Kvadrat Softs Cells at State Library Victoria
State Library Victoria (SLV) opened in February 1856 as a place of learning and discovery for all Victorians. It is Australia’s oldest public library, and the fourth most-visited library in the world. Since its opening, the SLV has grown to span an entire city block and to evolve to meet the changing needs of the community. It was recently refurbished by Architectus in collaboration with Danish firm Schmidt Hammer Lassen Architects as part of the library’s ambitious Vision 2020 project. This transformation renewed the library’s heritage spaces, created new spaces for children, teenagers and events, and provided additional public space for visitors, researchers and students.
With more people and amenity, comes more noise. The refurbishment required a method of sound absorption that would not disrupt the heritage structure or aesthetic of the SLV. Kvadrat Soft Cells Broadline panels provided a discreet solution with 267 square metres of acoustic panels integrated into the ceiling design of the Swanston Street Welcome Zone, Ian Potter Queen’s Hall and Isabella Fraser Room.
Swanston Street Welcome Zone is grand and inviting foyer and the library’s original entrance. Set within the illuminated coffered ceiling, Kvadrat Soft Cells Broadline panels are inconspicuous while absorbing the sound that reverberates from more than 5,000 visitors passing through the entrance each day.
A majestic Italianate marble staircase at the end of the foyer leads to the impressive Ian Potter Queen’s Hall. Open to the public for the first time since 2003, Ian Potter Queen’s Hall is now a reading room by day and event space by night. Acoustic panels edged with strip lighting provide illumination and noise absorption above the tables and bookshelves, and the plain colouration – to match the 1860s paint scheme – helps dramatise the original filigree-patterned skylights and gallery friezes.
The Isabella Fraser Room, accessed via a separate entry, is an opulent event venue with classical styling, coffered ceilings and herringbone parquetry floors. As throughout the SLV, the ceiling panels are upholstered with Kvadrat Mi Casa textile, achieving a class A sound absorption and a 0.95 NRC rating. The appointed contractor, LL Installations fixed the Soft Cells to the ceiling with magnets, a standard attachment method that minimises the penetrations required for installation, as well as the impact to the heritage-listed building.
Architectus and Schmidt Hammer Lassen’s renewal of the SLV has revealed and celebrated the history and architecture of the iconic building. Taking a light hand to the refurbishment, new insertions, such as the Soft Cells, are discreetly integrated into the architecture, respecting its historical legacy and significance.
Discover Kvadrat Soft Cells here
Latest innovations in knitted textiles from Kvadrat Febrik
Febrik, founded in 2013 by Renee Merckx and Jos Pelders, is a specialist in knitted textiles for a wide range of applications. Febrik’s knits complement the Kvadrat collection, which led to the two brands joining forces in 2018.
The Kvadrat Febrik collections are built on mutual expertise and visionary creativity, elevating each other and blending naturally together. They provide an immersive scale of structures, textures and patterns, ranging from discreet to dynamic, and are perfectly suited for layering colours.
Industrially knitted textiles are commonly used in clothing, however knitting is a relatively unexplored textile technique for upholstery. Recognising this potential opportunity, Febrik developed a special yarn and challenged the existing machinery to produce strong, durable knits that meet the requirements for interiors and furniture.
Australian and New Zealand wool
Febrik is made using the finest Australian and New Zealand wool, with the yarns spun and blended with synthetic fibres to achieve high pilling and abrasion results. Wool, however, is always the main fibre so as to preserve the material’s inherent properties of being easy to clean, resistant to flames and ecologically friendly.
Benefits of knitted textiles
The major benefit of Febrik’s knitted textiles is its natural stretch. This makes it ideal for creating smooth upholstery as the textile’s memory for its original state prevents it from sag.
Also of great benefit, the process of knitting allows different kinds of surfaces, patterns and three-dimensional effects to be created, adding texture and visual interest to furniture and wall panel applications.
Colours are as important as the look, feel and performance of the textile, and is a delicate process of careful curation. Each Febrik textile has a strong colour expression on its own, and work in perfect harmony with Kvadrat textiles to provide an evenly balanced palette.
Latest collection - Febrik Planum by Raw Color
Planum is a knitted upholstery textile with a refined woven expression and a smooth, soft surface. It comes in curiosity-inspiring colours crafted by Dutch Design Studio Raw Color.
Planum textile is constructed using a simple double-knit with a predominantly woollen surface, resulting in a subtle matt lustre and a natural, dry handle.
Raw Color took a collection of three-dimensional objects as a starting point for Planum’s versatile colour scale. The studio explored diverse directions and shades before selecting 21 tones from 350 hand-painted samples.
“We decided to develop the colour palette based on hand-painted swatches. This enabled us to create shades that are less expected and uncommon.” – Raw Color.
As a knitted textile, Planum features excellent stretchability, making it ideal for upholstering organic-shaped forms while minimising the number of seams. The textile combines well with the more voluminous, three-dimensional textiles in the Kvadrat Febrik collection, and is suitable for contract and private use.
Learn more about FEBRIK here.
Colline 2 by Frans Dijkmeijer with Giulio Ridolfo
Colline 2 is a three-dimensional upholstery textile designed by master weaver Frans Dijkmeijer, which has an intricate structure that stands out as a relief on its surface. Simple yet complex in construction, it comes in an updated colour scale created by Giulio Ridolfo.
The construction of Colline 2 – named after the French word for hill – reflects Frans Dijkmeijer’s many years of experimentation with materials and weaving structures. Characterised by pronounced depth and volume, it features an organic pattern of precise squares that play across its surface. Colline 2 is primarily made of wool which is anchored onto an acrylic base. During the textile’s innovative manufacturing process, the wool rises where it is not attached, whereas the acrylic shrinks.
The new palette by Giulio Ridolfo complements the textile’s dynamic yet understated expression. ”Colline is a masterwork from Frans. I aimed to create a scale that ranges from clearto obscure (light to dark), and added natural, earthy blended tones to it. As the colours came out of the loom, I immediately felt comfortable and happy with them. Just like climbing a ‘colline’ on a spring day).” Giulio Ridolfo
The late Frans Dijkmeijer is recognised as one of Europe’s finest weavers. He perceived materials, colours and textures as an organic whole, creating woven textiles which, despite technical complexity, radiate a logical simplicity. Intriguingly, he brought a scientific approach to his work – his studio was something of a laboratory.
Italian ‘colour master’ Giulio Ridolfo works as a colour advisor to many of the world’s leading interior, clothing and footwear companies. Drawing inspiration from diverse sources such as photography, art, and fashion, Ridolfo gathers images colours, patterns and textures and then combines these different elements and expressions until he creates something new.
Explore the full Colline 2 collection here
Maharam and Paul Smith's collaborative journey in textile design
British fashion designer Paul Smith approached Maharam in 2002 after seeing I Morosi alla Finestra exhibited at the Gio Ponti retrospective at the Design Museum in London. Attracted by the whimsy of the textile pattern designed by Gio Ponti in 1930, Smith proposed using I Morosi as a lining in his men’s jackets. Soon after, he adopted various Maharam archival textiles for shoes, hats and bags.
Having provided textiles to be used in the Paul Smith collection, Maharam invited the fashion designer to join a cadre of collaborators, including Andrée Putman, Hella Jongerius and Bruce Mau, and to focus his wit on the world of upholstery textiles. Referencing Paul Smith’s light-hearted take on traditional British tailoring, the 2003 introduction of Bespoke Stripe by Paul Smith marked the beginning of a long-term collaboration between the fashion designer and the Maharam Design Studio.
For nearly two decades, the relationship between Paul Smith and Maharam has grown to include nearly forty designs for application as upholstery, wallcovering, and Maharam Digital Projects along with collaborative projects, such as a partnership with Carl Hansen & Søn to celebrate the 100th anniversary of Hans J. Wegner’s birth. Paul Smith personally selected his favourite Wegner pieces, including the iconic Shell, Wishbone and Wing chairs, and upholstered them with Big Stripe and Stripes by Paul Smith for a limited-edition release. For a recent collaboration with Herman Miller, Paul Smith reimagined a collection of mid-century seating designed by Charles and Ray Eames, George Nelson and Ward Bennett with his own tailored, whimsical patterns.
When asked the secret behind the enduring creative exchange between Paul Smith and Maharam, Mary Murphy, Maharam’s Senior Vice President of Design, explained, “He’s just so exuberant, and he’s always got all these ideas going on constantly… I think he represents design being who you are; it’s not a career for him, it’s his life.”
According to Paul Smith: “I’ve been designing furniture fabric with Maharam for many years and I’m delighted that it’s been so well-received. It’s used in theatres, in cinemas and by a lot of famous design companies all over the world. I’m delighted to be able to choose furniture to apply the fabric onto.”
Building on eighteen years of collaboration between Maharam and Paul Smith, the arrival of the latest upholstery collaborations of Songbird and Wool Check demonstrate Paul Smith’s ability to modernise traditional references through imaginative applications of scale and colour.
Songbird is a spirited departure from Smith’s signature stripe. Beginning with a study of English botanical motifs from Smith’s personal collection, Songbird depicts a highly animated assortment of perched and singing finches within an arrangement of lilies, peonies and hibiscus. A senior member of the Maharam Design Studio synthesised the study as a hand-drawn pattern and that was specially woven to create the illusion of three dimensions. Graphic lines of alternating matte and lustrous yarns lend movement to the silhouetted fauna,
Wool Check takes a modern approach to traditional applications of plaid and is a return to Paul Smith’s signature exploration of colour. Guided by intricate tonal gradation, an expansive repeat of large-scale colour blocking emulates one of Smith’s designs for apparel, while emphasising painterly transitions between highly specialised tones such as rose, carob, petal, mulch and ginger within a single colourway. Wool Check is woven by a specialised resource in the United Kingdom, and makes use of rich woollen spun yarns, resulting in a rustic, warmly textured cloth that reinforces the pattern’s tailored origins.
Explore the complete Maharam Paul Smith collection here
Images of Paul Smith by Nick Ballon
Kvadrat / Raf Simons Upholstery Collection 2020
Since 2014, the collaboration between Kvadrat and fashion designer Raf Simons has brought a fresh sensibility to textiles for the home.
Drawing on his innate sense of style as well as wide-ranging interests in modern art, design, music, graphics and architecture, Raf Simons has developed a distinctive vision for the interior. His bold and sure-handed explorations of colour, texture and pattern have extended across an expanding suite of textiles and accessories created with Kvadrat. Harmonious colour themes – be they bold, muted or neutral – have built up across the range as it has evolved. Textiles from across the Kvadrat/Raf Simons collection can be used alongside one another to produce richly nuanced combinations within an interior scheme.
Distinctively textured designs include long fibred mohairs reminiscent of sheepskin, short pile velour, and soft irregular bouclés. Bright colours appear as highlights within flecked and thinly striped designs, as well as solid, single-colour textiles and in soft throws. Patterns range from bold stripes to subtle Pointillist-inspired dots. Cushions in a variety of sizes and textiles make it easy to achieve rich combinations of complementary and contrasting elements. Speaking of his collaboration with Kvadrat, Simons explains, “I was fascinated by how the colouration and weaving processes in fashion textiles don’t have the same limitations as those of furnishing textiles. Working with Kvadrat, we’ve been translating the subtle colouration and texture that you’d find perhaps in a tweed or bouclé into textiles suitable for use in furniture. Because of the dense weave that is needed for furniture, the colouration becomes even more interesting, with almost a painterly impact.”
VIEW THE COMPLETE RAF KVADRAT / RAF SIMONS COLLECTION HERE
ABOUT RAF SIMONS
Born in Belgium in 1968, Simons studied industrial design in Genk. Inspired by the work of designers such as Martin Margiela, he moved to Antwerp, where the head of the Fashion Department at the city’s Royal Academy encouraged him to start his own label without further study. Launched in 1995, Raf Simons menswear—informed both by classic tailoring and youth culture—had a huge impact on the style of the decade.
In 2005 Simons became artistic director of the Jil Sander label, which under his tenure became known for its vital, sophisticated modernism. In 2012 he was named creative director of Dior Women, a position that he held until late in 2015. During his time as Chief Creative Officer of American fashion label Calvin Klein from 2016 to 2018, he has been awarded Designer of the Year 2017 for both his Menswear and Womenswear collections and for his Womenswear collection in 2018. In April 2020, Raf Simons joined the Prada brand as Co-Creative Director, working in partnership with Miuccia Prada.
A passionate collector of contemporary art and modern design, Simons’ aesthetic is often informed by his admiration for art and he regularly engages in interdisciplinary collaborations.
New Model by Dowel Jones, in partnership with Kvadrat Maharam, presents 9 Hour Factory
Kvadrat Maharam Australia are excited to be supporting a new initiative by leading Australian design brand Dowel Jones for Melbourne Design Week 2020.
New Model by Dowel Jones, in partnership with Kvadrat Maharam, will present 9 Hour Factory, a one-day only live making bag and accessory installation as part of the design festival.
Visitors to the installation will be guided through fabric selection and fitting before watching while a customised bag or accessory is made in front of them from remnant Kvadrat Maharam textiles sourced from manufacturers and upholsterers across Melbourne.
New Model represents a new way of working. Established as an extension of Dowel Jones, New Model is interested primarily in utilising surplus, remnant and waste materials. With the majority of production utilising only these reclaimed materials, hyper-transparency of any new resources used is achieved as they are coloured fluorescent green.
9 Hour Factory bookings take approximately one hour and include two stages:
Choose a 1 Hour Bag or accessory, select fabric from a broad range of Kvadrat Maharam textiles, then customise the handle length to suit your needs.
Watch as our team of sewers and cutters construct your bag while you wait; you’ll walk away on the day with your own truly unique piece.
The New Model project is a new initiative by Dowel Jones in collaboration with Soft Serve Studio, which aims to produce interior pieces made entirely from remnant and waste materials.
For more information please click here
Kvadrat Remix 3 by Giulio Ridolfo
Remix 3 is an elegant upholstery textile distinguished by exceptional depth of colour, designed by Giulio Ridolfo. It comes in 23 new hues, adding to an already expansive palette which now offers a total of 72 sophisticated colourways.
Remix 3 looks unicoloured from a distance but reveals subtle details and colour contrasts when viewed close-up. The textile features a tight, minimalistic weave, and derives its lively colour play from a combination of two different mélange yarns, which each combine up to three hues.
The new colours – carefully selected from 2600 samples– are inspired by an extensive study of traditional Indigo dyeing undertaken by Giulio Ridolfo on his travels. Centred around deep combinations of blues and rich natural reds, they also include subtly coloured neutrals.
Giulio Ridolfo: “Intuition, knowledge and respect for mother nature were key for the process of dyeing with natural Indigo. The only way to translate this into Western organised dyeing processes was by working on a reduced but resonating colour range of yarns, on a scale from red to blue. Working on this was a wonderful journey, during which the essential yarn of Remix was fundamental for creating the desired shades of blue and other naturals.”
Versatile Remix 3 is suitable for both contract and private use. It is very durable and, as a result, offers a long-life span. Furthermore, it has a high content of renewable fibres and is certified according to the EU Ecolabel. It is appropriate for those looking for a textile with a reduced environmental impact; for instance, architects or interior designers working with LEED-certified buildings.
Explore Remix 3 here
Songbird and Wool Check by Paul Smith
Introducing Songbird and Wool Check, two upholstery textiles designed by Paul Smith in collaboration with Maharam. Alternating between classical motifs and large-scale geometry, both textiles demonstrate Paul Smith’s ability to modernize traditional references through imaginative applications of scale and color.
A spirited departure from Paul Smith’s signature stripe, Songbird depicts a highly animated assortment of perched and singing finches within an arrangement of lilies, peonies, and hibiscus. What began as a study of English botanical motifs from Smith’s personal collection was synthesized as a hand-drawn pattern by a senior member of the Maharam Design Studio. Specially woven to create the illusion of three dimensions, graphic lines of alternating matte and lustrous yarns lend movement to silhouetted fauna while unexpected tones of walnut, jade, bronze, and celery underscore Songbird’s modern invocation of traditional references.
A return to Paul Smith’s signature exploration of color, Wool Check takes a modern approach to traditional applications of plaid. Guided by intricate tonal gradation, an expansive repeat of large-scale color blocking emulates one of Smith’s designs for apparel while emphasizing painterly transitions between highly specialized tones such as rose, carob, petal, mulch and ginger within a single colorway. Woven by a specialized resource in the United Kingdom, Wool Check makes use of rich woolen spun yarns, resulting in a rustic, warmly textured cloth that reinforces the pattern’s tailored origins. Wool Check will also be available as a fringed throw in three colors.
About Paul Smith
Paul Smith’s ability to combine a flair for eccentric detail with a dedication to the highest standards of craftsmanship has made him among the most successful fashion designers in British history. In business for over forty years, Smith continues to be an integral part of every aspect of the company as both chairman and designer, producing collections sold in over seventy countries worldwide. With an enthusiasm for wide-ranging cultural references and idiosyncratic combinations of pattern and color, applied with understatement, Paul Smith expresses a truly contemporary aesthetic.
Kvadrat Maharam supports Helen Kontouris for NGV Great Hall
Kvadrat Maharam Australia are proud to be supporting leading Australian furniture designer Helen Kontouris and the National Gallery of Victoria to provide upholstery textiles for seating in the Great Hall.
NGV's Great Hall is a vast and expansive space with a stained glass ceiling measuring 60m in length (the largest in the Southern Hemisphere) created by Leonard French in 1968. This stunning space combined with a simple childs toy would form the inspiration for Kontouris' Bauhaus Seating System.
"After receiving the commission, I recall laying down on the floor in the Great Hall, which is a common sight with visitors, to absorb the entirety of the stained glass ceiling. I laid there thinking about the intricacies of the stained glass and how beautiful the rich colours of red, blue, purple, and yellow were against the thick black linework traversing across the glass ceiling, as well as the simple square, circle, and triangular forms".
"When I returned to the office, I opened a box set of timber blocks I would spend hours playing with as a child," recalls Kontouris. "They were painted in gorgeous tones of green, orange, red, yellow, and blue, and I would sit and create small wooden buildings and furniture with them for hours at a time. As I grew older, this set of wooden blocks would go with me wherever I moved, never letting them go or understanding why they meant so much to me and why I wouldn't part with them.
"Then I discovered that these simple timber blocks were the creation of Alma Seidhoff-Buscher, a graduate of the Bauhaus movement, and created for children to explore."
"Inspired by the thick line work in the NGV's Great Hall stained glass ceiling and the simplicity of form from Seidhoff-Buscher's Bauhaus building blocks, I imagined somewhat mirroring the ceiling and bringing the Bauhaus graphic line work and shapes to life within the space.
All the elements of the Bauhaus collection are characterised by their compact, gently curved, visually bold, and soft quilted forms, creating a sophisticated variety of configurations. The diverse palette of seating includes the addition of intersections of lines expressing a graphic dimension to the collection to suit a flexible and inviting range, ideally suited to small or vast open-plan interior spaces.
Slow and careful consideration of every design detail brings together the masterfully stitched detailing and plump, luxurious foam densities, creating a refined and richly textured dimension to the collection.
Representing dedication and patience with a strong return to skilled craftsmanship, each seating element comes together cohesively and fluidly.
Bauhaus sees creativity at its foundation with the freedom to explore singular or multiple compositions, creating asymmetrical, irregular forms, linear arrangements, or curved formations, encouraging reconfiguration of seating elements defining the needs of a space. Each seating model has been carefully designed to blend contrasting and complementary combinations to support either private or social areas within a shared space.
Helen Kontouris partnered with Kvadrat Maharam to select a range of textiles from their Febrik Husk, Maharam Messenger, Kvadrat Steelcut Trio, Kvadrat Canvas and Kvadrat Rime collections.
Speaking of the Kvadrat Maharam Collection Kontouris added "We selected Kvadrat Maharam textiles for this project because of the diversity within the collection's vibrant colour palettes and richness in varying textures. It enabled us to bring together a cohesive textile selection, referencing the colours of the Bauhaus movement and the brilliant saturation of stained glass colours in the ceiling of the Great Hall."
The Bauhaus collection is manufactured in Australia by Len www.lenfurniture.com
New Maharam Leathers
Maharam is broadening its collection and celebrating the beauty and inherent variation of leather returned to a natural state.
Each of the new Maharam leathers is processed by family-owned tanneries in Northern Italy and Spain to bring forth unique characteristics using specialized techniques that have been refined for generations.
Sourced from the top five percent of all upholstery hides available globally, the six new additions, Stow, Brush, Seal, Balm, Press and Source reflect minimal processing while complementing the collection’s expansive breadth of texture and 200 colors.
Broached Goulder furniture collection at Kvadrat Maharam
Broached Goulder is a collection of limited-edition furniture that recounts, through artisanal making, a deep connection between a fourth-generation Australian furniture maker and the generations that came before him.
As a young teenager, Jon Goulder did not hesitate to leave school in Bowral and join his family in the factory in Mittagong, New South Wales. By twenty, Jon had lovingly embraced his grandfather’s, father’s and uncle’s tuition. Yet, standing at the benches with three generations of Goulder furniture makers, he realised no career was to be had - not a passionate and enjoyable one - reupholstering broken down Victorian antiques.
Jon trained at the Canberra School of Art under the late George Ingham. His adult aesthetic sensibilities were forged during this period. The beaten-up Victorian chaise lounges were pushed to the corners of his creative consciousness, never to be returned to until now. Broached Goulder is a synthesis of technical innovation with traditional techniques, such as upholstering using coconut fibre and hessian. The result is a collection that combines deep memory with Jon’s contemporary practice, defined by a passion for testing the boundaries of hand-crafted form.
Whilst Jon abandoned the idea of growing the family business, or one resembling it, he maintained fidelity with the artisanship inherent in the Goulder line. His practice is defined by an obsessive drive of one-upmanship; against the CNC machine, against the hacks amongst his peers and indeed a few in the Goulder line, but most importantly against his own heightened fear of mediocrity. Jon is propelled by a deeply personal and professional perspective to make every piece a step forward in craftsmanship. Water formed Maharam leather and hand-carved timber are two elements that define the bespoke qualities of this collection. Broached Goulder provides a unique opportunity for Broached to trace the trajectory of Australian furniture manufacturing through the unusual intergenerational experience of one highly skilled furniture maker.
To kickstart the research and design development process, Broached asked Goulder a series of questions; what does it mean to be a fourth-generation maker if you are making in a totally different way? What is the burden of inheritance? When working in a workshop filled with men, what was learnt from your mother?
Jon’s mother believed in the primary importance of education. Having faith in this belief enabled Jon to leave the workshop but not the practice, to find an intellectual purpose for his practice - at Canberra School of Art - to ensure the Goulder capability was continued, even if entirely reinvented.
How to recreate the memories of childhood without representing the forms that so repelled Jon, was a central question of the design development process. The woven panels of the Credenza and woven Maharam leather upholstery of the Chaise Lounge, by prolific textile artist Liz Williamson, represent the memory of all the fabrics that hung along the walls of the Goulder workshop. The Maharam leather in the collection has been supplied by Kvadrat Maharam and has been used in highly complex and varied ways: as woven pieces to form the intricate sliding doors of the credenza and the chaise lounge, then as a robust water formed skin backing a standing-mirror and finally as a laminated structural form in the console.
This collection is a highly personal reflection by a mid-career designer-maker, at the peak of his powers, on the starting point of his practice. Broached Goulder is the man reconnecting with the boy from Bowral.
Kvadrat Maharam Australia are a major supporter of Broached Goulder and were honoured to be able to host the 2019 exhibition in our Sydney Showroom.
Discover more about Broached Commissions here
Discover more about Jon Goulder here
Kvadrat Maharam x DesignByThem
Kvadrat Maharam Australia are happy to announce our new partnership with leading Australian design house DesignByThem.
With collaborative and informative design at the core of both companies, the partnership presents new design opportunities and welcomes broader avenues for the global specification of DesignByThem furniture which is now available in a selected collection of Kvadrat Maharam textiles as standard.
"We’ve long been admirers of Kvadrat and Maharam’s approach to design, craftsmanship and sustainability. We admire their stewardship of design and their inclusivity of other creative disciplines. Kvadrat Maharam products have been specified in our designs for some time and it’s exciting to get to work even closer with them on our upcoming upholstered collections." - Nicholas Karlovasitis & Sarah Gibson, DBT Co-Directors & Founders.
Established in 2007, DesignByThem was founded by industrial designers Sarah Gibson and Nicholas Karlovasitis. The design house is run by designers who are dedicated to creating and producing unique, original designs for industry professionals and enthusiasts worldwide. Characterised by its unique Australian perspective and distinct playfulness, DesignByThem pride themselves on being informative, forward-thinking, timeless and authentic.
Learn more about Australian design house DesignByThem
Paul Smith and Maharam for Herman Miller Collection
In collaboration since 2002, Paul Smith and Maharam have generated a vibrant range of textiles that translate traditional suiting concepts to interiors: reinterpreting quintessential apparel motifs like houndstooth, plaid, polka dots, and stripes through idiosyncratic combinations of color. Now the two entities are partnering on an exclusive assortment of iconic pieces from the Herman Miller Collection that give new meaning to Smith’s “classics with a twist” approach. Launching at Herman Miller’s Tokyo flagship store on October 1, an exhibit will showcase this concise selection of midcentury designs reimagined by Smith in alternately tailored, whimsical, and artful textiles.
Among the five pieces are three instantly recognizable styles by Charles and Ray Eames, including the Eames Sofa Compact, which originated in the 1940s as a built-in design for the Eameses’ own Pacific Palisades home. The current freestanding version, which is perfectly scaled for small spaces but still comfortably seats three, has been in continuous production since 1954. Its sleek, rectilinear frame now provides an ideal canvas for Smith’s latest textile, Blended Stripe, an uninterrupted ombre that pairs light neutrals with cool shades of turquoise, cobalt and navy blue. A fusion of pattern
and texture, Blended Stripe is woven in a dense cotton epinglé construction that’s notable for its fine loops, low pile, matte finish, and cool hand.
The Eames Molded Plywood Chair is well known for using the same innovative technology pioneered by the Eameses during World War II. (Commissioned by the US Navy, they developed lightweight plywood splints, stretchers and glider shells formed by heat and pressure.) After the war, this same technology was applied to making high-quality chairs that could be affordably mass-produced. Sculpted to support the human body, the Eames Molded Plywood Chair is suitable for homes and businesses alike. Here its slim profile is enhanced by an application of Mingled Plaid by Paul Smith. A spacious windowpane plaid woven of worsted wool, Mingled Plaid’s dove gray ground lifts the chair’s white ash frame while injections of citron and magenta introduce a modern, fashion-forward take on Scottish heritage.
Similarly, the Eames Molded Plastic Chair with a chrome Eiffel Tower base gets a graphic revamp courtesy of Dots by Paul Smith. Based on a woven silk necktie featured in his Spring/Summer 2017 menswear collection, Dots juxtaposes a miniature houndstooth with a bold polka dot rendered in lustrous mercerized cotton, yielding material contrast and a deep sense of overlaid space. This distinctly playful yet understated design underscores Smith’s and the Eameses’ shared penchant for practical, adaptable designs infused with an undeniable sense of curiosity and fun. The Molded Plastic Chair’s single-shell form, (originally manufactured in fiberglass in 1950), epitomizes the Eames tenet, “the best for the most for the least.”
Conversely, the Envelope Chair, designed by Ward Bennett in 1966 and now manufactured by Geiger, is all business in Bespoke Stripe by Paul Smith. The Envelope’s minimal, welded tubular steel frame is tautly wrapped by Smith’s first joint effort with Maharam. Designed in 2003, Bespoke Stripe embeds ribbons of color within a classic menswear pinstripe. Featuring a smooth worsted wool construction that’s just heavier than suiting weight, Bespoke Stripe is woven in the United Kingdom. The sporadic placement of stripes across the textile’s full width allows for, in the bespoke tradition, the opportunity to customize how fabric meets furniture.
The concept of enabling uniqueness—often seen in unexpected or hidden details throughout the clothing he designs—is captured in the application of Smith’s Herringbone Stripe to George Nelson’s whimsical Marshmallow Sofa (1956). Composed of eighteen separate cushions that appear to float on a steel frame, the Marshmallow makes a statement in any setting. Herringbone Stripe continues the theme of men’s haberdashery with a toothy wool herringbone providing a textural foil for colorful bands of lustrous sateen. Vivid continuous and intermittent stripes are positioned at random intervals, creating a formal yet spirited effect.
The collaboration between Paul Smith and Maharam began in 2002 after Smith discovered I Morosi alla Finestra (The Lovers at the Window) at a Gio Ponti retrospective at the Design Museum in London. (Designed in 1930, this finely woven, figurative silk window covering was reissued by Maharam in 2002 as part of its ongoing Textiles of the 20th Century™ collection.) Smith’s request to repurpose I Morosi alla Finestra as a jacket lining was met with a reciprocal invitation to design a textile of his own. Since then, Paul Smith and the Maharam Design Studio have produced more than twenty-five imaginative textiles for seating and wallcovering alike—from a plethora of inimitable signature stripes to a series of photorealistic game-themed prints. When asked the secret behind their enduring creative exchange, Mary Murphy, Maharam’s senior vice president of design, explains “He’s just so exuberant, and he’s always got all these ideas going on constantly.” She continues, “I think he represents design being who you are; it’s not a career for him, it’s his life.”
According to Paul Smith: “I’ve been designing furniture fabric with Maharam for many years and I’m delighted that it’s been so well-received. It’s used in theatres, in cinemas and by a lot of famous design companies all over the world. I’m delighted to be able to choose furniture to apply the fabric onto. To see the Paul Smith and Maharam designs on some of Herman Miller’s most iconic pieces like the Eames Chairs and the Nelson Marshmallow Sofa is an absolute honor.”
Says Ben Matsuzaki, managing director of Herman Miller Japan: “I am very excited to launch the new Maharam upholstered furniture pieces today in our Herman Miller Store Tokyo. These beautiful and original textiles have been brought to life by Maharam in collaboration with Paul Smith. Touching the fabric and sitting on the chairs, you will find exceptional craftmanship and quality. I hope these special collection pieces will be able to enrich the lives of our customers.”
A storewide installation celebrating Paul Smith and Maharam for Herman Miller Collection will be on view at Herman Miller’s Tokyo flagship until October 21.
About Herman Miller
Herman Miller is a globally recognized provider of furnishings and related technologies and services. Headquartered in West Michigan, the 113-year-old company has relied on innovative design to solve problems wherever people work, live, learn, and heal. With recognizable designs as part of museum collections worldwide, Herman Miller is a past recipient of the Smithsonian Institution’s Cooper Hewitt National Design Award and has been ranked number one on Contract magazine’s list of “Brands that Inspire” for four straight years. Known and respected for its leadership in corporate social responsibility, Herman Miller has earned numerous global sustainability and inclusivity awards including the Human Rights Foundation’s top rating in its Corporate Equality Index for 11 years in a row.
Founded in 1902, Maharam is North America’s leading creator of textiles for commercial and residential interiors. Recognized for its rigorous and holistic commitment to design, Maharam embraces a range of disciplines from product, graphic, and digital design to art and architecture. Maharam textiles are included in the permanent collections of the Art Institute of Chicago, the Museum of Modern Art, and the Stedelijk Museum, among others. Maharam is the recipient of the Cooper Hewitt, Smithsonian Design Museum Design Patron Award (2007) for its longstanding support of design and cultural initiatives.
About Paul Smith
Sir Paul Smith is one of Britain’s foremost designers. He is renowned for his creative spirit, which combines tradition and modernity. Famous for its clothing and accessories collections, Paul Smith specializes in an inventive use of traditional craftsmanship and cutting-edge design to create beautifully made, desirable, modern pieces. Paul Smith is loved across the world. From its origins in one small shop in Nottingham, England, in 1970, Paul Smith has grown into a global business, selling in over seventy countries. Starting with one men’s collection, the business now comprises collections for men, women and children, including, shoes, accessories, fragrance and home furnishings. Throughout its development Paul Smith’s values of curiosity, quality and authenticity have remained constant.
Image source: Herman Miller Asia Pacific
Cleveland Clinic - Joined-up learning
Foster + Partners have specified Soft Cells panels throughout the Samson Pavilion in Ohio, which is designed for Case Western Reserve University and Cleveland Clinic. A new vision for a health pavilion, this looks to the future of integrated, interactive health education.
Most of the Soft Cells panels in the building are installed in the roof trusses above the spacious Delos M. Cosgrove courtyard. Triangular and upholstered in Toto, they deliver an acoustic environment that facilitates collaboration.
The roof trusses are pitched to let snow slide off the glass and onto the solid infill roof around the courtyard. Shading is provided by the truss cladding, which allows more light around the perimeter circulation spaces.
Soft Cells panels are also installed in the ceilings of classrooms, auditoriums, corridors and social spaces throughout the pavilion. By enhancing the intelligibility of speech and minimising noise, they support learning and cooperation.
The new pavilion, a multidisciplinary four-story building, brings together the previously separate dental, nursing, university, and Cleveland Clinic Lerner College, medical education programs. Focused on creating better healthcare for all, it provides an environment where students can learn together and inspire each other.
Foster + Partners
1440 triangular Soft Cells Broadline panels, upholstered in Toto, in atrium roof.
Variety of different sized Soft Cells panels, upholstered in Haze, installed in the ceilings of classrooms, offices, corridors, auditoriums and social spaces.
Additional project facts
Acoustics: Soft Cells panels performs according to Class A as per ISO 11654/EN ISO 354
Flammability: the Soft Cells panels perform according to ASTM E84
Imagery by Mark Wayner
Assembled Check by Paul Smith
Maharam introduces Assembled Check, designed by Paul Smith in collaboration with the Maharam Design Studio.
Since 2002, Paul Smith has worked with Maharam to transform traditional apparel references into new classics—or as Smith describes them, “classics with a twist”. In keeping with that approach, Assembled Check is based on a printed silk blouse from Smith’s SS15 Black Label women’s collection, which drew upon the sun-soaked shades and art-deco architecture of Miami. The concept emerged from one of Maharam’s two annual design meetings at Paul Smith’s London offices and developed over a transatlantic exchange of woven prototypes supported by close email contact.
While Houndstooth (2015) was also lifted directly from the runway, Assembled Check required a technical feat in order to successfully translate its complex and vibrant pattern into a jacquard-woven, upholstery textile. A layered patchwork of colorful horizontal and vertical bars made dimensional through highlight and shadow, Assembled Check is woven in Germany by the same resource that manufactures such intricate and highly specialized designs as Bavaria by Studio Job and the Maharam Design Studio’s Massive Paisley. In the end, Assembled Check surpasses its predecessors as the most densely woven textile the resource has ever produced, with over 350 picks per inch as five-to-six weft colors alternate throughout its 20.75" h x 28" w repeat. While fine cotton yarn offers a soft hand and subdued luster enhanced by a calendered finish, a tapestry construction of tight rib and twill weaves provides graphic precision and clear color.
Color 004 closely interprets the pastel shades of the original print: with seafoam, peach, lilac, and pale pink offset by chartreuse and true blue. The rest of the palette expands upon this template, finding balance in manifold warm and cool tones intermixing—with combinations like rust and slate, crimson and goldenrod, Kelly green and aqua, burnt sienna and cobalt— all driven by Paul Smith’s unique sense of color.
This is the eleventh woven textile, and the first check, that Paul Smith has created in collaboration with Maharam. A new interpretation of a classic plaid will follow in early 2017.
About Paul Smith
Paul Smith’s ability to combine a flair for eccentric detail with a dedication to the highest standards of craftsmanship has made him among the most successful fashion designers in British history. In business for over forty years, Smith continues to be an integral part of every aspect of the company as both chairman and designer, producing 14 collections sold in 66 countries worldwide. With an enthusiasm for wide-ranging cultural references and idiosyncratic combinations of pattern and color, applied with under- statement, Paul Smith expresses a truly contemporary aesthetic.
Patrik Ervell features Maharam in his FW17 collection
During his New York Fashion Week show, menswear designer Patrik Ervell presented his FW17 collection featuring Maharam leather Hue and textiles Mohair Extreme, Wool Veiling, Ledger and Aria. Our partnership with Patrik Ervell began in spring 2015 and this is his fifth consecutive collection incorporating a prominent assortment of Maharam textiles.
According to Patrik, the collection takes inspiration from “various early 90’s dance subcultures” as the “last moment possible for an authentic subculture to exist” before the post-internet era. Studying the “intersection of the underground and the future,” Patrik presented 23 looks with a focus on outerwear.
You can see more of Patrik's collection here
Maharam introduces Margin, Interval and Ambit to its rug collection
Maharam is expanding its rug offering with an inaugural collection of high-traffic rugs designed in-house. A first for the Maharam Design Studio, Margin, Interval, and Ambit join an existing collection of rugs that are either designed in collaboration with Paola Lenti or created by Danskina, the Dutch rug company co-owned by Kvadrat and Maharam that is now under the creative direction of Hella Jongerius. Woven domestically on specialty velvet looms, these three styles balance warm, personalized details with a modern, architectural aesthetic. Furthermore, with the ability to be configured to any size or section of the repeat, Margin, Interval, and Ambit have vast potential for customization. In reimagining a typically anonymous contract product through customization and elevated materials and colors, this initial grouping reflects the Maharam Design Studio’s belief that every product category should fuse utility with luxury and innovation.
Margin, Interval, and Ambit are tailored surfaces composed of substantial New Zealand wool: a material selected for its exceptional aesthetic and performance attributes. Margin’s large, 12' repeat offers a progression of crisp pinstripes across a refined, low-pile epingle surface. Richly heathered grounds in a range of menswear neutrals offset slim infusions of coral, charcoal, mandarin, and turquoise. Interval, on the other hand, features densely arranged vertical stripes in a spectrum of colors that shift across horizontal bands of uncut loops. Anchoring ambient, blended color to the floor, Interval balances warm and cool neutrals with unexpected shades of mauve, cadmium, lemon, blush, and lapis. The loftiest of the three, Ambit is a multicolor gradient overlain with horizontal stripes of contrasting loops. Underscored by a warm, earthy palette, Ambit’s 6' repeat appears as a lively wash of color from afar.
Serving as refined visual anchors to demarcate a range of interior settings, all three designs reflect the Maharam Design Studio’s desire to innovate along with a careful consideration of intended use. Engineered for versatility and performance, Margin, Interval, and Ambit’s color direction is largely appropriate for broad application but borrows unexpected heathered neutrals or nuanced organic tones typically found in fashion and residential design. While industrially produced, each design references the personalization of artisanal production in the placement of irregular wool loops, lofty, fibrous pile, and neutral cotton-bound borders. Pre-inventoried, the rugs can be ordered with a two-week lead time.
View the full Margin collection here
View the full Ambit collection here
View the full Interval collection here
Maharam Stories was born in 2012 from the need to create a compelling, visual landing page for the newly redesigned maharam.com. Avoiding the typical promotional gambit, Maharam took this opportunity to develop a space for original editorial content that could entertain and inform both clients and non-clients alike.
After three years, Maharam has amassed nearly two-hundred Stories from a broad cross-section of cultural observers. This evolving roster includes Hans-Ulrich Obrist, John Maeda, Murray Moss, John Pawson, Alice Rawsthorn, Michael Rock, Stefan Sagmeister, among others. Content is wide ranging, reflecting both the curiosities of its contributors and the diversity and breadth of Maharam’s own activities.
“Of course one could say it’s merely a blog, but we seek to elevate Stories through the choice of those who participate, the freedom of expression we permit them to pursue, and the quality and thoughtfulness of imagery and production,” says Michael Maharam.
This freedom is evident in the range of topics from Felix Burrichter’s series of favorite floors to Alice Rawsthorn’s musings on a nineteenth-century Viennese chocolate shop designed by Josef Hoffmann to Travis Boyer’s observations of an online sweater dealer with a mohair fetish. The strong imagery and five-hundred word format lends itself to print, and a book was an obvious next step.
The publication also gave Maharam a chance to work with a longtime friend, Dutch book designer Irma Boom. Known for her inventive and irreverent object-like books, Boom constructed the physical Maharam Stories as a series of folded pages that conceal and reveal each text in a rigorous yet playful manner. Printed in Italy, the full-color images and cobalt blue type are positioned thoughtfully to elicit exploration and discovery.
Maharam Stories was be published by Skira Rizzoli on July 14, 2015. It is the fourth book Maharam has directed in recent years, after Reproducing Scholten & Baijings (Phaidon, 2015), Irving Harper Works In Paper (Skira Rizzoli, 2012), and Maharam Agenda (Lars Müller, 2011).
For more, visit the Maharam website.
Mansur Gavriel Spring/Summer 2016
For Spring / Summer 2016, Mansur Gavriel is broadening its material palette with several Maharam textiles designed by Alexander Girard.
Departing from classic leather, Mansur Gavriel’s decision to bring these textiles back into fashion again speaks to the enduring power of Alexander Girard’s vision. Designed over a sixteen-year period spanning the 1950s and 60s, Lanalux, Mikado and Toostripe now accentuate four bags set to debut on September 14th at the Swiss Institute in SoHo. The new styles – including a flat, moon and volume clutch as well as a circle bag – will adorn models dressed in one-off garments made from the same materials as part of the label’s first official New York Fashion Week presentation. This limited-edition capsule collection will be available exclusively at Bergdorf Goodman in February.
Maharam has re-editioned twenty Girard designs to date as part of its ongoing Textiles of the 20th Century™ series. Dedicated to faithfully reissuing the work of great multidisciplinary designers past, the series connects multiple design movements—from the Wiener Werkstätte to the Bauhaus to midcentury modernism and beyond—through the designs of Anni Albers, Charles and Ray Eames, Verner Panton, and Gio Ponti, among others.
Interestingly, Girard’s textiles are among the most challenging to reissue as his command of the medium favored complex constructions and techniques, an intensity and variety of color, and unusual yarns. To ensure an accurate re-edition, Maharam works closely with Girard Studio, which was founded by the Girard family to preserve and promote the archive and design legacy of Alexander Girard.
Lanalux (1970) uses a three-ply fine micron wool yarn to achieve a rich homespun texture, Mikado (1954) features a stylized floral motif set against a bold checkerboard background, and Toostripe (1965) emphasizes graphic chromatic vibration. Collectively, these three textiles represent the breadth and diversity of Girard’s oeuvre. A highly prolific designer who was unhampered by contemporary dictums of style and taste, Girard produced over 300 textiles during his twenty-one years as the founding design director of Herman Miller’s textile division. The resulting body of work is staggering not only in sheer volume and creativity, but due to its fundamental qualities of beauty and usefulness, remains relevant today.
Bright Grid, Bright Angle, and Bright Cube by Scholten & Baijings
Bright Grid, Bright Angle, and Bright Cube are second in a series of products designed by Scholten & Baijings in collaboration with Maharam. Drawing upon Scholten & Baijings’ distinct visual language, the three Bright textiles epitomize the designers’ keen sense of color and singular approach to refined geometric patterning.
As with Blocks and Grid (2014), the essence of the Bright grouping lies in the inherent possibilities for combination and variation. With a unified palette of five colors apiece, the three textiles are designed to be used in tandem and to form new geometric relationships when combined. The patterns progress from a basic grid to a more complex formation: Bright Grid offers rigorous simplicity, Bright Angle cascades in an endless rhythm of obliquely bisected rectangles, and Bright Cube achieves layered depth through optical perspective. Rendered in a fluorescent spectrum of specially dyed nylon yarns developed with the Maharam Design Studio’s oversight, the patterns effectively map the three-dimensional forms to which they’re applied. The subtle textural contrast of lustrous nylon yarns against a matte cotton ground further enhances the sharp geometry and clear color story.
Stefan Scholten and Carole Baijings founded Scholten & Baijings, Studio for Design, in Amsterdam in 2000. They move fluidly between art and design, and artisanal and industrial processes, to create a visually arresting body of work. Among their many clients are 1616 / Arita Japan, BMW Group/MINI, Established & Sons, Thomas Eyck, HAY, IKEA, Georg Jensen, Karimoku New Standard, and Moooi. Both their commissioned and independent work is collected and exhibited worldwide. They were awarded the ELLE Decoration International Design Award (EDIDA) for Young Designer Talent in 2011 and have twice been nominated for the Wallpaper* Designer of the Year Award (2011/2015). The studio’s first monograph, Reproducing Scholten & Baijings, published by Phaidon in February 2015, was written by Louise Schouwenberg, designed by Joost Grootens, and directed by Maharam.
For more, visit the Maharam website.
Florian Hecker's Formulation
As one of four artists shortlisted for this year’s edition of the prestigious Prize of the Nationalgalerie, Florian Hecker has included Kvadrat Soft Cells in his work Formulation, where he dramatizes space with sound pieces.
Across the two exhibition halls housing Hecker’s installation, 143 m² Soft Cells panels cover the tall walls to create a textured, yet uniform surface. The acoustic effect of the panels is just as important to the work as it contributes to the play between the sound system and the sound-absorbing and – directing walls.
11 September 2015 – 17 January 2016
Hamburger Bahnhof Museum für Gegenwart Invalidenstraße 50 – 51
DE – 10557 Berlin
Tuesday, Wednesday, Friday 10.00 – 18.00
Thursday, 10.00 – 20.00
Saturday – Sunday, 11.00 – 18.00
For more, visit the Kvadrat website.
Umami, Umami 2 and Umami 3 designed by Louise Sigvardt
Umami is a durable upholstery fabric designed by Louise Sigvardt, which comes in three vibrant yet calm expressions.
Named after the fifth primary taste, all the versions of Umami are made from wool. Each is constructed with a different weaving method and, as result, has a distinctive surface structure.
Louise Sigvardt: ‘With Umami I wanted to create textiles, which reflect how we choose a piece of clothing. The colours are inspired by Scandinavian nature and the nuanced palettes of Danish artist Vilhelm Hammershøi.’
Thanks to its hardwearing material composition, Umami is well-suited to contract environments.
For more, visit the Kvadrat website.
HJ Bag by Hella Jongerius
The idea of dressing and the underlying layers that are accidentally or intentionally revealed provided the initial concept for the HJ bag by Hella Jongerius. From there, a continual process of revision and refinement unfolded from 2006 on, with occasional returns to the drawing board. Ultimately, the Dutch designer landed on a simple and functional unisex shoulder bag for daily use, without forsaking her signature craft-like details. In her words, “The shape of the bag is archetypical and pragmatic. Sturdy on the outside but with a hidden treasure inside, only visible for the user.”
The first bag by Hella Jongerius, the HJ joins designs by Konstantin Grcic, Jasper Morrison and Klaartje Martens as the cornerstone of Maharam’s accessories collection. Developed in response to a brief that asked the designers to create bags that they would like to use, the collection is available through maharam.com and select retailers.
For more, visit the Maharam website.
To the Son of Man Who Ate the Scroll by Goshka Macuga
Fondazione Prada presents the exhibition To the Son of Man Who Ate the Scroll by Goshka Macuga in Milan from 4 February to 19 June 2016 in the spaces of the Podium, the Cisterna and the Sud gallery. The project was conceived and designed by Goshka Macuga whose artistic practice is often referred to as taking on the roles of an artist, curator, collector, researcher and exhibition designer.
To the Son of Man Who Ate the Scroll, developed by the artist for Fondazione Prada’s spaces, brings together reflections on seminal issues such as time, beginnings and endings, collapse and renewal. Observing humanity’s concern with the conclusion of mankind, Macuga poses a fundamental question: how important is it to address the question of “the end” in the context of contemporary art practice?
Goshka Macuga’s new work, titled ‘Negotiation sites’ after Saburo Murakami, has been realised in collaboration with Kvadrat.
Largo Isarco 2
4 February 2016 to 19 June 2016
For more, visit the Kvadrat website.
Casita and Mi Casa by Cristian Zuzunaga
Mi Casa and Casita come in a range of natural colours which incorporate hints of bolder notes, gentle greens and intense blues. The palette for the curtains is inspired by the beauty of the Catalonian landscape.
As Mi Casa and Casita are made of flame retardant Trevira CS, they are well-suited to contract environments. They also work well with other textiles, in particular Casa and Castillo also designed by Cristian Zuzunaga.
The innovative work of Cristian Zuzunaga stands out for its use of colour, which is, in part, a reaction to the fact that many of us inhabit a world of black, white and grey. His designs explore colour as a means to ‘drive interaction between individuals and their surroundings, evoke emotions, and counterbalance negative ways of seeing and thinking’.
A firm believer in the power of collaboration, Christian Zuzunaga has worked with leading international brands including Danskina, Kvadrat, Faberge, Moroso and Ligne Roset. His work is regularly published and exhibited around the world.
For more, visit the Kvadrat website.
Danskina now available in Australia and New Zealand
The finest interior designs can now be shaped from the ground up, thanks to the world-renowned rugs of Danskina. These exclusive, handmade and made-to-order rugs bring the highest level of distinction to interior spaces and are now available in Australia and New Zealand
Founded in the Netherlands in 1973 by Piet and Ina Van Eiijken, Danskina soon gained a strong reputation among contemporary design-focused retailers, architects, and interior designers for its unique hand-detailing and premium-quality materials.
Danskina is now under the joint leadership of longtime partners Kvadrat and Maharam.
All Danskina rugs are produced by skilled makers in the Netherlands, Scotland, Germany, Nepal, New Zealand and India and are characterised by distinctive texture, innovative structure and a unique use of colour.
Outstanding design direction
When Kvadrat and Maharam took over joint leadership of Danskina their first step was to appoint a new design director and the Dutch design icon, Hella Jongerius, was a natural choice.
Hella Jongerius has been a leading figure in the product design world since her early work for Dutch design collective, Droog, and has been valued collaborator of Maharam’s since 2002. Hella Jongerius’ designs are created from her Berlin-based studio, Jongeriuslab, and her work is characterised by a keen focus on colour and materials innovation. In addition to her role as Design Director for Danskina, Hella Jongerius’ clients include Vitra, Artek and KLM and her designs appear in the permanent collection of renowned museums, such as the V&A in London.
Blending innovation with tradition
Hella Jongerius’ first pieces for Danskina include ‘Bold’, ‘Duotone’ and ‘Multitone’. All three designs are made from 100 percent pure wool by skilled weavers from India and New Zealand. Thick, warm and highly tactile, they each feature an appealing irregularity due to their beautiful handmade imperfections.
“For me, quality resides in best exploiting the tactile and visual qualities of materials and pushing the boundaries of technology,” she says. “It is found in unusual combinations, in the colours, structures, and surprising details, and it lies in the optimal use of ingenious high-tech and low-tech elements, and the use of tried-and-tested, traditional production techniques.”
Colour and form
Under Hella Jongerius’ direction, colour continues to play a key role in Danskina rugs. “Colour contributes to the feeling of comfort and atmosphere, and colour is also an important organisational principle,” she explains.
Every Danskina rug is based on a clear colour concept and the perception of colour is created in different ways “We will add colour effects during the dyeing and spinning process in an uncontrolled manner or we will use ingenious and controlled dyeing methods to create colour placement during the production process,” says Hella Jongerius.
Danskina rugs bring a whole new design language to commercial and residential spaces. They represent a timeless celebration of handcrafted beauty and will leave a beautiful, long-lasting mark on the Australian design world.
Danskina is available in Australia exclusively through Kvadrat Maharam and Hub Furniture and in New Zealand through Kvadrat Maharam and Simon James Design.
Kvadrat at the Salone Internazionale del Mobile 2016
From poetic Japanese woods to Scandinavian fjords and suspended architectural structures, Kvadrat aimed to intrigue and captivate during Salone Internazionale del Mobile 2016.
The Cut by Neri&Hu
Kvadrat commissioned the Chinese design duo Neri&Hu to capture the Kvadrat spirit in an out of the ordinary stand design. Defying rational thinking, Neri&Hu sought to create an emotionally charged space that would affect visitors on a subtle and intuitive level. Floating over head as an abstracted volume, the space was intentionally primitive and suppressed, in order to celebrate the exceptional colours and textures that define Kvadrat.
Forest Comes Home. by Akira Minagawa
To celebrate his new textile collection, Japanese designer Akira Minagawa created the delicate, dreamy installation Forest Comes Home which was exhibited in the Kvadrat showroom at Corso Monforte 15.
Mode by Maharam
In an effort to provide design excellence at all price points, Maharam introduces Mode: a high-performance, vibrantly colored textile offering the look and feel of wool.
