New York based designer Lindsey Adelman talks about her work flow and how experimentation lead to exciting discoveries in this short video from Surface Magazine.

Adelman describes her process from conceptualizing unique designs to fabrication, saying, "I'm not really the type of designer who will draw something, draw it perfectly, put it in cad, and then have it made. I'm much more about wanting to see if there are any interesting surprises during the process of trying something." And she continues, "[Introducing a new concept] usually for me, that happens with experimenting."

Find Lindsey Adelman's designs on Twentieth here.

Lambert et fils logo

The LAURENT Collection

Lambert et Fils will be launching their Laurent Collection this week at Biennale Interieur in Kortrijk, Belgium. This contemporary series of chandeliers and pendants is described as combining "the classic Bauhaus Milk Globe with a series of sculptural forms that carve through space, moving between line, surface and volume."  

Lambert et Fils LRT09
Lambert et Fils LRT09
Lambert et Fils LRT04
Lambert et Fils LRT07
Lambert et Fils LRT01
Lambert et Fils LRT01

"Our research [for the Laurent Collection] focused on the surface and the form. Here, the globe acts as the link between the two,” says Samuel Lambert, the studio’s founder and lead designer.
The Biennale Interieur is the first exhibition in Europe for the design studio, which was founded in 2010.

Lambert et Fils LRT05
Lambert et Fils LRT03

Find the Laurent Collection on Lambert et Fils' designer page.

Laurent LRT01 hanging

Roll and Hill logoOver the next several months, Roll & Hill will be releasing new pendant, table lamp and chandelier designs from Ladies & Gentlemen Studio, Bec Brittain, Karl Zahn and Jason Miller.


Kazimir Pendant by Ladies and Gentlemen Studio for Roll and Hill
KAZIMIR PENDANT
Designed by Ladies & Gentlemen Studio
The Kazimir series is inspired by the early twentieth-century Russian modernist Kazimir Malevich, whose flat monochromatic canvases, colorful geometric compositions, and textured collages challenged existing notions of painting. Here, his ideas are transformed into three dimensions with pieces of textured and dichroic glass arranged in layers. 


Bec Brittain Seed Pendant for Roll and Hill

SEED SINGLE PENDANT
Designed by Bec Brittain
A seed crystal is a tiny crystal used to grow larger crystals; they are order emerging from chaos. Seed is also the name of a series of lamps by Bec Brittain. An armature of round mitered tube defines a chaotic void, yet order is imminent as seeds appear.


Atlas 01 by Karl Zahn for Roll and Hill

ATLAS 01
Designed by Karl Zahn

Named for the Titan doomed to shoulder the world, Atlas combines an illuminated glass globe with an intersecting metal armature, drawing on Karl Zahn’s elegant use of geometry and metaphor in design.


Bauer 02 by Jason Miller for Roll and Hill

BAUER CHANDELIER 02
Designed by Jason Miller
Jason Miller’s Bauer is a pendant fixture made of stacked, concentric clusters of handblown tubular glass. The glass fades from dark to light, recalling the tonalities of earth-to-sky views, producing an ethereal, atmospheric effect.


Bounce Table Lamp by Karl Zahn for Roll and Hill

BOUNCE TABLE LAMP
Designed by Karl Zahn
A compact spinoff on the original series, Karl Zahn’s Bounce table lamp combines a folded aluminum shade and an independently-positioned light source. One side of the shade is white to reflect illumination while the other has a decorative wood veneer finish.


Castle 12-01 by Jason Miller for Roll and Hill

CASTLE 12-01
Designed by Jason Miller
While the shape of these pieces occasionally resemble the turrets of a castle, the name actually comes from the game of chess. The rook can jump any distance, yet it is restricted to moving orthogonally. Likewise, the glass in Castle extends to different lengths, but is always horizontal or vertical.

To view additional new lighting from Roll & Hill please click this link.

