Moving Mountains on Refinery29

There's only one thing we love as much as exhibiting the work of our favorite designers, like we did with Syrette Lew of Moving Mountains this May at our Sight Unseen OFFSITE event. And that's snooping around their studios, unearthing old sketches, and pleading with them to put killer side projects into production. Luckily for us (since we've been a bit flush with travel this summer) Refinery29 took care of Lew's visit for us. A gorgeously photographed studio visit with the Hawaiian-born, Bushwick-based designer ran on the site yesterday, and we thought it only fitting to share a few of our favorite bits here. Check out a short excerpt from that piece after the jump, then scroll down to read the rest over at Refinery29!
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Week of June 16, 2014

A weekly Saturday recap to share with you our favorite links, discoveries, exhibitions, and more from the past seven days. This week was all about color treatments: chemically chromated mirrors, ombre lampshades, colored smoke, brushstrokes, glazes, and good old-fashioned paint daubs.
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Platform at Almine Rech Gallery

File under so simple it’s genius: This month, the Brussels gallery Almine Rech launched an exhibition, curated by Parisian art critic Nicolas Trembley, that mostly repurposes work from the gallery’s own collection. Called Platform, its primary conceit is a single, 55-foot-long white plinth running the length of the exhibition space, where all of the works on view joust for space, including Gavin Turk’s vinyl-painted Turkey Foil Box, Alex Israel’s marble and Styrofoam fro-yo cup, Andy Warhol’s Brillo box, Ettore Sottsass’s Casablanca bookshelf, and an array of Steuler vases we’re guessing might have come from Trembley’s own collection. Besides highlighting the three-dimensional aspect of the pieces — and making viewers reconsider items they might have passed over if displayed alone — Platform also “establishes a dialogue between the notions of design and contemporary art, objects of consumption, mass culture and subjects of contemplation” and asks the question: “What is an art object and what is the place of the object in art?” We’ve excerpted a few of our favorite images here.
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No Name Design at the Triennale Design Museum

The collecting of anonymous objects — and the subsequent use of those objects in creating a perfectly styled interior — has become such a staple of modern life that it’s hard to remember a time when not everyone loaded up their vans twice a year at places like Brimfield. But Franco Clivio, a former industrial designer and a lecturer at Zurich’s Schule für Gestaltung, has been amassing such objects for more than four decades. His collection — which numbers into the thousands — is on view starting next week at Milan’s Triennale Design Museum in an exhibition called “No Name Design.”
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Week of June 2, 2014

A weekly Saturday recap to share with you our favorite links, discoveries, exhibitions, and more from the past seven days. This week: Bauhaus auction fever, turquoise table mania, and a 1:1 drawing of the biggest pinecone you've ever seen.
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Norwegian by Nature

When it comes to contemporary Scandinavian design, the furniture love tends to go to Denmark (Hay, Muuto, Normann Copenhagen) while Finland gets all the attention for its graphic design (Tsto, Lotta Niemenen, Kokoro & Moi). But Norway's design identity was always a bit more elusive — that is, until recently. This month in New York saw an onslaught of celebrations of Norwegian design, including Norwegian Icons — which celebrated the Nordic country's contribution to midcentury — and Norwegian by Nature, a survey of emerging talent curated by our friend Paul Makovsky of Metropolis, who criss-crossed the small Nordic country visiting schools, studios, and design fairs to gather a group of 23 design shops on the cusp of stardom. Norwegian by Nature was part of the Inside Norway booth at ICFF, and it was one of our favorite concepts for an exhibition in a long time. Prototypes by the up-and-coming studios (like Silje Nesdal, whose Granit bookends are shown above) were mixed with vintage pieces curated by Oslo-based Fuglen as well as works by more established companies like Roros Tweed and Mandal Veveri. All of the prototypes were having their North American debuts, but we can only hope some brave, deep-pocketed soul will soon put these beauties into production so we can see a whole lot more of them.
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New York Design Week 2014: ICFF & The Best of The Rest