Heavier-denier yarns create a substantial hopsack weave in lush two-tone colorations. A cross-dye method renders two variously luminous and contrasting colors with both heathered and solid effects. Combining principles of utility and luxury in a versatile, modern surface, Mode merits its expansive palette of forty-three colorways. The Maharam Design Studio focused on a spectrum of lighter tints and deep brights that are both useful and fashion-forward.
Although Mode offers a comfortable, wool-like texture, it’s constructed to provide stretch and ease of application. Exceeding 100,000 double rubs, Mode is suitable for upholstery as well as systems and upholstered-wall applications.
In keeping with Maharam’s commitment to continually reduce the environmental impact of its products, Mode is constructed of 80% post-consumer recycled polyester: fibers manufactured from waste that’s been used by the consumer, disposed of, and diverted from landfills. Mode is additionally Greenguard and Greenguard Gold Certified.
See the full Mode collection here
Alexander Girard: A Designer’s Universe
Herman Miller and Maharam are proud to be global sponsors of the first major retrospective on Alexander Girard. Alexander Girard: A Designer’s Universe that opened at the Vitra Design Museum in Weil am Rhein, Germany in March 2016.
Trained as an architect, but proficient in nearly all design disciplines, Alexander Girard was introduced to Herman Miller through Charles Eames and George Nelson. Believing that “fabrics are a building material,” “as much a part of a room as are the conventional materials of brick, glass, wood, and plaster,” Girard envisioned Herman Miller’s textile program—which he was the founding director of from 1952 until 1973—as a flexible toolkit offering endless variation. Unhampered by contemporary dictums of style and taste, he designed over 300 textiles from his outpost in Santa Fe, New Mexico. The resulting body of work is staggering in its sheer volume and creativity, and thanks to fundamental qualities of beauty and usefulness, remains surprisingly relevant today.
Maharam is a longstanding supporter of Girard’s legacy, having reissued twenty of his designs and counting as part of its Textiles of the 20th Century™ collection. Dedicated to faithfully reissuing the textiles of great multidisciplinary designers past, this ongoing series includes the work of Anni Albers, Charles and Ray Eames, Josef Hoffman, George Nelson, Verner Panton, and Gio Ponti, among others.
Alexander Girard (1907–1993) had a profound impact on 20th century visual culture. In addition to his prolific output at Herman Miller, Girard is noted for his all-encompassing designs of restaurants La Fonda del Sol (1960) and L’Etoile (1966); the Miller House in Columbus, Indiana (1957); and Braniff Airlines (1965). An avid collector of folk art, Girard donated over 100,000 pieces to the Museum of International Folk Art in Santa Fe, where he designed the permanent exhibition, Multiple Visions: A Common Bond.
Alexander Girard: A Designer’s Universe will explore his oeuvre through never-before-shown textiles, furnishings, models, small objects, interiors, personal documents, and drawings, while highlighting his inspirations and influences. At the Vitra Design Museum from March 12 through January 29, 2017 before traveling to the United States, the exhibition is designed by the London studio, Raw Edges, and is accompanied by a 500-plus-page catalogue.
Maharam Serpentine Galleries Wallpaper collection
In June, Maharam and the Serpentine Galleries will introduce new wallpapers by Beatriz González, Alex Katz, Jean Nouvel, and Raqs Media Collective. Part of the Maharam Serpentine Galleries Wallpaper collection—an uneditioned series created by esteemed artists and architects under the curatorial direction of the Serpentine’s Julia Peyton-Jones and Hans Ulrich Obrist—the four new designs follow upon the success of the inaugural offering by Ai Weiwei, John Baldessari, Marc Camille Chaimowicz, Toyo Ito, SANAA, Rosemarie Trockel, and Lawrence Weiner that debuted during Milan Design Week and launched at Frieze New York 2015.
Reprising the concept of activating key public spaces throughout the fair, three of the Maharam Serpentine Galleries Wallpapers will be installed at Frieze New York: Marc Camille Chaimowicz’s Pavilion and Beatriz González’s Wiwa Stories will greet visitors at the north and south entrances respectively, while John Baldessari’s (Clock/Pizza - Turquoise) will bridge El Rey and Roberta’s, two centrally located cafés.
Frieze and Maharam’s close relationship has resulted in multiple collaborations in recent years, including a 180’-long installation of Shoes by Thomas Bayrle in the entrance corridor of Frieze London 2012 and the recreation of Al’s Grand Hotel, a 1971 project by Allen Ruppersberg, that saw a functioning hotel embedded within Frieze New York 2014. At last year’s New York edition, John Baldessari’s (Nose/Popcorn – Yellow/Green), SANAA’s Watercolor Flowers, Lawrence Weiner’s SAIL ON, and Marc Camille Chaimowicz’s Pavilion were situated at the north entrance, auditorium vestibule, Marlow & Sons café, and south VIP desk accordingly.
Like Maharam Digital Projects, the wallpapers reflect a range of subject matter and styles while utilizing advanced digital printing techniques for complex, high-resolution imagery in a full-color spectrum. Scale is the distinguishing feature: Maharam Serpentine Galleries Wallpapers reflect a traditional framework of modestly sized repeats and a conventional 27” width. Available by the roll at the Serpentine Galleries shop in London or by the linear yard through Maharam, the wallpapers are intended for both commercial and residential use. Durable and easy to maintain, the collection is printed with UV-resistant inks on a washable, latex-reinforced substrate.
The launch is well timed not only with Frieze, but also with an upcoming exhibition by Alex Katz to be held this summer at the Serpentine Gallery in Kensington Gardens. Featuring recent works along with those from throughout his career, the exhibition opens June 2 and runs through September 11. It will be followed by a solo exhibition by Marc Camille Chaimowicz in the fall.
indoor/ outdoor textiles
The most recent indoor/ outdoor textiles developed by the Maharam Design Studio, Cursive and Brim, offer crisp, graphic designs at a bold scale.
Cursive arose from an interest in adding a large-scale organic pattern to Maharam’s offering of indoor/outdoor wovens. With its continuous loops of parallel lines and tonal coloration, Cursive achieves a balance between fluidity and complexity. An allover design, the entwining pattern allows the eye to travel seamlessly across the textile.
Brim, on the other hand, is characterized by its clean, architectural attributes. An unusual application of color introduces rhythm and movement to vertical columns of evenly stacked bars in a palette of earthy neutrals with a variety of soft brights.
As performance-based products, Cursive and Brim are woven of solution-dyed fibers, offering a high degree of color- and lightfastness and ease of cleanability. Additionally, in keeping with Maharam’s commitment to reduced environmental impact, both textiles are Greenguard and Greenguard Gold Certified.
Kvadrat Maharam Restaurant at DenFair
A first for both DenFair and the venue, The Kvadrat Maharam Restaurant was defined by layers of knotted textile screening made from Kvadrat Divina and framed with an entrance dressed in Maharam Layers Vineyard Large by Hella Jongerius. The installation was the result of a collaboration between Kvadrat Maharam and Melbourne artist Sarah Parkes of Small-Town and follows Kvadrat Maharam’s longstanding support of design initiatives on a local and global scale which regularly fosters talent from local designers and craftspeople.
Products used in this installation included
Kvadrat Divina 876, Divina MD 713, Divina MD 673, Divina MD 203, Divina 106, Divina MD 613
Maharam Layers Vineyard Large by Hella Jongerius
Didier selects Kvadrat Maharam for First Bite
Leading Australian design and manufacturing brand Didier has selected the Kvadrat Maharam range for their latest collection, First BIte.
The First Bite collection is inspired by the dreams of beautiful food, colour bursts and fine dessert extravagance and includes furniture, rugs and lighting products that have been carefully considered, designed and engineered over the past 2 years.
For each piece sold from the First Bite collection $10 will be donated to Second Bite an organisation endeavouring to provide all Australians access to fresh, healthy food.
The First Bite collection is upholstered in the following Kvadrat Maharam products
Steelcut 2, 820
Steelcut 2, 255
Steelcut 2, 110
Divina 3, 636
Divina 3, 966
Kvadrat's latest artistic collaborations
Kvadrat's longstanding support of design initiatives on a local and global scale wregularly fosters talent from artists, designers and craftspeople.
Our latest collaborations and artistic projects include...
Cally Spooner at New Museum, New York
With a 21 metre long wall of pure white Soft Cells, Kvadrat proudly supported British installation artist Cally Spooner’s first solo museum presentation in the United States during April, May and June 2016.
The long glass wall that separates the Lobby Gallery from the New Museum Lobby is a central feature. Spooner amplified and exaggerated tactile and sensory contrasts in the space through the use of Soft Cells, daylight bulbs and background noise.
See a video captured of the installation here.
Goshka Macuga at Fondazione Prada, Milan
Polish artist Goshka Macuga realised the art piece Negotiation sites after Saburo Murakami in collaboration with Kvadrat as part of the exhibition To the Son of Man Who Ate The Scroll at the prestigous Fondazione Prada in Milan.
More than 300 sqm of Alfredo Häberli's Waterborn textile formed the dramatic backdrop for Macuga's work in one of the main halls.
The site was captured on film here.
Shilpa Gupta at Louisiana, Humlebæk
Kvadrat initially announced the commissioned work 1:989.9 by Indian artist, Shilpa Gupta, during la Biennale di Venezia 2015 and recently donated the piece to Louisiana Museum of Modern Art. Here it has been part of the exhibition Illumination this year.
The performance installation is an overwhelming scenario with 3.3 km of undyed textile upon which a person works with drawings directly on the material, metre by metre.
See more of the exhibition here.
Philippe Parreno at HangarBicocca, Milan
1200 meters of Kvadrat's Stoplight was used in the theatrical piece ‘Hypothesis’ by French artist Philippe Parreno in Milan this past winter.
The piece Another Day with Another Sun was produced by Philippe Parreno in collaboration with Kvadrat. The space was transformed into a choreography in which natural light, artificial light and film projections following each other to conclude the anthology selection of Philippe Parreno’s video and cinema works.
See the build up of the spectacular screens here
Florian Hecker at Hamburger Bahnhof, Berlin
As one of four artists shortlisted for the 2015 edition of the prestigious Preis der Nationalgalerie, German artist Florian Hecker included 143 m² Soft Cells in his performance work Formulation, where he dramatized space with sound pieces.
For his presentation at Hamburger Bahnhof Florian Hecker wanted Soft Cells to play a key visual role. He chose Divina 3 in vibrant blue colour 756 and Ray 2 in colour 110.3
The acoustic effect of the panels is just as important to the work as it contributes to the play between the sound system and the sound absorbing and – directing walls.
The shortlisted artists were interviewed for TV here
Jesper Just at Palais de Tokyo, Paris
Kvadrat supported the Danish installation artist Jesper Just with 230 meters of Zulu for his solo exhibition, Servitudes at Palais de Tokyo in September 2015. The textile was used as both screens and room dividing curtains throughout the exhibition.
