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Frame May - June 2016

Frame is a bi-monthly magazine dedicated to the design of interiors and products. It offers a stunning, global selection of shops, hospitality venues, workplaces, exhibitions and residences on more than 224 pages. Well-written articles accompanied by a wealth of high-quality photographs, sketches and drawings make the magazine an indispensable source of inspiration for designers as well as for all those involved in other creative disciplines.

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Last summer I acted as external examiner at Switzerland’s unrivalled university of art and design, ÉCAL. An honour as well as an inspirational responsibility. Not only did I get to peek behind the scenes at a worldfamous academy; I also had a chance to immerse myself in the new ideas of talented youngsters for a few days. One or two projects really caught my eye. I was struck, for example, by a typeface with a particularly lucid, open look and – how should I put it? – a fresh, edgy pulse of positivity. We decided to ask the young designer, Tancrède Ottiger, to expand his little family of fonts with the addition of a sans-serif variant. The result appears for the first time in this issue of Frame. We need beginners…


London’s Bradley Quinn is a fashion-industry consultant, strategist and lecturer. Specializing in wearable technologies and advanced materials, he is the author of titles such as TechnoFashion, Fashion Futures, The Fashion of Architecture, UltraMaterials, Textile Futures, Design Futures and Textile Visionaries. Quinn explores the ins and outs of retail for this issue’s Frame Lab. Enya Moore is a writer, editor and researcher specializing in design. Originally from Ireland, she is currently pursuing a master’s degree in Design Cultures at VU University Amsterdam. A former Frame editor, Moore has contributed to publications such as Icon, Blueprint and the Australian Design Review. For Frame 110, she delved into the history of Hans Coray’s Landi Chair. Photographer Mikael Olsson plies his trade in Stockholm. In 2011 he published Södrakull Frösakull, a book that explores the clash…

stockholm design week participants experiment with making processes

Watch Funt come to life with the digital magazine TREND — ‘When I can imagine something, it’s already there,’ says Swedish-Chilean Anton Alvarez, standing in his Stockholm studio. He is explaining why he chose to leave the outcome of his latest venture at least partly up to chance. ‘I design a system, not the end product,’ Alvarez continues. Alphabet Aerobics, the exhibition he mounted at the National Centre for Craft & Design in Sleaford, England – the show closes on 5 June – features one of Alvarez’s new machines. Using extrusion moulds with openings shaped like letters, museum staff produce one ceramic sculpture ➀ a day, thus removing the artist from the making process. Work by Alvarez also appeared during Stockholm Design Week, where he was not the only contributor that made…

issey miyake cooks up a new recipe for pleats

Get a feel for Issey Miyake’s oven-baked garments with the digital magazine MATERIALS — Illustrious fashion designer Issey Miyake has long been associated with innovative pleating techniques. He introduced his first pleated garments in 1989, followed that same year by Pleats Please, and 1997 saw the appearance of A-Poc, which Miyake’s website calls a ‘manufacturing method’. In the label’s S/S 2016 collection, Botanical Delights, head designer Yoshiyuki Miyamae and his team push pleats even further. The most striking pieces – a combination of traditional Japanese methods and advanced technologies – reveal a new pleated material called Baked Stretch. When glue is imprinted onto fabric and the result is baked, the glue rises – much like bread – to fill in moulded forms that give the finished product a pattern of sinuous lines.…

ingredients of marco guazzini’s italian identity mix into his artisanal alternative for marble

MATERIALS — Marco Guazzini dives into his Mediterranean roots to find elements that represent his legacy. Woollen yarns from Prato, the Italian designer’s textile-centred hometown, and waste marble collected from Pietrasanta, his holiday haven and the starting point of Michelangelo’s David, become the main ingredients of Marwoolus, a material cocktail that solidifies his identity. A lengthy experimentation process led to the perfect binder for uniting the dyed fibres and pulverized marble blend. Once poured into moulds, the liquid concoction enables the tufts of wool to be ‘casually strewn’ before hardening. He sculpts the resulting slabs as if they were quarried stone. The only detectable difference between Mother Nature’s marble and the artisanal alternative? The tactility of Guazzini’s rainbowhued pigments coursing through variegated veins. Conceived for Gallery S. Bensimon in Paris, a pair…

at imm, design classics make a comeback

TREND — For those in the design business, the period between January and May – also known as trade-fair season – is something of a marathon. In the sprint to keep up with the latest trends, the occasional blast from the past can be surprisingly refreshing. Participating in the ‘new’, the ‘old’ proved to be an enduring source of inspiration at this year’s IMM Cologne, where brands revitalized classics in a pronounced celebration of times gone by. Ligne Roset brought back the 1980s with its curvaceous Plumy Collection ➀. Reissued in collaboration with designer Annie Hiéronimus, the plump seats now feature high-performance Bultex polyurethane foam padding. Raising the comfort level of another unforgettable design was Walter Knoll, with its upholstered interpretation of the Fishnet Chair ➁. The work of Sadi &…