing Company, 1879. Silver with gilding. Photography courtesy of RISD Museum.

4. Coalesse announces new design partners

The VerdantaTM line by Sagegreenlife is a collection of self-contained free-standing walls and partitions. Photography courtesy of Coalesse.

Workplace furnishings company Coalesse recently announced new partnerships with Sagegreenlife, Carl Hansen & Son, Viccarbe, and EMU. The four companies bring fresh ideas to the table, such as bioliphic partitions from Sagegreenlife, and Carl Hansen & Son’s legacy pieces by Hans Wegner.

Embrace Collection by Austrian design trio EOOS for Carl Hansen & Son. Photography courtesy of Coalesse.

5. Ressource now offers extensive design services

Ressource offers design services at its New York showroom. Photography courtesy of Resource.

French paint manufacturer Ressource has announced new color consulting, design, and special effects application services. These services open the door for Ressource to work closely with clients on customizing their projects.

6. Jerry Pair launches new website

Luxury furniture retailer Jerry Pair has entered the e-commerce sphere with a website refresh. The site offers 35,000 residential products including furniture, lighting, accessories, textiles, and wallcoverings.

7. Biomimicry Institute hosts annual design competition

Art imitates life—and so does design. The Biomimicry Global Design Challenge prompts designers to imagine nature-inspired solutions for urgent sustainability issues, this year’s theme being climate change. The competition is open to university students and professionals. Enter by May 8th to be considered.

Continue reading New and Noteworthy: 7 Recent Awards, Retrospectives and Partnerships

Sheila Hicks Recreates Her Striking Venice Biennale Pavilion at The Bass in Miami

Escalade Beyond Chromatic Lands, a fiber-art installation by Sheila Hicks, is part of a 30-work exhibition at The Bass Museum of Art in Miami. Photography by Zachary Balber, courtesy of The Bass, Miami Beach.

 

When Sheila Hicks first conceived her vibrant, larger-than-life installation Escalade Beyond Chromatic Lands for the Arsenale at the 2017 Venice Biennale, she faced a unique dilemma. “They gave me a space to exhibit that no other artist wanted because there were holes in the roof,” Hicks, a renowned fiber artist who once studied under Josef Albers, recalls. “I thought, I can handle it.”

Escalade would ultimately be remembered as one of the Biennale’s most striking, and tactile, moments, and was recently reconstructed in full at The Bass Museum of Art, Miami Beach for Campo Abierto (Open Field), an ambitious survey covering six decades of the pioneering fiber artist’s career. A floor-to-ceiling wall of multicolored bundles of pigment fiber pairs with tapestries in cotton and linen, which Hicks wove at a loom in Antigua, Guatemala, in collaboration with bespoke textile designer Mitchell Denberg.

Read More: Cindy Allen in Conversation With Sheila Hicks

Campo Abierto (Open Field) at The Bass in Miami is an exhibition of six decades of work by fiber artist Sheila Hicks. Photography by Zachary Balber, courtesy of The Bass, Miami Beach.

Though the museum certainly appears more structurally sound than the Arsenale—the roof and walls here are entirely intact—The Bass had to reconstruct its upper story to properly accommodate Hicks’s colossal installation, not to mention some 30 other works, many also ambitious in scale, spanning her oeuvre.

While this is Escalade’s third iteration—it was also exhibited last year at Kunstenfestival in Watoui, Belgium—its hundreds of rainbow bundles are as bright as ever. They’re not dyed; rather, Hicks crafts each one of pure powdered pigment that, with the help of a binding agent, transforms into a fiber.

“Do you know the difference between a carrot and a radish?” Hicks teases, likening each fiber bundle to the former. “A radish has color on the outside, but not the inside. A carrot is color through and through.”

Visitors to The Bass Museum of Art in Miami can view more than 30 works by Sheila Hicks, through September 29, 2019. Photography by Zachary Balber, courtesy of the The Bass, Miami Beach.

The fiber is produced in Turkey, processed in Western Europe, and finally woven in the United States. It fiercely retains its color in both sunlight and water. (Hicks even claims that she once left the material in a bathtub full of Clorox for two weeks to see whether the color would change. It did not.)

This retention of color makes it a choice medium for an artist whose works are frequently exposed to the elements. Take, for example, her 2017 installation Hop, Skip, Jump, and Fly: Escape From Gravity, where she wrapped aluminum tubes in another extremely durable material, Sunbrella solution-dyed acrylic, and installed them along New York’s High Line.

 Read More: New York’s High Line Sets the Stage for Sheila Hicks

“It’s a big advantage to take a supple, friendly material, to be able to walk it outdoors, leave it, and come back six months later to find it’s still okay,” she says of the pigment fiber. “That’s been exciting to me because I’m so interested in three-dimensional sculptural and environmental works. It’s a possibility I didn’t have six or seven years ago.”

Campo Abierto (Open Field) is on view through September 29, 2019.

Continue reading Sheila Hicks Recreates Her Striking Venice Biennale Pavilion at The Bass in Miami

Product Insight: Edge by Daniel Libeskind for Turri

Designer Daniel Libeskind talks about the sculptural and democratic aspects of the multidimensional Edge desk for Turri at Salone del Mobile 2019. Video by James Eades and Steven Wilsey.

Continue reading Product Insight: Edge by Daniel Libeskind for Turri

%d bloggers like this: