A Panorama of Design – The New York Times

This article is part of our last Special design report, which is to expand the possibilities of your home.

In 2019, Joseph Vidich and Kira de Paola, who are metallurgists, first cousins ​​and co-founders of New York-based design studio Kin & Company, put on a show on a creative outdoor furniture walk in Brooklyn called “Inside -Out ”. They didn’t expect to see so many visitors testing screens and chatting with strangers, so they planned a sequel for 2020 that paid special attention to social interaction, but had to rethink the event when the pandemic hit. hit.

The second ‘Inside-Out’ took place online and brought new appreciation for a category often dismissed as mundane or frivolous, but recently identified with a breath of fresh air. “Who knew outdoor furniture was so poignant?” Said Mrs. De Paola.

Now, for its third edition, the show returns to the physical world as “Inside-Out in the Garden”. It opens Thursday at 84 Saint Marks Place in Brooklyn’s Boerum Hill neighborhood and ends June 24.

More than 20 designers and studios are in the mix, including Micah Rosenblatt of Queens, whose “Ol ‘Ball and Chain” is a rooftop swing anchored by a 120-pound cast concrete sphere. “The ability to soar over the city provides a brief moment of lightness during this particularly heavy year,” he wrote in his project brief.

“Inside-Out in the Garden” is part of the NYCxDesign Design Days program, a multidisciplinary series of exhibitions and conversations taking place across the city and online from Thursday to May 18. The visit is by appointment at info@saintmarksplacebk.com, or 718-640-2261.

To commemorate the centenary of the massacre of the Tulsa race, which decimated a black community from May 31 to June 1, 1921, a new building will shine where the ruins burned down. It’s home to Greenwood Rising: Black Wall Street History Center, designed by Selser Schaefer Architects, a Tulsa-based firm, with exhibits from Local Projects, a Manhattan company known for the 9/11 Memorial & Museum, among other immersive installations. The center opens to the public in June.

The rectangular openings scattered along the lightweight concrete exterior will be illuminated by LEDs, programmable in several colors. In the galleries, artefacts, photos and films will span two centuries. The backdrop of American racial violence will be represented by displays of chains of slaves and a bloodstained robe from the Ku Klux Klan. The chairs will be set out in a simulated family-owned barber shop in the Greenwood neighborhood, where Black Wall Street electrical brokers had gathered. Painted and neon signs will advertise stores and other businesses that had thrived nearby.

A room will be devoted to a video evoking the firestorm. Buildings will crumble as the soundtrack cites the memories of survivors of the loss of relatives, friends, homes and livelihoods. In the final galleries, visitors can post thoughts on ways to tackle contemporary racism.

Phil Armstrong, the project director of the 1921 Tulsa Running Massacre Centennial Commission, said the day-long 1921 assault had long been seen as “Tulsa’s dirty little secret,” barely discussed. among the locals. (The Smithsonian’s National Museum of African American History and Culture has dedicated a new website to its collections on the subject.) It expects more artefacts and stories to surface from friends and relatives of eyewitnesses and victims, he said, after the center was opened and destroyed. additional light on the subject.

Whether Rebel Walls’ new “Oddity” wallpaper looks odd is a matter of opinion. But there is no doubt that the first offering of conventional wallpapers from the Swedish company specializing in murals is bold. The 16 patterns in the collection, each available in at least two colors, are inspired by world travel and elements of nature which include the Marmaris pattern, reminiscent of a tiled Turkish bath; the disproportionate green landscapes of the Amazon; and Toledo, Spain, a dreamy mix of historic architecture and ancient trees.

“We were inspired by all the places we can’t travel right now,” said Irene Gimmersta, Co-Founder and Creative Director of Rebel Walls.

The UV light resistant matte paper is incorporated into textile fibers, adding flexibility that makes the hanging process buttery smooth; $ 108 per roll of 32.8 over 1.6 feet.

Andile Dyalvane, an artist from Cape Town, shapes terracotta chairs and stools in the form of oversized glyphs, symbolizing the words Xhosa for fundamental concepts such as “home” and “sustenance.” Along clay surfaces, he carves small-scale versions of the slashes, spikes and curves of the symbols. The shapes appear in Mr. Dyalvane’s dreams as well, he said, and it’s as if they push him to include them in his art – “and that’s good listening,” he says.

His new series of chairs, with 18 examples (price on request), is on display until May 22 at the Friedman Benda gallery in New York. The exhibition, titled “iThongo,” after a Xhosa term for ancestral dream landscapes, has already been shown at the Southern Guild Gallery in Cape Town and in Mr. Dyalvane’s remote town, Ngobozana.

During his childhood, he used the clay of the banks to make ephemeral sculptures, while taking care of his family’s livestock. A glaze-soaked column chair from his series, titled “Shepherd,” has been installed as a permanent outdoor sculpture on a nearby hill once inhabited by his community (they were driven from ancestral lands by apartheid policies). In the Friedman Benda show, a green and brown lichen seat titled “Ngobozana” has an arched handle and is textured with glyphs, gouges, and nodules.

Jennifer Olshin, partner at Friedman Benda, said the public would be allowed to sit on Mr. Dyalvane’s works, “definitely, absolutely, with caution”.

Lara Bohinc trained in industrial design and jewelry making her a natural woman for lighting design. “Moonrise,” one of two new collections that Ms. Bohinc created for Brooklyn-based company Roll & Hill, features a chandelier with arching metallic temples and milky white circles that could have been unhooked from the earlobe of her ear. ‘a giant. Complementary appliques, which are a bit flatter, would look great like brooches on the giant’s lapel. The strong graphic lines give the pieces an Art Deco glamor that is typical of Mme Bohinc’s work.

This is Roll & Hill’s first collaboration with the London-based Slovenian designer, but the impetus to beautify a room rather than just light it up is shared by both parties. Much like jewelry, decorative lighting “isn’t what will keep you warm,” said Jason Miller, founder of Roll & Hill. “That’s what’s going to be pretty.”

Available in brass or black anodized aluminum; starting at $ 1,100 for the wall lights and $ 12,500 for the chandelier.

Under the minimalist forms of modernity, the new collection of rugs from Rhyme Studio hides a multi-layered inspiration. Company founder Claire McGovern designed the line to honor the legacy of abstract painter Kazimir Malevich and Irish designer Eileen Gray, two members of the early 20th century modernist avant-garde. Aware of her own heritage – she was born and raised in Dublin – Ms McGovern specified 100% naturally hand-dyed and hand-tufted wool in the West of Ireland.

The collection has three patterns: “Supreme”, inspired by Malevich’s “Supremus” series; “Heal,” which incorporates St. Brigid’s Cross, an Irish Christian symbol; and “Shine”, a special tribute to Gray, whose first name is derived from the Scottish-Irish word meaning “who shines”. For Ms. McGovern, who is based in Brooklyn, the rugs are also reminiscent of a city that has been through as much as any in the past year. “It’s a collection for New York – the quintessential modern city,” she said, ranging from $ 13,900 to $ 23,000 for standard sizes.

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