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AZURE July/August 2019

Lively, fresh, forward-looking, but also socially relevant — this defines Azure, the leading design publication covering the expanding world of international contemporary architecture and design. Each issue delivers readers inspiring ideas and cutting-edge innovations, from state-of-the-art green building to the latest in furniture and home accessories from around the globe.

Azure Publishing Inc.
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8 Nummer

i detta nummer

1 min
first + foremost

Arazzi Wall Panels Italian company Matteo Brioni has furthered its exploration of raw earth surfaces, recently launching Arazzi, a modular boiserie system. Designed by architect Marialaura Rossiello Irvine, Matteo Brioni’s art director, Arazzi combines the warmth and tactile appeal of a handcrafted surface with the benefits of an industrial product. Comprising three-dimensional wooden frames hand-coated in natural clay, the collection’s panels are hung like works of art, and can be used to create feature walls, to help define spaces in open-concept projects, or even to create a headboard, as pictured. The inaugural offering in the brand’s new Al Cubo production line, Arazzi’s modules are offered in 22 different shapes, nine standard textures and 14 colours, though custom shades (such as the greenish blue–grey shown) and bespoke textures are also available. The sculptural…

3 min
record players

“The Most Slender Tall Building in the World.” “Europe’s First Underwater Restaurant.” “The Largest Indoor Waterfall on Earth.” Such blaring declarations – ascribed to a New York tower by SHoP Architects, Snøhetta’s Under eatery in Norway and Moshe Safdie’s Jewel Changi Airport in Singapore, respectively – are dominating the architecture headlines of late. It seems that every other project deemed worthy of mention is a record-breaker of some description, its value determined by how big, tall or otherwise over-the-top it is. Why, today, does everyone want to break a record? Once upon a time, kids wanted to be firefighters, teachers, doctors and even architects for seemingly nobler goals: the potential for personal reward, as well as a chance to contribute to society. But then came YouTube and Instagram, and with them…

2 min
shape shift

Rugs stole the show in Milan. Yes, rugs. At a design event during which furniture normally reigns, carpets in conventionbusting shapes and silhouettes abounded. At Gan, for instance, Patricia Urquiola’s Nuances pushed spatial boundaries: Fashioned from recycled felt, the collection’s Curve, Line and Round modules morphed from floor- to wallcovering and even into an upholstered pouffe. The lozenge shape that Urquiola favours was also repeated and refracted elsewhere, assuming art deco lines in Bohinc Studio’s West of the Sun rugs for Kasthall and doodle-like flourishes in Claire Vos’s motifs for Moooi. Many of the debuts feel like bona fide art pieces. Joost van Bleiswijk’s Ripped and Teared and Colored for Nodus resembles a construction-paper collage. And then there’s Feathers by Maarten De Ceulaer for CC-Tapis. The Dutch designer digitally manipulates images…

2 min
quasi’s mojo

Olafur Eliasson’s ever-expanding oeuvre encompasses both atmospheric installations and tangible products. The Icelandic-born artist has always been enamoured of light, the focal element of works that range from The Weather Project at London’s Tate Modern to his palm-sized solar lamp Little Sun. Azure caught up with him during Euroluce, where he launched a new pendant lamp – the aluminum and polycarbonate OE Quasi Light – with Danish brand Louis Poulsen. It captures his preferred medium in a boundary-pushing sculptural form. You’ve often worked with light in your art. How is creating a product for a manufacturer such as Louis Poulsen different? My artworks involving light are unique and handmade in my studio. So I wanted to do something that was produced with industrial materials and industrial processes and that still had an…

2 min
glass action

One of the most captivating installations of Ventura Centrale, inside Milan’s decommissioned train sheds, was Emergence of Form by Japan’s AGC. To demonstrate its architectural glass offerings, the company erected a series of increasingly concave glass panels – a sort of stop-motion illustration of a water drop forming, which culminated in a final, massive bubble. While it promoted AGC’s cutting-edge 3D moulding techniques, the installation pointed to the ultra-malleability and dexterity of glass and its ability to be formed in impressive new ways – which also came through in the smaller-scaled offerings of Milan Design Week. Glas Italia, for instance, showed off the Bisel tables, made of five differently coloured layers of five-millimetre-thick laminated glass, while FontanaArte debuted the Lasospesa lamp by Stefano Boeri – the brand’s only new launch at…

2 min
light work

Does the world really need another chair? This question perennially hangs over Salone del Mobile. But the super-lightweight Vela, debuted this year by Magis, made a compelling argument for chair design as a locus of experimentation in sustainability. Many a brand rep at the fair will implore you to pick up their latest feather-light feat of engineering. With the magnesium Vela, however, I was actually surprised at how effortlessly I could lift the piece with one hand. Magnesium is extremely lightweight and strong. It is two thirds the weight of aluminum, but can be cast in thinner forms. And it’s more economical and recyclable than carbon fibre. The idea for Magis to explore its potential for furniture came from the top. The brand’s founder, Eugenio Perazza, approached Tel Aviv duo Gilli…