At ICFF 2011, via Pin-Up’s Felix Burrichter and Dwell’s Sam Grawe

If you've been paying attention, you know by now that the Sight Unseen team spent nearly all of New York Design Week this year holed up in an abandoned lumber building, manning our very first pop-up shop and attending to all the talents we had on board for the second Noho Design District. Did we experience the rest of the weekend's offerings to their fullest? Not by a longshot. But we couldn't quite move on without offering readers some kind of behind-the-scenes take on the festivities, so we enlisted the help of two friends whose viewpoints we trust entirely and asked them be our eyes and ears: Sam Grawe, the endearingly burly editor-in-chief of Dwell, and Felix Burrichter, founder of Pin-Up magazine and local man-about-town. Grawe offered us a mini-photo album of insider moments he particularly cherished — including the back room at the Javits, pictured above, where "judging the Editors Awards requires collateral and fluids" — while Burrichter made us a list of his top 10 (er, 11) highlights from this year's show, perhaps the next best thing to cloning ourselves. See things their way right here.
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Noho Design District 2011

When the Sight Unseen and Uhuru teams rolled up the grate and entered the Great Jones Lumber building on Monday, May 9, it was like déjà vu all over again — one full year after we'd closed the door on the inaugural Noho Design District, the space's vast rooms were as dark, empty, and beautifully raw as when we first laid eyes on them, but with half-disassembled wooden signs, wayward Macallan cups, and other stray remains of the 2010 festivities still intact. The weight of all the work that lay ahead immediately hit us: four long days of manual labor in order to breathe life back into the building, to transform it from its dormant state into the hub of the 2011 Noho event, where the work of more than 100 designers would be on display for four days.
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Ross Menuez of Salvor Projects

There’s no real way to put this delicately: It can be somewhat difficult getting Ross Menuez to focus. Talk to the designer of the fashion label Salvor Projects for an hour, and your conversation might touch upon everything from the migratory patterns of birds to the intricacies of intarsia; ask him about his process, and he’s apt to fret instead about what to do with the signage for his first retail shop, which opened last week on a sleepy stretch of New York’s Lower East Side. His career has been equally hopscotched: He’d built houses for the Sandinista in Nicaragua, designed under Tom Dixon at Habitat, and run a metal shop in Brooklyn before finally, a few years back, committing himself fully to the world of fashion, complete with seasonal presentations and showroom representation. But as with any talent whose creativity flows faster than the mind can apprehend, it’s the unscripted aspect of Menuez’s work that makes it so compelling — you never know quite what to expect.
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Matteo Thun on Memphis’s 30-Year History

Sighted on Wallpaper.com, an interview with architect Mattheo Thun marking the 30th anniversary of the Memphis group: the loose collective of Italian designers founded by the late Ettore Sottsass in 1981 and dedicated to shaking the shackles of Modernism. Thun talks to Wallpaper's Emma O'Kelly about what it was really like to be on the front lines of the movement, whose risk-taking objects must have seemed tacky as hell to all but the most die-hard Italian design fans at the time — no more worthy of a museum collection than, say, the opening credits of Saved By the Bell — but whose influence on the history of contemporary design has since become indisputable.
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The American Design Club at MAD

The brief itself was simple: Design and build something to sit on. It was the execution part that was hard. From April 16–21, four sets of young American furniture designers each took a turn in the open studios at New York’s Museum of Arts and Design, each with a single purpose: to build and assemble a chair from start to finish, between the time the museum opened at 9AM to the minute the last straggler was ushered out the door at 6. The designers could use any materials they chose, and they were allowed to make preliminary design studies or prototypes before arriving at the museum, but the bulk of the construction work had to be executed on the museum’s 6th floor — in full view of school tours, visiting tourists, families, and itinerant design geeks who wanted a peek at the action. But the exercise wasn’t some reality show–like competition to pit designers against each other or to see whose design would reign supreme. The event was part of The Home Front, a museum project curated by Surface editor Dan Rubinstein, who spearheaded the whole thing in order explore in-depth the business of being a designer in America today.
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Brunno Jahara, Product Designer

If you think about it in the context of design, Brazil is a lot like America: A vast, relatively young country with a tiny cadre of contemporary designers struggling both to step out of the long shadow of their mid-century forebears, and to create objects in a near-industrial vacuum. But you won’t hear Brazilian designer Brunno Jahara complaining — having lived in dozens of European countries, worked under Jaime Hayon at Fabrica, and run a freelance business from Amsterdam before moving back to São Paulo a few years ago, he credits his native country as being the catalyst for his newfound success. “In Brazil I have all the freedom I didn’t have in Europe, because there’s a whole historical background over there that holds you to making things in a certain way,” says the 32-year-old.
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Achille is Watching Us