There was only one drawback to having a smashingly successful show of our own this year: It left us woefully little time to pound the pavement, seeing what other goodies this edition of NYCxDesign had to offer. A partial list of things we were sad to have missed: The Gourmand's fruit stand at Vitsoe, the gorgeous Alexander Girard for Herman Miller space, a dance performance at The Future Perfect the night of our own cocktail party, Anna Karlin's textile collaboration with Japanese weavers Hosoo at Atelier Courbet, the Yabu Pushelberg exhibition Rational x Intuitive Thought, and the debut of what may end up being the first and last furniture collection by Fab. But there were moments when we did manage to sneak away.
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Matter—Made’s 2014 Lookbook

At Matter's ICFF booth, we managed to snag a copy of the design store's brand-new Matter—Made lookbook, which was art directed, styled, and photographed by our personal Sight Unseen dream team, Benjamin Critton and Brian W. Ferry. The collection itself was already fantastic — brand new, disc-shaped LED pendants and stocky oak stools by Matter owner Jamie Gray, an expanded HS1 shelving system by Henry Julier in the cutest colors, and the first commercially available pieces from Jonathan Zawada's Affordances line. Add to that Critton's custom type treatment and props sourced by Critton and Ferry — which included black Slinkys, gold-plated hands, and a blue squiggle that looks like it fell off a Thighmaster — and you've got an excellent collectible object.
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A Tour of the Sight Unseen OFFSITE 2014 Show: Part II

Though your Sight Unseen editors have been in major curation mode for the past two weeks, we've also had day to day work to do as, you know, journalists. So for five days during our Sight Unseen OFFSITE event last week, Monica and I set up camp on the Astroturf-covered bleachers of the MOLD Future Food Café, where we caught up on emails and posted stories to this very site. It was the perfect vantage point from which to view our own event: We could see friends and VIPs on their way in, and we could overhear people heading to the elevator, on their way up to the second floor. The most common refrain we heard? "Oh my God, there's more upstairs?"
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New York Design Week 2014: Spanish Design at Sight Unseen OFFSITE

We've had a special place in our hearts for Spanish design for as long as we can remember. After all, the very first scouting trip we ever took for Sight Unseen, way back in the summer of 2009, was to sunny Barcelona. (Don't even get us started on Design in Spain, the last full issue Monica and I worked on at I.D. Magazine, and one of our personal favorites, period.) So when the Spanish trade commission in New York asked us earlier this spring if we'd be interested in curating a selection of our favorite recent Spanish designs for Sight Unseen OFFSITE, the answer was an unequivocal yes.
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Creative Women at Work: Jade Lai

A lot of creatives these days flaunt some sort of hyphenate job title, but Creatures of Comfort owner Jade Lai might just be the most epic multitasker we know. The Hong Kong–born, New York–based Lai runs Creatures outposts in both New York and Los Angeles; she designs her own in-house line of effortlessly cool women's clothes, shoes, and accessories; she sources the best menswear, womenswear, and housewares from other designers for her shops (everyone from Christian Wijnants to Jessica Hans); and she champions the greater art and design community through a series of pop-ups and exhibitions at both store locations. (Remember our Shape Shop?!) In the final installment of our Creative Women at Work series with Shinola, Lai shares the items and rituals that keep her continually inspired.
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Creative Women at Work: Bec Brittain

It's amazing what a difference five years makes. When we first profiled New York lighting Bec Brittain in 2009, she was an artist and creative director at Lindsey Adelman's studio, but her own design portfolio was so slim we featured only one of her creations: a chandelier she'd made for her own home out of off-the-shelf parts from McMaster-Carr. Fast forward five years and Brittain, who left Adelman's studio to form a solo practice in 2011, is now one of the most exciting, in-demand lighting designers on the American design scene.
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