In this piece Jesper Just touches on society’s obsession with youth and beauty. Combining videos, music and a spatial intervention, Just follows two characters: a young girl and a disabled child, played respectively by Dree Hemingway and Rylee Sweeney.
Follow Jesper Just to Times Square in New York here, where he talks about the piece
Forest Nap by Akira Minagawa
The Akira Minagawa collection for Kvadrat is characterised by refined patterns, detailed embroidery and sophisticated nuances. It brings together three upholstery textiles and a curtain.
As the collection reflects, Akira Minagawa often gets his inspiration by observing nature, life and society, and always starts his creative process by hand. He depicts scenes from nature through motifs that are reflected in textiles using a range of different techniques, such as embroidery, weaving and printing. In this embroidered and woven collection, every stitch of embroidery expresses the uniqueness of Minagawa’s pen strokes. This does more than just bring the visual storytelling of Akira Minagawa to life. Every textile in the collection offers a wealth of delicate details, elegant shapes and tactile surfaces.
In addition, all the designs in the collection reference a natural landscape and their motifs and colours subtly interact. Consequently, they complement each other well and provide a host of opportunities for mixing and matching.
While the designs in the collection are part of the same family, each is distinctively individual. Some are more graphic; others have a more organic expression. They also feature different techniques, which range from the simple to the complex.
All four designs are well-suited to contract environments and private spaces alike.
Woollen Forest Nap is a simple upholstery textile. Constructed with a plain weave, it can be described as the base textile in the Akira Minagawa collection.
Forest Nap comes in an array of colours. These range from understated natural hues to bolder notes like bright red. Forest Nap combines well with the patterned textiles in the collection, and is particularly suited to cover large surfaces.
See the full collection here
Kvadrat Maharam nominated to the identity Design Awards 2016
Danskina presents new rug designs to their collection
Landscape is inspired by artists’ attempts to render vistas of the natural world in paint. Designer Hella Jongerius has incorporated different yarns, pile heights and special edges in finer wool to give the feeling of ‘a paint brush on a canvas’. The rug combines organic expanses with patterned swaths in an abstract simulation of unfolding terrain.
The melange yarn used to create the rug is spun from natural linen and wool, tufted in deep pile by craftsmen in India. The depth allows the melange to float, accentuating its intriguing texture and supreme tactility.
Cocoon brings unexpected dimension to the classic woven rug. Designer Hella Jongerius sought to ‘create a layered and tactile woollen landscape with soft knots’, which are accentuated by a generous border.
Long, pure wool yarn has been spun from two colours in either statement contrast or calmer tone-on-tone combinations. It is then felted for a smooth and comfortable texture before being knotted into irregular clusters. The result is both dramatic and durable.
Cocoon is woven by artisans in India.
In the Cross collection, Hella Jongerius has reinterpreted the traditional tufted rug in a way that creates unique visual interaction between the rug and the floor underneath.
There are three designs in the collection: Cross Cut, Cross Border and Cross. In all three designs the tactile tufted surface is undercut by a strong silhouette that’s equal parts contemporary and comforting. Vivid viscose threads are spun with new wool, creating a melange effect.
The series begins with Cross Cut, a design in which the whole surface of the rug is formed as an open grid, the geometric lines merging into an organic pattern at one end. The result is a playful, highly tactile and welcoming statement rug that creates endless opportunities for interior design and innovative layering ideas.
The design of Cross Border features a more solid surface area, with the cutaway edges at two corners allowing the floor to be glimpsed underneath.
The simplicity of Cross has a slightly more traditional appeal, combining a graphic silhouette with a highly tactile construction. A cutaway effect of block fringes on the edging complete the rug.
As well as muted natural tones and greys, the Cross series colour palette includes bolder tones to bring extra warmth and drama to the designs. Hand-tufted by craftsmen in India using yarn spun from luxurious new wool and viscose, the Cross rugs’ specially developed anti-slip backing makes them suitable for a wide range of floors.
Wes by Tom Fereday for Zenith Interiors
The Wes lounge was named after its soft yet striking appearance, paying homage in name to film director Wes Anderson. The Wes range represents a design exploration into merging traditional upholstery techniques with minimal design.
Over a year in development the Wes range highlights the skill and craftsmanship of Australian made upholstery. Sculpted and manipulated by hand over a uniquely designed, timber frame, the Wes range conveys complex yet minimal forms with entirely seamless upholstery from every angle. Contrasting piping celebrate the soft form of the lounge with elegant and vibrant colours.
Honest design from the inside out, the Wes range is constructed entirely from Eco plywood and finished with solid Ash legs and Sunniva fabric from Kvadrat.
To see the full Sunniva Collection visit Kvadrat's website here.
Adam Goodrum selects Kvadrat Maharam for AG X CULT Collection
Designed in response to the blurring lines between home and work, the AG x Cult 2016 Collection presents a democratic range of furniture and lighting that exudes an organic and relaxed warmth. Suitable for residential and commercial spaces, the collection includes new product families that are honest in practicality and rich in simplicity. Existing designs have also been reimagined, using new materials and finishes. Many of the new pieces showcase a technical and mechanical edge, a reflection of Cult’s investment in new tools and technologies that allow Adam Goodrum to flex his industrial design muscles and experiment with Aluminum – a versatile material with great modularity. From elegant lounge furniture to modular shelving with endless possibility, the 2016 collection is reductive in form, honest in materiality and timeless in style.
In partnership with Kvadrat-Maharam, Cult together with Australian furniture designer Adam Goodrum present three curated fabric cards for the upholstery of the 2016 AG x Cult Collection. Featuring a selection of rich velvets, textured wool blends and painterly irregular weaves, the cards include fabrics suitable for a wide variety of commercial and residential interiors. The colour palette is both fresh and directional, yet reassuringly classic and rich. This partnership between Kvadrat-Maharam, Cult and Adam Goodrum celebrates a shared respect for humble craftsmanship, tailored detailing and honest high-quality materials.
A firm believer that every environment is defined by the objects within it, Goodrum challenges himself to design pieces that justify their existence through their stories, detailing and the personality they bring to a space. Likening the upholstery process to dressmaking, Goodrum sees great transformative power in ‘dressing the form’. He shares, “Good design is about a timeless approach to form and scale; creating objects that can continue to be reinterpreted in new environments for decades to come. Upholstery provides endless opportunities to invigorate objects – a new ‘skin’ gives each piece a unique character and I love seeing my designs upholstered in unexpected and inspired ways.”
Fat Tulip Sofa (2.5 Seater) in Kvadrat Vidar 2 (222)
Fat Tulip Armchair in Kvadrat Hero (311)
Doshi Levien unveil first curtain textile collection for Kvadrat
Doshi Levien have created a collection of four distinct curtain textiles for Kvadrat. Lake and Utopia are densely woven with a subtle, diagonal pattern while Rocket and Fiction are two knitted curtains with a playful, contemporary look.
Initially inspired from hard and textured architectural surfaces like concrete, glass and weathered metal, the studio continued their study by creating a series of new surface textures and cast them in plaster.
The play of light and shadow on the relief of their output resulted in the graphic pattern of Utopia, while the iridescent and luminous quality of brushed aluminium and glass is interpreted in the fine diagonal twill of Lake. Utopia features jacquard-woven diagonal lines in varying dimensions that are divided into larger squares. Creating a subtle contrast with the matte background, Lake’s twill pattern emerges as you get closer to the textile.
Both textiles are constructed with slightly shiny yarns in the warp and matte uni-coloured yarns in the weft. Lake and Utopia are also linked by their colour schemes. Their palettes comprise dusty natural tones, dark masculine hues as well as a few highlight nuances. Consequently, they complement each other well.
‘We researched Le Corbusier’s tapestries and paintings in the city of Chandigarh and were inspired by the brightly coloured buildings that faded in the sun over time, making the colours dusty’.
With their knitted construction and balanced colour scheme, Rocket and Fiction bring a novel approach to interior textiles. Made from Trevira CS, both textiles offer soft draping and functional qualities. Like all knitted fabrics, they are relatively crease-resistant. They also offer the ability to provide warmth in still air environments, while simultaneously enabling the movement of air.
Rocket is constructed with a warp knit. During this technique, the loops are interlocked vertically up the length of the fabric resulting in a firmer construction than conventionally knitted fabrics. Rocket has a strong futuristic expression and features a chainmail-like pattern of oval spaces.
‘The perforations of Rocket are inspired from high-tech fabrics used in sports and fashion with a science fiction feel of space age, lightness and speed’ explain the designers. Though the textile looks very light, it provides distinctive volume when draped. Rocket also contrasts well with solid textiles, especially Fiction, when used as a sheer.
Constructed using a double knit technique, Fiction has a light front and dark backside. To create the colourways, the knitted fabric is then piece-dyed. Thanks to the colours of the reverse shining through, Fiction offers a subtle three-dimensional melange effect and pronounced colour depth.
Intriguingly, despite its compact construction, Fiction becomes translucent depending on the light conditions. Consequently, its appearance may keep changing over the course of a day.
Available in a range of neutrals and sophisticated highlight hues, Rocket and Fiction have been designed for mixing and matching. Doshi Levien: ‘We wanted to create technical fabrics but with soft architectural colours. We imagine Rocket and Fiction to be used in layers with the colours of Fiction coming though the perforated knit of Rocket.’
Both curtains are well suited to private spaces and contract environments alike.
View the complete collection here: Doshi Levien for Kvadrat Curtain Collection 2016
Kvadrat Maharam and New Zealand designer Simon James collaborate on latest furniture collection
Simon James infuses character into clean, uncomplicated forms. Having founded his eponymous brand in 2001, Simon’s appreciation of craftsmanship continues to deepen, as he explores material tactility in new and exciting ways. His design approach is largely intuitive, with people and their experiences of a space a central focus for him.
Simon designs original furniture for both residential and commercial spaces under the Simon James Design name and collaborates regularly with businesses and architects on custom work. He is Creative Director of export furniture brand Resident, which was co-founded with Scott Bridges. In both companies, Simon leads a team of designers and it is this collaborative spirit that drives his innovative, award-winning work.
Kvadrat Maharam has long collaborated with Simon James, with Simon stating that this relationship has continued to strengthen due to the research and development that goes into each and every Kvadrat Maharam collection. This trust has seen Simon James partner with Kvadrat Mahram continually in both the consumer and commercial market. He describes our colour palette to be one of vast diversity that manages to hit the mark every time.
View his latest modular office furniture collection featuring Kvadrat upholstery textiles in the slideshow above.