There were thousands of exhibitions going on in Milan two weeks ago, when the annual furniture fair took over the city, stuffing its subway cars and panini shops full of hungover design tourists. But in terms of sheer number of designers represented per square foot, one emerged a clear winner: “Achille is Watching Us,” for which the young designer and journalist Matylda Krzykowski and architect Marco Gabriele Lorusso managed to corral no less than 32 marquis names — Nacho Carbonell, Peter Marigold, and Bless among them — into an empty shopfront no larger than the average New Yorker’s bedroom. That’s because the pair, after being offered the space for free by the building’s wealthy and culturally savvy owner, decided not to show any design inside it all. Instead, they asked the talents Krzykowski had befriended through her blog, Mat&Me, to each contribute one small personal belonging and tell the story behind it. “Milan is so commercial — it’s about retailing and selling,” Krzykowski explains. “You get so caught up in looking at what’s new that you get lost in it. This year we decided to turn it around, to look at the things that are really important.”
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Inside Baggu, the Hypercolorful, Reusable Tote for Every Generation

“Always listen to your mother” isn’t exactly the kind of central tenet they teach you at Harvard Business School. But for Emily Sugihara, the California-raised, Brooklyn-based designer behind the reusable bag line Baggu, it’s a piece of advice that’s been invaluable to the brand’s runaway success since its founding in 2007. Back then Sugihara was a Parsons grad working as an assistant designer at J. Crew, just coming to realize that a corporate job wasn’t her calling. “As a kid, I was very entrepreneurial, and I always knew I wanted to have my own company,” she says. At home over Christmas break one year, Sugihara and her mother began talking about making a line of reusable shopping bags. Her mom was “sort of a treehugger” and an artist in her own right — an expert seamstress who learned to sew making her own clothes as a kid in rural Michigan — and Sugihara was a die-hard New Yorker-in-training, sporting fingers turned purple each week as she lugged home bags full of groceries. Together they came up with a bag that’s almost exactly like the original ripstop nylon Baggu that sells today: long handles that fit comfortably over the shoulder, gussets along the bottom that allow things like milk and eggs to stack, and a single, double-reinforced seam that’s the result, Sugihara says, of her mother’s “sewing genius.”
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Renny Ramakers, Director of Droog

First-time travelers to Amsterdam — perceptive ones, anyway — need only to spend a day navigating its cobbled streets to notice what makes the experience so singular. The buildings are old and narrow, and many seem perilously cockeyed. With their decorative facades and fanciful gables, they resemble oversized gingerbread houses. And when you walk by them, you witness a sight even more peculiar than all of the above: an unobstructed view straight into the living rooms and kitchens of the people who live inside, who refrain from hanging curtains even at ground level. As a locally based friend explained to me on a recent visit, the Dutch may value privacy just as much as the rest of us, but they also take a certain pride in proving they have nothing to hide. This was the thought running through my mind the day that Renny Ramakers, co-founder and director of the influential Dutch design laboratory Droog, let me wander around inside her home unsupervised, snapping hundreds of voyeuristic photos of her possessions while she worked calmly away at her dining table.
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Carwan Gallery Launch: Samare

Through today, Sight Unseen is showcasing the work of half a dozen designers and design firms exhibiting together at the Milan Furniture Fair under the umbrella of the soon-to-launch Carwan Gallery in Beirut. Here, Nicolas Bellevance-Lecompte, one quarter of the Montreal and Milan–based design studio Samare and the co-founder of the Carwan gallery itself, tells us about the group's new and strikingly geometric felted-wool rugs, made in collaboration with the Belgian textile designers Antonin Bachet and Linda Topic. The project is the latest addition to Samare's ongoing Pays d’en Haut Legacy series, which investigates and then reinterprets the vernacular forms and decorative motifs of Canada's upper country, home to its logging and fur trades. Since their studio launch in 2008, they've worked with local snowshoe craftsman, weavers, and furriers in an attempt to show the world — and their fellow Canadians — how these longtime traditions and crafts can still prove relevant to contemporary culture. After the Milan fair, the rugs will travel to New York, where they'll be presented by the design store Matter during ICFF.
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Carwan Gallery Launch: My Bauhaus is Better Than Yours

Through April 15, Sight Unseen will be showcasing the work of half a dozen designers and design firms exhibiting together at the Milan Furniture Fair under the umbrella of the soon-to-launch Carwan Gallery in Beirut. Next up are designs from My Bauhaus is Better Than Yours, a loose collective of young German studios — most of whom studied at the Bauhaus University in Weimar — that banded together two years ago as a way to mount exhibitions in design hotspots like Milan and DMY Berlin. The group has since evolved into a full-fledged design label with the ability to manufacture and distribute the designs of its members, and it has plans to launch a webshop later this week. We spoke with Daniel Klapsing, one half of the Berlin-based duo 45 Kilo and de facto leader of the newly formed label, and put together a preview of designs from several of the group’s other members as well.
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Carwan Gallery Launch: Paul Loebach

Through April 15, Sight Unseen will be showcasing the work of half a dozen designers and design firms exhibiting together at the Milan Furniture Fair under the umbrella of the soon-to-launch Carwan Gallery in Beirut. When we asked Brooklynite Paul Loebach which of the four products he'll bring to the show had the most intriguing backstory, he immediately nominated his Watson table, a sandwich of carbon fiber and wood with double-helix legs that took him two and a half years to develop. Like the rest of Loebach's oeuvre, the table reinterprets historical craftsmanship techniques using cutting-edge technologies, evoking yet another novel property from a material as old and as simple as wood. "I named the table after the guy who discovered DNA," Loebach says. "I felt like a scientist doing this project, so I named it after one."
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