May Furniture Logo

Based in New York, MAY is a small production furniture company. Every piece is created by hand with lasting craftsmanship, timeless design principals, and imagination. Travis James, a craftsman and multidisciplinary artist, is the founder and designer of May Furniture, which is now on display at Twentieth.


Struttura Credenza by May Furniture

STRUTTURA CREDENZA
May Furniture's Struttura Credenza features a unique compressed hardwood case available in a variety of color ways with matching compressed or natural wood doors.

Custom lengths, doors, and drawer configurations are available.


 Buoy Lamp by May Furniture

BUOY LAMP

The Buoy Lamp is part of May Furniture's Brutalist inspired collection and is constructed from their unique raw but refined compressed hardwood. Each 1/4" wood shade's pattern is unique and disperses light from the bottom, top, and through the porous surface.

The Buoy Lamp is available as a table lamp, a floor light or a chandelier.


Struttura Coffee Table by May Furniture

STRUTTURA COFFEE TABLE

The Struttura Coffee Table is crafted from May Furniture's beautifully porous compressed hardwood and features a 1/2" edge profile tapering to an internal 3" thick summit.


Sphere by May Furniture

SPHERE

The Sphere is a unique design and hand shaped to a smooth stone-like finish. It sits flat on the ground and can be used as a seat or simply a sculptural object.

The Sphere is available as an indoor (compressed wood) or outdoor (fiberglass) design.


Hemisphere by May Furniture

HEMISPHERE

The Hemisphere follows the indoor or outdoor construction path of May Furniture's Sphere, but is sliced in half, resulting in a unique circular table design.

As an outdoor object, the Hemishpere is cast from fiberglass. As an indoor design, the Hemisphere uses compressed hardwood. Both designs allude to a concrete construction.


Find more of May Furniture Company's collection at: MAY Furniture 

Rodman Primack
Rodman Primack - photo by Andrew Meredith

"When I first started, very often you would see an incredible art collection surrounded with terrible furniture: meaningless, uninteresting, unimportant, empty furniture. Now, people are applying the same values and interests to every object in their home as to their art collection."

It is the third year that Rodman Primack has been at the reins of Design Miami, the fair dedicated to collectible design that takes place twice a year: in Miami every December, and in Basel every June.

With a background that includes chairing the auction house Phillips’s London office, directing Gagosian Gallery in Los Angeles, and working as the specialist for Latin American art at Christie’s, Primack straddles the worlds of both art and design. A collector of both art and design in his own right, he has been described as the perfect person to broaden the reach of the fair.

Blouin ARTINFO has caught up with Primack in Basel, in preparation for next week’s Design Miami/ Basel.

Artinfo: What has been your agenda for Design Miami/ Basel?

Primack:
When I was handed the reins, three years ago, the fair was in a very healthy place, ready to grow. Sometimes, when you take on a job, there’s a bunch of messes you have to clean up. But my predecessor, Marianne Goebl, had already done such a great job with the fair.

We have focused on expanding the platform. It’s less about trying to make the fair bigger, more about refining the experience, bringing other voices into the gallery program: this year, for the first time in a couple of years, we have a gallery that specializes in Art Deco. It’s less about quantity or scale, more about how in depth we can tell the story of the 20th and21st century design.

Artinfo: You have previously spoken about connecting the fair to the broader developments in science and technology. Is that still an area of interest?

Primack: 
Certainly it is. Innovation in technology and materials is always interesting: to me, my colleagues, collectors of contemporary art and design, and to the world in general. Sometimes it’s not just about what’s showing up at a gallery, but concepts, ideas, conversations, that affect us in general. For example, Brynjar & Veronika – this year’s Designers of the Future – work with different materialities, from carbon fiber to rope, crystal, trying to push boundaries of both traditional and new materials.

Artinfo: What new, exciting things can we look forward to in Basel 2016?

