In case you missed it at Salone, here's Lee Broom's Time Machine, an exhibition celebrating his ten year anniversary.

 

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Below are some highlights of Twentieth represented designers chosen from this year’s Salone del Mobile. As you can see, the press was quite taken by the work...we hope you are too. -- Stefan

 

Lee Broom

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 Time Machine

"Within an abandoned vaulted storage room next to the historic Milano Centrale station, a white carousel spun—the only object in a raw, unfinished space. On that carousel, visitors found reimaginings of furniture, objects and lighting drawn from ten years worth of English designer Lee Broom's collections.
Together, the collection captures the magnificence of Broom's work, as both a catalog of well-executed ideas and as a conceptual exhibition unto itself."
-
Cool Hunting


Lambert et Fils

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Laurent 11/Mile

"Mile is a technical lamp characterized by an asymmetrical luminaire. Created in direct collaboration between the company's founder and the Canadian designer Guillaume Sasseville, Mile is a highly-featured design lamp, in which the use of linear LEDs and embedded cables in the structure accentuates the 'absence of gravity' almost creating the illusion of levitation."
- Elle Decor Italia

 

Gabriel Scott

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Briolette/Myriad

 

Established & Sons

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Established & Sons collection is revitalized with Sebastian Wrong at the helm.

"The utilitarian feel of the furniture that we have made is somewhat at odds with the cartoon graphic surface that covers it, and I feel this marriage illustrates perfectly the success of the collaborative process."
- Richard Woods for Archi Expo

 

Bocci

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87 Series

"What happens when soda water combines with an extremely hot glass matrix? Meet Bocci's 87 LED light, which loops and folds back onto itself, for unexpected arrangement with no boundaries."
- Interior Design

 

Fernando Mastrangelo

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ESCAPE Series Drum/Coffee Table

"Best of the Milan Design Furniture Fair 2017 list." - Sight Unseen

 

Tom Dixon

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Cluster/Top Pendant Light

"Futuristic and faceted, Cut is an exercise in optics.  Its space-age mirror finish when off transforms to reveal a translucent kaleidoscopic gem when switched on. Hypnotising reflections of the luminous orb within repeat infinitely within the diamond cut, vacuum metallised interior."
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De De Ce Blog

 

Christopher Boots

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Sugar Bomb Wall Sconces/Pythagoras Wall Sconce

 

Moooi

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A Life Extraordinary Exhibition /Luna Piena

"Also included in the series is Wanders' Luna Piena, which features polycarbonate discs engraved with a constellation of crystal flakes."
-
dezeen

 

Roll & Hill

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Kazimir Pendant

"Striated, ribbed glasswork casting complex compositions of shadow, light and color played a big role at Euroluce, the biannual lighting-focused exhibition presented under the Salone umbrella. New York City-based showroom Roll & Hill exhibited a new rectangular Kazimir pendant, a layered, dichroic piece designed by Ladies & Gentlemen Studio and named after the Constructivist artist Kazimir Malevich."
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Artsy

View the S Chair on Twentieth: http://www.twentieth.net/s-chair/#.WYOIIpcUiUk
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Fernando Mastrangelo Studios has completed their latest installation for THAKOON, at 70 Wooster Street in New York City.
 
Fernando Mastrangelo at Thakoon entry
 
Mastrangelo, with the help of his studio hand-poured 2,000 sq.ft. of cement on site to create custom curved walls, the first of their kind.
 

The THAKOON project was commissioned by SHoP Architects and the technique was adapted from the layered pours inherent to Mastrangelo's furniture line, MMaterial.

 

FM/S' portion of the project took 9 weeks and 3,000 hours on site to complete.

Below is the complete Sight Unseen American Design Hot-List for 2016:
Ana Kraš
ASH NYC
Bari Ziperstein
Bianco Light & Space
Brendan Timmins
Charlap Hyman & Herrero
Christopher Stuart
Earnest Studio
Fernando Mastrangelo
Grain
Jason Miller
Kelly Behun
Ouli
Rafael de Cardenas / Architecture at Large
Samuel Amoia
Slash Objects
Studio Proba
Uhuru
Wintercheck Factory
Yield

 

 

Fernando Mastrangelo

New York,
Mastrangelo creates furniture under the name MMaterial and limited-edition, more fine art pieces under the name FM/s. Inspired by natural phenomena such as glaciers and rock strata, the two collections are united by a predilection for unusual materials such as dyed cement, salt, and sand.

