How could we have possibly known, when we first decided to host an exhibition of California design during our third annual Noho Design District, that we would be blessed with four straight days of glorious, Los Angeles–style sunshine? (Followed, of course, by a day of downpours, but more on that tomorrow.) Springtime in New York is a fickle beast, and when we first began to plan how best to use the gorgeous second-floor terrace space we’d been given at the new Standard, East Village hotel, we said a prayer for mild climes but also engaged in fretful what-ifs with the hotel staff, talking about contingencies like awnings, tarps, and the possibility of moving everything — save for a nearly 50 square foot teak and rubber fort constructed on-site by Matt Gagnon — inside.
But in typically relaxed California fashion, we had nothing to worry about. On the first of those sunny days, the designers we’d handpicked — in collaboration with Brooks Hudson Thomas of the peripatetic retail project Specific — filed in to install their works. Benjamin Luddy and Makoto Mizutani of Scout Regalia stopped by to show off their stylish, American-made bicycle prototypes, but quickly left to pedal around in the sunshine, looking for the perfect spot for an impromptu photo shoot. Kelly Lamb wandered around the inside space, wondering where her Hanging Totems, strung with crystals and semi-precious stones and topped by cast-bronze triangles, would best catch the light. Gabriel Abraham of Atelier de Troupe laid out his beautifully rendered campaign-style Bivouac furniture collection, then set to work ironing the chairs’ fabric seats out on the patio. Steven Shein unpacked his chrome- and brass-plated modernist valets, then padded around barefoot, trying out using his own shoes as styling props.
In the days that followed, meetings were held on pillows inside Gagnon’s fort, beer was smuggled up from the downstairs hotel bar, and people milled around wondering how exactly we’d managed to transport the Golden State’s mellow vibe to the hustle and bustle of downtown Manhattan. Here’s a look at the designers who helped make it happen.
The undisputed winner of the weekend was Matt Gagnon’s Knit Fort, which was constructed on-site from bars of teak and rubber cording by the designer and his team over the course of a single afternoon. (André Balazs was rumored to have considered keeping the fort for his planned hotel renovation but ultimately declined.) For those who climbed the stairs from the hotel lobby, the fort emerged dramatically into view; for the rest, it beckoned invitingly from its perch on the patio’s raised platform, turning the terrace into something like summer camp.
A Brooklyn expat now living in LA, Gagnon first conceived of the fort for his two kids; with its four-figure price tag, however, it might be better suited for an outdoor shower at your Ditch Plains beach pad. A hinged door opens to reveal the interior, which in this case could fit three to four people comfortably. During the exhibition, Gagnon held meetings, conducted interviews, and drank beers on the cushy pillows he’d picked up last-minute down the street at Crate & Barrel.
Equally talked about was the Bivouac camping collection debuted by Gabriel Abraham of Atelier de Troupe, which consisted of oakwood and canvas field chairs that packed flat and were held together with sustainable vegan leather straps; an oak and leather side table; too-chic-for-the-forest enameled steel dishware; and a powder-coated spun steel lantern.
Lantern detail, with cute little lantern personality.
Okay, who are we kidding: The handcrafted, made-in-America Scout Regalia Bicycle was just as popular as the previous two entries. In addition to having a super-strong steel frame manufactured in Pennsylvania; a handwoven black ash basket made in New York, wool camp blankets from Topo Designs of Colorado, rear panniers by Winter Session in Chicago, and a really cool kickstand, it “rides like a Cadillac,” according to Monica.
On our first walk-through of the hotel, way back in February, we spotted these metal shelves — which in the hotel’s former life as the Cooper Square were used as a bar — and knew immediately that they should be filled with small goods. At the same time, we’d been talking to one of our favorite retailers — Brooks Hudson Thomas of Specific — about wanting to do a project together. Hence a collaboration was born, with Brooks as our man on the ground in LA, scouting for smalls, meeting with designers, and ultimately expanding the exhibition’s scale from furniture to art and beyond. (And over the course of two dozen studio visits, Brooks found more than a few amazing furniture pieces to ship out as well!)
The works on view include Shin Okuda’s Shaped Bookends, Lisa Sitko’s Commemorative Plates, works on paper by Leonardo Bravo, Face Jugs by Matthias Merkel-Hess and Monique Van Genderen, leather stash boxes by Louis Gabriel, spotted stoneware by Pilar Wiley, and a special appearance of the Sight Unseen book, Paper View, which many people were able browse in person for the first time.
To the right were larger pieces, including Brendan Ravenhill’s ingenious magnetic steel Dustbins, Ravenhill’s Shop Stools, the jaunty walnut 101 Chandelier by Taidgh O’Neill, and another show-stopper: a wall hanging by Tanya Aguiniga, made from 90 pounds of recycled-cotton rope.
Wall hanging detail. This thing was seriously amazing.