Primack: 
On Monday night [June 13], we are supporting UNAIDS with a vernissage, followed by dinner with Duran Duran, and an auction of design objects, curated by Simon de Pury. Using the platform for a philanthropic cause has not happened in Basel before.

Among the exciting exhibits this year is our Design at Large program, which I initiated when I took over, is curated by an invited figure from outside our world – someone who has an interest in design, and a vision, but isn’t an art curator. This year, it’s Martina Mondadori, the editor of Cabana Magazine. Martina is looking at gardens, the relationship between the constructed ‘natural’ world, and the world of [manmade] structures.

Jacques Lacoste is bringing an important, intact collection of Giacometti, all coming from a single residence. The Design Curio exhibition by Dansk Mobelkunst has a very important and rare pair of lights, which come to life inblack light. Patrick Seguin has again done an incredible Prouvé structure, with an incredible story: originally at Maxéville factory near Nancy, it was intact but had been incorporated into a development, and had become a sex club. They’ve discovered it and restored it, and now it has come to the fair.

Artinfo: How do the Basel and Miami fairs differ?

Primack: Basel is a bit more traditional: it’s original, longer established. All the fairs, not just Design Miami, end up being a bit more serious.

Miami has a different energy: more free, more experimental, both because of being in the Americas, and the way it has developed, the audience. Significantly more people come to Miami than to Basel.

Artinfo: Is the collectible design market still catching up with the art market?

Primack: The collectible design market is smaller than the contemporary art market, but growing, consolidating. People are attracted to the pricing: there’s so much important work, with great provenance and history, that’s still relatively affordable. I think we’re still seeing it in its juvenile form. Even the vision and the idea is only 12-15 years old. It didn’t feel like a cohesive market until Design Miami was founded and gave a platform for international galleries to come together in one place, and not in an antiques fair. Today, the design collectors’ market is much more related to contemporary art, than to the antiques market.

When I first started, very often you would see an incredible art collection surrounded with terrible furniture: meaningless, uninteresting, unimportant, empty furniture. Now, people are applying the same values and interests to every object in their home as to their art collection.

I also noticed, years ago, that art collectors were trying to create residences that looked like art galleries: blond wood floors and white walls, the simplest of Modernist furniture. Now, they are getting more confident about mixing it up, challenging that look with color and pattern, and more interesting furniture combinations.

Design Miami/Basel runs from June 14th through 19th in Basel, Switzerland.

http://www.blouinartinfo.com/news/story/1422331/design-miami-spurs-market-in-basel-director-rodman-primack

Gabriel Scott Logo

With the conclusion of NYC x Design we take a more comprehensive look at the recent release of products from Canadian based manufacturer Gabriel Scott.


Gabriel Scott Glass Welles with Brass Armature

Glass Welles

Constructed from the mold-blown glass techniques used for their Harlow series of pendants and chandeliers, Gabriel Scott has introduced a new take on the popular Welles series. The new glass Welles pendants retain the same shape as their former metallic predecessors but offer, as Gabriel Scott describes, "a new type of modular elegance that bridges feminine and masculine sensibilities for a perfect blend of strength and elegance."

Gabriel Scott Glass Welles with Copper Armature

The new Glass Welles pendants and chandeliers are available in Alabaster White and Smoked Black and are connected by a metallic armature, which references Gabriel Scott's Prong furniture line. Hardware finish options include Blackened Steel, Satin Brass, Satin Copper and Satin Nickel.


Gabriel Scott's Bardot Chairs

Bardot Chairs and Stools

Gabriel Scott's Bardot series of chairs and stools add table, desk and bar height seating options to their available lines for the first time.

Gabriel Scott Bardot Bar Stools

The Bardot series features soft toned French leather for the seat cushions resting on matte black steel frames with contrasting hardware in the brand’s signature brass and copper finishes.


Gabriel Scott Tensegrity Oval table

Tensegrity Table

With the Tensegrity table series, Gabriel Scott has introduced a complex geometric structure that uses floating compression to suspend the surface.