What is American design to you, and what excites you about it?
I feel there is still a lot of uncharted territory in American design. That’s always an exciting place to work from because you’re not subjected to traditions or standards. We spend a lot of time in the studio just trying to push the craft and materials to new levels in hopes that it will expand the current ideas of how art, design and architectural objects can be made.

What are your plans and highlights for the upcoming year?
The studio is fired up for next year! In March 2017, we’re preparing for a collaborative solo project with Maison Gerard, and in April, FM/s will show new work with Rossana Orlandi during Salone del Mobile. In May, we’ll present entirely new collections for both MMATERIAL and FM/s at Collective Design Fair.

We’re also working on several private commissions that explore new casting techniques and more architectural type installations. One of these commissions is for a top secret residential project in California and we recently completed a large commission for the 1 Hotel here in Brooklyn, which includes a completely custom bar cast from black silica sand.

Late next year, I’m extremely excited about an FM/s collaboration with Edward Fields where I’ve been invited to create an collection of rugs. We’ll be showing the first one during design week next year.

What inspires or informs your work in general?
I can’t seem to get over exotic landscapes (Iceland, Patagonia, Mexico) that have natural, organic formations. Nature is the greatest sculptor of all. We try our best to translate the materials we cast with into forms inspired by nature, in an attempt to give the object its own gravitas. I feel jealous when I see a perfect stone formation created by water crashing into it, or by wind wearing slowly against its surface. I want to live with those moments, and that’s what I try to create in art and design.

 

Jason Miller

New York,
In addition to maintaining his own studio practice, Miller gets major credit for having founded the preeminent contemporary American lighting brand Roll & Hill, which not only produces his own elegant designs but also provides a much-needed manufacturing platform for up-and-coming American talents.

What is American design to you, and what excites you about it?
American design is often a balance of new and old. When the balance is tipped too far in one direction, it becomes either alien or retro, neither of which is good. What’s exciting right now is that there’s a ton of really great work being created that finds the right balance. It’s a great time to be working in the US.

What are your plans and highlights for the upcoming year?
Through my studio, the biggest project this year is a furniture collection that I’m developing for De La Espada. I’m also working on a rug collection for a French manufacturer. Both will debut during New York Design Week. Roll & Hill will be launching new products again this year at EuroLuce and then in the fall in New York.

What inspires/informs your work in general?
I’m increasingly interested in interiors. While I’m still a product designer, it’s hard for me to think of products outside of a specific interior context. Furniture and/or lighting is never experienced on a white background — it’s part of a room. I think more and more about how the things I make will affect the rooms they inhabit.

Bari Ziperstein

Los Angeles
In both her design and fine art practices, Ziperstein is constantly reinventing what a piece of ceramic art can, and ought, to be.

What is American design to you, and what excites you about it?
To me, American design is about a focused moxie to break rules in terms of scale, material choices, and stretching new outlets to sell or display one’s work. Having the ability to move between the fine art and design worlds (or the space between design, art, craft), where materials that are traditionally functional have a different use, value, and output. With a conceptual education at Cal Arts, rather than a traditional ceramics technical background – my investment in ceramics is less weighted in showing off technical tricks. Rather it’s about creating a new ceramic silhouette with unexpected processes that excites me.

What are your plans and highlights for the upcoming year?
I’m working on my next collection of large-scale pottery, with a continued investigation into terracotta, rope, and scale, and I’m participating in Rachel Comey’s ceramic event in both Los Angeles and New York City, opening December 5 through the new year. A few projects are still in the planning stages including several hotel and restaurant commissions.

This upcoming year I have a solo museum show at UCSB Museum of Art, Architecture, and Design. It will be my first solo show in more than four years, since distinguishing between my fine art practice and my editioned design works. “Fair Trade” consists of new work related to communist propaganda I researched while at the Wende Museum, a repository of Cold War artifacts. Using posters and ephemera as my starting point, I’m creating a dynamic installation that brings together a series of ceramic sculptures — vessels and decorative panels — that borrow from, and manipulate government-sanctioned images of women. These works form part of a faux trade show booth, which is based on specifications for Soviet Russian public information displays and industrial fairs. Complementing the installation are Soviet propaganda posters on special loan from the Wende that inspired portions of the project.

