Saarinen's Tulip Chair & Table Go Platinum

To Celebrate the 50th Anniversary of the Eero Saarinen's now iconic collection, Knoll has introduced these tables, chairs and stool with a platinum finish as well as re-introducing the wood (rosewood and teak) tabletops.





Above: The original Saarinen table from Knoll in my own dining room. The table belonged to my parents who bought it in 1958. The chairs are actually Burke reproductions and the cushions are the originals from Knoll in sunshine yellow vinyl with cotton and velcro backs.

Design Eero Saarinen, 1956.
Aluminum base, fiberglass, upholstery.
Made in USA by Knoll.



History
In 1956, Eero Saarinen addressed the “ugly, confusing, unrestful world resulting from the slum of legs underneath typical chairs and tables. In 1957, Knoll unveiled the Pedestal Collection by Eero Saarinen, known today as the Tulip Collection, which has evolved into a symbol of mid-century modern design and a mainstay of the Knoll design legacy.

See the original 1958 Press Release from Knoll here.


Above: The original chairs

Commemorative Edition
To celebrate the 50th Anniversary of this iconic collection, Knoll is adding a platinum base finish and reintroducing rosewood and teak table tops. These new finishes will be a permanent addition to the line.



Above: The special platinum edition
In addition, all Tulip pieces ordered between August 1, 2007 and August 1, 2008, in any finish, will ship with a commemorative medallion and special certificate of authenticity.

Where To Buy
Several Knoll Space retailers are promoting the Saarinen 50th Anniversary collection. By visiting these retailers, you can preview the commemorative medallion and obtain literature on the Anniversary Collection.

The Tulip Collection, in any finish, can be purchased through all Knoll Space retail locations or dealers in North America. Find a Knoll Space retailer near you.

Awards
The Museum of Modern Art Award, 1969
Federal Award for Industrial Design, 1969
Design Center Stuttgart Award, 1962



Construction
Chairs and tables feature a heavy, molded cast aluminum base with a strap polished finish. Black and white chairs and tables are rilsan coated. Platinum finish consists of a high-resilient polyurethane enamel wet coat with a clear satin finish.
Shell is molded fiberglass with a reinforced, plastic bonded finish
Chairs are available with or without arms in a fixed position or with swivel action.



Upholstery
Available with a seat cushion only or with upholstered inner shell
Available in a variety of Knoll Textiles or Spinneybeck leather
Seat cushion is removable and is encased with a zippered cover and fastened to the shell with velcro
Platinum shell finish is not available with inner shell upholstery


Above:20" Side table with timeless teak top and platinum base is accompanied by an oval Rosewood coffee table

Finishes
Base and shell finishes are available in white, black and platinum
Table top options include white laminate and various marble, veneer and granite options

Sustainable Design
All Knoll Studio seating is GREENGUARD Indoor Air Quality Certified® for low-emitting products


Above: Original Print ad from Knoll, 1958

More history and information as well as retailers and other places of purchase.

Funky Find of The Week: Marcel Wander's Gold-Plated Clown Nose Necklace

This has got to be up there with the weirdest items on the market.

For $853 USD you can wear this 'nose necklace' around your neck and actually put it on and look like Bozo with a gold nose.

Hmmmm...

Click on the above image to purchase.
And if you do, let me know... I'm dying to know if any of these have ever sold!

Lucite & Stainless Steel Luxury Tub: The Rossovivo

I'm not sure if I like this tub or hate it, but admittedly it's an original design and certainly functional. I suppose if you had a modern loft or cement floors, it could be very cool and appropriate.




Rossovivo is made of Lucite IceTM, a semi-transparent material that is pleasant to the touch, available in Ice Red, Ice Blue and Ice White. The unusual and exclusive frame – that makes a definite statement – is in stainless steel.14 Airpool jets, that can be activated by the remote control, provide a gentle massage to the whole body and can be mixed, if desidered with ozone.
The inspection panel gives immediate access to the mechanical and hydraulic components beneath the tub. Two soft headrests in Technogel complete the equipment.

The tub is also available without hydromassage system.



1. Gentle, all-over massage with ozone
2. Ergonomic headrests Technogel
3. Remote control
4. Steel frames
5. Bathtub in Lucite™ transparent material
Read more about it here.

A Great Idea : Heat-Sensitive Wallpaper

Here's a very interesting design project by Schuyuan, a recent grad from the University of Portsmouth, (who speaks English, Mandarin and Cantonese...by the way).




Called Design with Life, the project, as described by the artist, was "..to explore a new definition of decoration which brings life to design" .

A very compelling part of the project described above is their Heat-Sensitive wallpaper, which when activated actually blossoms flowers (see below).

Below: Radiator Off


....and with the heat from the radiator on:


A section from the nicely designed brochure that accompanied the project describing the wallpaper's reaction at different room temperatures:



What a fun interactive and creative idea. No doubt some interesting design firm will snap up this recent graduate. I bet Schuyuan will not be looking for work for very long. Go to the artists'site to see more.

Contact info:
The artists' e-mail: schuyuan@gmail.com

Vandals Punch Hole in Priceless Monet

Above: Monet's "Le Pont D'Argenteuil" , 1874 at the Museé D'Orsay
photo by Thibault Camus/Associated Press

The Associated Press

PARIS -- Intruders entered the Orsay Museum early Sunday and punched a hole in a renowned work by Impressionist painter Claude Monet, "Le Pont d'Argenteuil,'' the French Culture Minister said.

A surveillance camera caught a group entering the museum, located on the Left Bank of the French capital along the Seine River and housing a major collection of Impressionist artists like Monet.

An alarm sounded and the group left, but not before damaging the painting, an aide to Culture Minister Christine Albanel said by telephone.

No arrests were immediately made.

Albanel told France-Info radio that the painting could be restored, but she deplored what she said was an attack on "our memory, our heritage.''

"This splendid Monet painting (was) punched right in the middle,'' the minister said with emotion.

According to the aide, a 10-centimetre tear was made in the Monet, perhaps with a fist. The official, not authorized to speak publicly of the matter, asked not to be named.

It was not immediately clear how many people were in the group that broke into the museum.

Monet led the 19th century Impressionist movement, experimenting notably with light and colour in works now deemed priceless.

"Le Pont d'Argenteuil'' shows a view of the Seine at a rural bend, featuring a bridge and boats.

Albanel told France-Info that she would doubtless seek improved security in museums and stronger sanctions against those who desecrate art. "This is not tolerable,'' she said.

The break-in occurred as Paris held its annual all-night festival, which brings thousands of people into the streets for music, exhibits and fun.

Above: A nearly 4-inch tear is seen in renowned work by Impressionist painter Claude Monet, "Le Pont d'Argenteuil," at the Orsay Museum in Paris.

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Meet Rasmus Fenhann: A Contemporary Craftsman

In my usual scouring of the web, I came across a young and very talented craftsman named Rasmus Fenhann. His work is beautiful and I wanted to share it with you.

He's been the recipient of many danish design awards and has had his work commissioned for several projects and is a gifted antiques restorer as well. He also does custom work.


above: Rasmus in his workshop.


above: Some of his tools in his workshop.

Theatre chair
Graduation design project by Rasmus Fenhann
laminated Maple veneer, Stainless steel, H:850 W:600 D:600


This chair is made for the new National Theatre that is going to be located near the harbour in central Copenhagen.

Rasmus says "I wanted to make a chair that looks light in the space as an individual element. The chair is saving space so that the audience can come closer to the actors. It is possible to make the chair with upholstery inside for concert hall acoustics."




He makes other beautiful wood furniture products and custom commissions as well. The custom pear wood Architect's Portfolio he made for his sister way back in 1997 is stunning.




His hiKARI collection (2005) of lamps crafted of Oregon pine are an elegant homage to japanese lamp design:





Lamps in Oregon pine:

The minimalist design comes from geometry. Rasmus Fenhann is using the old polyhedral shapes in a new way. The 6 lamps are made by equilateral polygons, which make the lamps simple, poetic and functional: the light is allowed to spread to all sides, and the handmade paper gives a soft and pleasant light.





http://www.fenhann.com/

Contact info:
Rasmus Fenhann
Classensgade 65, 1 th. -3
DK-2100 København Ø

Workshop address:
Mariendalsvej 25b, Baghuset
2000 Frederiksberg
Tel. +45 35 38 81 24
Mobile: +45 26 54 06 04

E-mail: rasmus@fenhann.com

Student Projects in Porcelain. Manufactured by Bernardaud.

From the 18th to the 22nd this past April 2007, as part of the Milan Furniture Fair, the Fondation d’entreprise Bernardaud and the ECAL-Ecole cantonale d’art de Lausanne University of Art and Design Lausanne presented (at the Grand Hôtel et de Milan) projects in porcelain by students produced by the Bernardaud Factory.

These projects were selected following a workshop run by Alexis Georgacopoulos, head of the Industrial Design department of the ECAL, and Augustin Scott de Martinville, a professor at the ECAL.
 
“The idea initially was to look again at the traditional image of porcelain, which tends to be associated with tableware, by integrating it in different ways into the day-to-day environment,” explains Alexis Georgacopoulos. Students rose to the challenge by designing a range of varied and original objects: finely sculpted dominoes, a vase consisting of stacked plates, a chandelier with eight hundred small porcelain discs exploiting the material’s transparency, an enamelled cone in which to enjoy an ice-cream, four vases transformed into loudspeakers around an ingenious acoustic system… With humour, elegance, poetry and bravado, each piece questions lifestyles while subtly integrating the manufacturing constraints of porcelain.

The mission of the Fondation d’entreprise Bernardaud, set up in 2003 by Michel Bernardaud, is to renew the way porcelain is perceived. Based in Limoges, it invites designers of all nationalities from around the globe to re-invent this material, to generate bold interactions, to explore new territory and ultimately to find new uses for this material. “We have been delighted with this collaboration which combines innovation and know-how and greatly appreciated the fact that the ECAL, one of the most prestigious design schools, wished to conduct a study of this still largely unappreciated material…” explains Hélène Huret, the Fondation’s director.











“Carte Blanche”
Private viewing was Tuesday 17 April 2007 from 7pm “Au Grand Hôtel et de Milan”,
Sala Verdi, (1st floor), via Manzoni 29, 20121 Milan.
Exhibition ran from 18 to 22 April 2007 (11am to 8pm).

This exhibition is supported by the University of Applied Sciences Western Switzerland (HES-SO) and the Economic Development unit of the Vaud Canton
High-definition images available from the sites www.ecal.ch or www.bernardaud.fr, and on CD-ROM on request.

Information:
Ecole cantonale d’art de Lausanne
4, avenue de l’Elysée
CH-1006 Lausanne
Tel +41 (0)21 316 99 33
Fax +41 (0)21 616 39 91
E-mail pierre.keller@ecal.ch
www.ecal.ch

Fondation d’entreprise Bernardaud
11, rue Royale
F-75008 Paris
Tel +33(0)1 43 12 52 06
Fax +33 (0) 1 43 12 52 01
Press e-mail: sdufresne@bernardaud.fr
www.bernardaud.fr

Sony Bravia's Bunnies- A Rip Off? You Tell Me.