Though many people thought these were the work of our favorite resin-slicing duo Chen Chen and Kai Williams, these Geodes were actually made by LA artist Elyse Graham, who creates that signature pocked interior by using blown-up balloons. Brooks told us that her father is a doctor, and in addition to creating prints from Xeroxes of the geodes’ surfaces, she’s been known to subject them to CT scans as well. That we’d like to see.
It wouldn’t be a California show without crystals: Kelly Lamb says she indulged her hippie side with these Hanging Totems, strung with agate, crystal, moonstone, jade, onyx, ruby, sapphires, and emerald. They were topped by cast-bronze triangles, which emerged from the experimentation phase of one of Lamb’s other ICFF projects: cast bronze geo pendants for our Once Removed exhibition at 22 Bond.
Steven Shein is best known for his more monolithic plywood flat-pack designs (not to mention his booming jewelry line) but for our show he went sculptural and airy and even learned to weld in order to make these visually light but stunning valets from chrome- and brass-plated or powder-coated steel.
In a small cozy room overlooking the intersection of 5th Street and Bowery was the work of our lone San Francisco entrant, the ceramicist and blogger extraordinaire Ian McDonald. “The works in the show,” he says, “were thrown at the potters wheel using different stoneware clays that are mixed together before being used on the wheel. They were then hung from small handmade ceramic buttons on the wall. I was thinking of the wall as the floor, so the pottery hangs and sits flat to the wall as if it were on a table surface.”
Also in the room were Felt Surfboards by Tanya Aguiniga, leather stools by Waka Waka, and a chandelier version of Brendan Ravenhill’s runaway hit Cord Lamp.
Matte and glossy stools by Los Angeles duo Todosomething stood sentry back on the deck. (You can’t see it in this image, but their undersides were powder-coated in cheery colors like mint green and blue.)
Design Bitches bench, made from skateboard grip tape and reclaimed wood.
Last but not least, we must give a shout out to graphic designer Benjamin Critton, who devised the Hotel California logo in less than two hours the day before the show opened. So lovely no one ever would have known if we didn’t spill the beans here. Thanks Benjamin, thanks to Brooks, and thanks to all the designers who made the show an amazing success!
Designers around the world owe Johanna Agerman Ross a drink, or perhaps even a hug: Her new project, the biannual magazine Disegno, is devoted to letting their work breathe. “I always found it frustrating working for a monthly, because I couldn’t give a subject enough time or space to make it worthwhile,” says the former Icon editor. “For a project that took 10 or 15 years to make, it felt bizarre to represent it in one image, or four pages.” Founded by her and produced with the help of creative director Daren Ellis, Disegno takes some of the visual tropes of fashion magazines — long pictorial features, single-photo spreads, conceptual photography — and marries them with the format of a textbook* and the investigative-reporting ambitions of The New Yorker. The story about Ronan and Erwan Bouroullec which we’ve excerpted here, for example, fills 22 pages of the new issue and runs to nearly 3,000 words; it’s accompanied by images captured over two full days the photographer spent with the brothers, one in their studio and one at the Centre Pompidou-Metz, where they were installing their latest retrospective, “Bivouac.” And articles on Martin Szekely, Azzedine Alaïa, and Issey Miyake’s Yoshiyuki Miyamae are set either over lunch, or in the subject’s living room. The focus, says Agerman Ross, is on proper storytelling. “The people behind the project, the process of making something, even the process of the writer finding out about the story — that’s all part of it,” she says. “It’s the new journalism.” Obviously, we couldn’t agree more.
At the London Design Festival in 2009, Apartamento magazine collaborated with local furniture wunderkind Max Lamb on a show called “The Everyday Life Collector.” The title referred to Lamb’s father, Richard, who had spent more than 15 years surrounding himself with British studio pottery, of which 400 examples were on view. But while age might have given him a leg up in the volume department, it turned out that the elder Lamb wasn’t the only one with the collecting bug: Max, too, admitted to joining his dad at flea markets from time to time and almost never coming home empty-handed. So when we had the idea to start a new column called Inventory — for which we’d ask subjects to photograph a group of objects they found meaningful — we turned to Max first, and he didn’t disappoint. He sent us 10 images of the collections on display in his live-work studio in London, then gave us a personal tour.
While nothing will ever compare to the Great Ash Cloud of 2010 in terms of strange events surrounding the Milan Furniture Fair, there seems to be a fair amount of juju going on with this year's festivities — or at least with the members of our hand-picked street team, who were meant to upload photos from their bases around the Italian metropolis all this week. Pin-Up editor Felix Burrichter reported a suddenly collapsed eardrum, which stranded him in Berlin and prevented him from attending the fair entirely, while designer Sam Baron confessed his attempts to take photos at a dinner for Fiat's Lapo Eklann were sadly thwarted by bodyguards. Lucky for us, then, that we've been able to follow along on Instagram, Twitter, blogs, and a steady stream of photos arriving in our inbox from The Future Perfect's Dave Alhadeff, who's been firing off everything from potential products for his store to OMG moments to jealousy-inducing images of gelato. We'll be bringing you more photos as they roll in, but for now, here's a sampling of the first few days from one of our favorite fairgoers.