Gabriel Scott Tensegrity Round Table

Gabriel Scott offers the Tensegrity coffee table in round and oval with 1/2 inch Tempered Clear, Smoked-Grey or Bronzed Glass surfaces. Numerous configurations can be achieved by mixing the metal and glass options.

Detail of Tensegrity Table Base Detail of Tensegrity Table Top

The base options for Tensegrity include powder coated steel, brass or copper.


For more details on the Gabriel Scott Glass Welles, Bardot, and Tensegrity lines please contact Twentieth at 323.904.1200 or sales@twentieth.net.

New York based designer Lindsey Adelman has added several new designs to her already exceptional lighting collection. 


BRANCHING BURST - BU.06.02

Inspired by combining the look of vintage French jewelry — especially 1930s-era Lanvin collarettes — with a Medieval flail, Burst uses the same essential vocabulary as the Branching series. For Burst, glass bubbles are punctuated by hand-blown glass spikes and “barnacles,” which have been rolled in 24 karat gold foil.

Branching Burst Bu.06.02


BRANCHING PENDANT - BP.05.02

Inspired by natural phenomena, Branching designs explore the visual tension that results from mixing hand-made, sensual forms with precise, machined components.

Branching Pendant - BP.05.02 


BRANCHING DISC - BD.09.01

The construction of the Branching Disc chandeliers mix handmade porcelain with machine-made metal parts. Lindsey Adelman and her team design and build each fixture in their Manhattan studio.

Branching Disc - BP.09.01 


MARINA - MR.11.01

This illuminated ceiling medallion is inspired by the coral of the Black Sea, as the natural pattern has been transformed into mechanical form. Composed of metal-plated polymer and hand-blown glass.

Marina - MR.11.01


Find more of Lindsey Adelman's collection at Twentieth:

http://www.twentieth.net/designers-artists/lindsey-adelman

Lee Broom and Phase Design in the Time New York Hotel's Penthouse

Architectural Digest offered an exclusive look at the Time New York Hotel's most expensive penthouse suite after The Rockwell Group's redesign.
For this multimillion-dollar revitalization The Rockwell Group furnished the living / dining area with several pieces from designers represented by Twentieth. Pictured are Lee Broom's Clear Crystal Bulbs and Pendants hanging in the charcoal-gray finished mirrored hutch and Phase Design's Bride's Veil Low Stools around a glass topped dining table.

Lee Broom in the changing room of the Time New York Hotel Penthouse

The penthouse's spacious powder room, which was "inspired by a jewel box [and] features gold accents and marbled wallpaper," is adorned with Lee Broom's Carousel Brass Chandelier.

As the Time New York's most luxurious space, this suite "sprawls out over three floors and has a 500-square-foot private terrace." The one bedroom includes "a king-size bed on the second floor; and a third-floor sitting room. Siberian oak flooring anchors the space, punctuated by rugs inspired by watercolor paintings."

Find additional shots in Architectural Digest's article: http://www.architecturaldigest.com/story/time-new-york-hotel-penthouse

Twentieth mourns Zaha Hadid

Zaha Hadid, award winning architect and designer, passed away early this morning, March 31st, 2016, of a heart attack. Hadid was 65.

Born in Baghdad, Iraq in 1950, Hadid went on to study at the American University of Beirut and in 1972 joined the Architectural Association in London.

Hadid began her own practice based out of London in 1979, and has since earned contracts all over the globe for her innovative concepts, including buildings and furniture.

Through these projects, Hadid received prestigious awards, such as the 2016 Royal Gold Medal for Architecture from the Royal Institute of British Architects and was the first woman to receive the Pritzker Architecture Prize.

In 2012 Zaha earned the title of Dame, when she was made Dame Commander of the Order of the British Empire. 

Zaha Hadid’s concepts are an inspiration to those looking towards the future of design.

Page:
  1. 1
  2. 2
  3. 3
  4. 4
  5. 5