What inspires or informs your work in general?
The transformation of clay and testing its technical limits informs so much of my practice, from testing how to make a flat 28-inch ceramic slab to making a three-foot leather embossed image with equal pressure and consistency. With both practices, the experimentation of combining soft woven ropes with hard ceramic materials has been an ongoing point of inspiration — a collaging of sorts. I have an ongoing interest in Brutalist architecture, Soviet propaganda posters, and this primitive futurist style of terra cotta raw pottery. Artists like Imi Knoebel, Patti Smith, Marimekko, Robert Irwin, Moira Dryer, Marisol Escobar, Otto Lindig, Eva Hesse, and Superstudio are always sources of historic moxie.

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Fernando Mastrangelo Drift
Fernando Mastrangelo in Interior Design
Fernando Mastrangelo's DRIFT collection
By Ryan Waddoups November 23, 2016

This year’s Collective Design saw Fernando Mastrangelo turn heads with his ethereal Drift Collection. Interior Design awarded him Best in Show at the inaugural NYCxDESIGN Awards before he hauled the collection cross-country to exhibit at the recently-opened THE NEW Gallery in Los Angeles. The self-proclaimed wanderlust finds inspiration while globe-trekking (a Patagonian glacier inspired Drift) or experimenting with cutting-edge materials in his Bushwick studio. Here, Mastrangelo clues us into projects on the horizon.

Interior Design: Where did you grow up, and how did it influence your work?
Fernando Mastrangelo: I grew up in Mexico, which has had a great impact on my work. I think of Mexican architecture the most—it is simplified, geometric, and uses unique materials.

 Fernando Mastrangelo Drift collection at THE NEW

 

ID: What are a few recent projects?
FM: We did our first major architectural installation for the Thakoon flagship store just in time for New York Fashion Week. We cast 1,700 square feet of cement walls using our furniture technique and created a series of displays. This summer, our studio also developed a custom wall sculpture for the Tao Group and Rockwell Group at Avra, a new restaurant uptown.
We’re about to launch with Holly Hunt and ABC Home, both of which are our very first large scale collaborations. I’m also excited about a line of carpets that we will launch next year with Edward Fields.


ID: Which projects are you most proud of and why?
FM: The work we’re doing in cast sand. We presented the Drift Collection at Collective Design Fair this year and it’s been my most inspiring work to date. Sand has become my new fascination. Right now, we’re experimenting with new techniques and methods of casting.

Fernando Mastrangelo MMaterial Collection

ID: Which person, place, or thing—inside the industry or out—inspires you?
FM: I’m inspired by nature mainly, but also by other industries, especially fashion, architecture, and interiors. Some of the artists I love are Nick Van Woert, David Altmejd, Matthew Barney, Anish Kapoor, and Richard Serra. In fashion I follow Marie Saint Pierre, Yohji Yamamoto, Rick Owens, and Label Under Construction. In furniture design, I love the work of Fredrikson Stallard.


ID: Latest design obsession?
FM: I’ve been closely following Joseph Dirand. I think his interiors will define this generation. The way he moves between the language of minimalism and classic French interiors is so subtle and complex, yet seems effortless.

Fernando Mastrangelo Drift Mirror


ID: Latest interiors pet peeve?
FM: The over-reliance on Scandinavian design. I love reduction in art and design, but it seems to me that Scandinavian influence has led to such minimalism that some craftsmanship feels lost. New processes and technology are closing doors to the handmade object, which I don't mind, but I’d like see a harmonious balance.


ID: An item you couldn’t live without?
FM: I sometimes wish I could keep some of the commissioned pieces I do for my personal collection. But I also love not having too many objects in my life.

Fernando Mastrangelo MMaterial Collection Side Tables

ID: Most admired historic interior or building?
FM: Luis Barragán’s home.


ID: Best part of working in Brooklyn?
FM: Brooklyn is turning so quickly, but for now, it remains the creative epicenter for art and design.


ID: How has social media impacted your career?
FM: Having direct contact with the audience has expanded the reach of the studio. This is exciting because it is breaks with traditional forms of visibility. Not relying on gallery giants and corporate-style sales is the future, and yet it’s still the wild west. Social media is the opportunity to define who you are and not have to abide by institutional standards.

Fernando Mastrangelo at the NEW in Los Angeles

 

Fernando Mastrangelo Drift Sofa

 

 

Fernando Mastrangelo at Stella McCartney Palo Alto store

Stella McCartney Palo Alto store. 

Fernando Mastrangelo at Stella McCartney Palo Alto store

 

MMaterial table

 Photography by Cary Whittier courtesy Fernando Mastrangelo.

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