So, like many bloggers this morning, I came across this wonderful ad and was going to post it as follows:

Fabulous new stop-motion animation with Clay Bunnies for Sony's Bravia tv:


Credits
Title: Play-Doh
Client: Sony Bravia
Ad agency: Fallon, London
Creative director: Juan Cabral
Executive creative director: Richard Flintham
Agency producer: Nicky Barnes
Account director: Ben Cyzer
Director: Frank Budgen
Production company: Gorgeous Enterprises
Producer: Rupert Smythe
Song: Rolling Stones, She's Like A Rainbow

And, of course, the making of:


And then the controversy began.
At first I thought that the post on Gizmodo was an overreaction.

Given that I'm an Advertising Creative/Art Director (yes, that's my "real" job) I was ready to defend creatives in the business for often using artists as their source of "inspiration". Something that has been happening in all art forms for centuries. After all, Kozyndan's work is clearly inspired by Hokusai, so why can't Fallon London be inspired by Kozyndan?


Above: Kozyndan's Bunny Tsunami


Above: Hokusai's Wave

Given that this is not Sony Bravia's first spot to use lots of colorful animation as a metaphor for a good color television, and that Kozyndan works in a static medium and this is tv, I thought maybe they initially intended to use Kozyndan as the actual animator (which, perhaps is why they requested samples of his work).

After all, I could see the process happening as such. But then decided that "illustration' wasn't a good metaphor for high def tv, so they decided to go with stop motion animation.

This is all a guess from having sat through hundreds of pre-production meetings.

But then the ugly comments began to appear. And frankly, I'm not sure how I feel now.

Do you think the spot should have credited Kozydan? Do you think it should say "Inspired by Kozydan? but then should it really say "Inspired by Kozydan, who was inspired By Hokusai"?

First from Gizmodo:
Sony Bastards Ripped Off the Bunny Tsunami Ad

What the Hell. When I saw this morning's post on the awesome Sony Bravia Bunny Ad, featuring multi-hued rabbits climbing through a cityscape transforming into a tidalwave, I assumed it was the work of my favorite artists, the LA-based kozyndan. By my front door, I have a framed print of one of their limited edition NYC bunny panoramics, which I've put below. Aside from this, they're probably best known for reworking of Hokusai's "Great Wave off Kana gawa" with bunnies inserted in the place of the white wash, which was featured on a Giant Robot magazine cover. I was only half right about kozyndan's involvement with this Sony project, unfortunately. They were robbed: For pretty damning proof, watch the video, and read on.

Apparently, the Passion Pictures animation studio ripped off kozyndan's after requesting samples of their work and never called them back. Dan just wrote me an email about it to confirm that this is pretty much the story, at least from their side.

I hear this happens often in advertising, but that doesn't make it fucking right. I guess it's not Sony's fault, but they should at least get their money back or get Passion Pictures to give a fair chunk to the artists. I'm pissed and not sure what I, or anyone else can do about it. Thoughts? [Passion Pictures vs KozyNDan]

Then from Core77:

Will the Real Bunnies Please Stand Up?

Posted by: Michael Doyle on Friday, October 05 2007

Why does that new Bravia ad look so familiar? Oh, right... KozyNDan did it years ago.

Here's what they say:
Its hard to think that people at Passion Pictures did not have this early panoramic of ours in mind when they created this new spot for the SONY Bravia line.

To add insult to injury, someone from Passion Pictures contacted us almost two years ago asking to see samples of our work (including this panoramic) as they were interested in working with us. We sent them samples and then heard nothing from them ever again. (It should be noted though, that the more likely culprit is the ad firm who hired Passion Pictures, Fallon.)

Still, its a clever ad.

Related: the original Bunny Tsunami for Giant Robot

It's not like KozyNDan are so outside of mainstream media that nobody would eventually notice. I still love the ad, but this certainly takes some of the magic away. I've seen it happen so many times at big agencies - there is little regard for the line between inspiration and flat-out plagiarism, and often a complete lack of conscience or even understanding why it's wrong. (Some people call it "business", but psychiatrists call this kind of behavior "psychopathy".)

And comments from Kozyndan

So, what do you think?