Product featured in order of appearance:
1. Simon James Navigate Highback with Leaner in Kvadrat Hallingdal 65 and Divina MD
2. Simon James Freestanding Phone Cabin in Kvadrat Nebula and Divina MD
3. Simon James Felix Lounge Chair in Kvadrat Galaxy and Divina MD
4. Simon James Felix Chair and Ascot Chair in Kvadrat Hallingdal 65 and Divina MD
David Caon selects Kvadrat Maharam for BLOC
BLOC by CAON is a forward-thinking new workplace furniture system designed by David Caon in partnership with Living Edge and Kvadrat Maharam. Developed through intense research, the contemporary and adaptable furniture solution caters for the diverse activities, needs and settings of modern work life.
Industrial designer David Caon founded Sydney-based CAON in 2009 and has since worked on projects ranging from architecture and interiors to tableware and furnishings for the workplace and home. Having designed aircraft cabin seating in collaboration with Qantas, Caon understands the need for furniture that can comfortably go the distance. BLOC is a sophisticated system of modular furniture that is designed to support productivity in the workplace and facilitate the movement towards deconstructed office environments.
The interchangeable modular components are designed for working, meeting and socialising and can be configured according to need and reconfigured according to whim. Conceived to serve workers in standing, seated or crouched positions, the system includes privacy pods and meetings pods, single and double workstations and breakout pods. Back and arm supports can double as solid work surfaces, and some arm units contain inner storage space for accessories and charging devices. Upholstered panels are also available for greater privacy and enhanced acoustics.
BLOC is composed of solid-foam modules upholstered in a selection of wool textiles by Kvadrat and Maharam that Caon researched and specified in close collaboration with Kvadrat Maharam Australia. The luxurious fabric was sepcified to mould to the curves of each element and naturally has high rub rates and durability to allow it to perform well under daily commercial use.
Twenty textile colour palettes ensure each piece is adaptable to the aesthetic and atmosphere of a multitude of workplaces, while subtle pattern and texture add a point of difference or focal point for each piece. The textile palettes are available at a variety of price points allowing BLOC to meet a range of budgets.
Australian customers will also appreciate that the product is manufactured in Australia, which translates to short lead times. Plus the simple-to-follow Kvadrat Maharam textile selections means all possible configurations look great and can be tailored to individual customers.
See the ful BLOC collection at Living Edge Showrooms nationally or visit the website here.
BLOC Launch Party Roadshow
INTERWOVEN: The Fabric of Things
Launched in September 2016 and supported by Kvadrat, Interwoven: the fabric of things, is a digital magazine packed full of independant commentaries from contemporary culture.
Interwoven is an epicentre for those interested in seeing contemporary culture through an independant, in-depth and critical eye. Opinionated by design, Interwoven gives it's authors carte blanche to create content for the magazine - whether in the form of visuals, writing, film or sound. As experts in their field, contributors are invited to offer their unfiltered view or creation.
You'll find exclusive photoshoots and features like Design Anectodes, Colours, A daily flower report by Thomas Demand, and a re-edition of The Style Mixer - originally a limited artwork by Mario Milizia. Museum Backstage is a feature that looks behind the scenes at museums around the world. MoMU conservation department of contemporary fashion and the archive of sacral textiles at San Leucio, Caserta are the first ones in the spotlight.
"Interwoven is like a continuous and dynamic conversation. One argument triggers the next, one story leads to the next. We hope to go beyond simple reporting of events, and provide a space for inspiring story telling and incisive commentary across different fields. If something is not good, let's say it's wrong. If something is great, it deserves applause. Interwoven raises questions and celebrates. Interwoven is authentic. The site's light structure represents this flexibility." Editor-in-chief Anniina Koivu explains.
Danskina launch three new rugs by Hella Jongerius
The new rugs Reap, Burrow and Merger each in their own way express Danskina’s commitment to design, material innovation and skilled craftsmanship and celebrate the beauty to be found in simplicity and in handmade imperfection.
A luxurious rug, Burrow is ideal for adding warmth and richness to any home. Hand knotted from soft, hand-spun, Tibetan wool, this classic high pile rug exhibits a plush texture with three different levels of pile, running seamlessly from flat and finely woven to plush and soft. Like waves crashing softly into a sandy beach, the different layers of pile add up to form a steadily rising surface with nuances of different shades of colour shimmering in the wool’s subtle irregularities.
Merger is a colour story. In this playful, warm design, two tone-on-tone colours are juxtaposed on a light or dark base, creating a lively and uplifting colour-block effect. The subtle differences in colour hues make Merger an easy-going product with a harmoneous, yet fresh character. This is a special and outspoken rug that is well suited to bold and sophisticated settings. Its distinctive twill, with the colours meeting at different directions and angles, creates a tactile slightly ribbed surface. Merger comes in 8 colours and is made from New Zealand wool on a cotton warp.
Made from thick felted woollen yarn on a fine polyester warp, Reap is woven like a fabric, on a fabric loom and not in a usual carpet setting, resulting in a highly tactile finish. In strong New Zealand wool, Reap is an ideal addition to both contract and residential spaces. But Reap is more than just a rug for spaces with high durability requirements. The design, with its many different constructions, aims at an elegant and at the same time natural character. Reap comes with canvas corners and an eye-catching colour-contrasting stitch on all sides of the rug and is cut and finished to order and to any standard or custom size, making each rug unique.
The three news rugs will be presented at imm cologne, Paris and Stockholm Furniture Fair this January and February.
See the full Danskina rug collection here
Kvadrat Maharam Exhibit at Europe's Winter Fairs
Maharam has introduced a collection of bags that embody the ethos of ‘good design.’ With exceptional execution and attention to detail, Maharam Bags offer outstanding utility and practicality and will prove their versatility and longevity many times over.
World-renowned designers Konstantin Grcic, Jasper Morrison and Hella Jongerius each created a bag suited to their personal needs, and manufactured using highly skilled and small-scale production based in the United States. The result is a growing collection that includes carryalls, messenger bags, carry-on bags and totes designed and made to Maharam’s incomparable standards.
Konstantic Grcic is known for his well-considered designs that have a humanist quality, and his Frame Bag and Tube Bag, both available in indigo, are lightweight, comfortable and casual. The Frame Bag is a versatile carryall in ripstop nylon with webbing lattice and one interior pocket, while the messenger-sized Tube Bag is ideal for essentials with an adjustable strap, two front pockets and one zipped compartment.
Taking a rational approach to design, Jasper Morrison’s products are characterised by clarity and utility. Morrison’s Amsterdam Bag is a simple and tasteful box tote with a rigid waxed-cotton canvas body and leather handles. Available in black with saddle, it has one interior pocket and is waterproof.
The Amsterdam Bag also served as the inspiration for Morrison’s Scamp Bag, a purposeful carry-on bag for frequent travel. The Scamp Bag, available in olive, is a discreet and well-resolved utilitarian box tote that is thoughtfully scaled with well-positioned pockets to make it the ideal travel companion.
The HJ Bag, named for its designer Hella Jongerius, is a simple and functional unisex shoulder bag for daily use. The Dutch designer fuses craft and industry, lo-tech and hi-tech production, and traditional and contemporary approaches, and her HJ Bag beautifully combines these seeming contradictions. The waxed-cotton canvas body has contrasting stitching and is left unlined to expose the construction. It has a collar printed with Jongerius’ Confetti pattern, and a leather handle, custom-made leather slide and handmade serrated leather bead add to the HJ Bag’s distinctive character. It is available in mustard, with an ivory collar printed with citrus, black and grey.
Living Edge is the exclusive Australian distributor of Maharam Bags.
Wallpaper* Design Award 2017
We are proud to announce that Landscape designed by Hella Jongerius for Danskina has received the Wallpaper* Design Award 2017 in the category best colada parlour.
Landscape is inspired by artists' attempts to render vistas of the natural world in paint. Designer Hella Jongerius has incorporated different yarns, pile heights and special edges in finer wool to give the feeling of "a paint brush on a canvas". The rug combines organic expanses with patterned swaths in an abstract simulation of unfolding terrain.
The melange yarn used to create the rug is spun from natural linen and wool, tufted in deep pile by craftsmen in India. The depth allows the melange to float, accentuating its intriguing texture and supreme tactility.
View the Landscape collection here
Schiavello choose Mode by Maharam as the house textile for Karo collection
The Karo collection from Schiavello is designed to allow workers to choose the configuration of their own workspace – and we’re delighted that Schiavello chose Mode by Maharam as the house textile for this elegant collection of ottomans.
Designed by long-time Schiavello collaborator Ivan Woods, the Karo collection is simple and honest in its purpose. Soft, lightweight and agile in design, the ottomans can be used for quiet solo work or effortlessly configured for collaborative team catch-ups. Available in a variety of sizes in round, square and rectangular configurations, the geometric nature of each ottoman allows it to blend with its surrounding elements to create a unified space.
Schiavello chose Mode as Karo’s house textile due to its high performance and vibrant colour selection. “Mode’s simplicity and uniformity is why it was our choice of fabric for Karo,” says Anton Schiavello, Design and Marketing Director for Schiavello International “It’s just beautiful. The fabulous colour range was also vital to our choice, and this was a significant contributing factor to our eventual selection of Mode.”
Offering the look and feel of wool, Mode is constructed of 80% post-consumer recycled polyester, which comprises fibers manufactured from waste that’s been used by the consumer, disposed of, and diverted from landfills.
Anton explains that this was another deciding factor for Schiavello. “A textile that uses post consumer recycled material is always something we take into consideration when specifying finishes,” he says. “Our own manufacturing processes and materials are pulled through vigorous standards and testing, and to let all this down by choosing a covering that is not in line would be against our goals as a business.”
Mode features a substantial hopsack weave in lush two-tone colours and, despite its wool-like texture, it is constructed to provide the perfect amount of stretch. The Mode collection also has an expansive palette of 43 colourways.
“The wide and relevant selection of colours suited the wider Schiavello ColourLab range, and the fact that Mode is tested to 100,000 double rubs also shows its relevance to our commercial market,” adds Anton. “Mode is a superior product amongst the textile industry.”
View the MODE COLLECTION here
Kvadrat Maharam partners with nau for ICFF debut
The partnership between Kvadrat Maharam and contemporary Australian furniture brand nau celebrates a shared respect for humble craftsmanship, tailored detailing and honest high-quality materials. Launching at ICFF in New York, the nau collection is presented in a curated selection of Kvadrat and Maharam upholsteries ranging from textured wool blends from Kvadrat to leathers from Maharam.
With a colour palette that is both fresh and directional, yet reassuringly classic and rich, Kvadrat Maharam upholstery provides endless opportunities to invigorate the nau designs – giving each piece a unique character and sense of quality and style.
Launching 21-24 May at ICFF in New York, nau is a contemporary Australian design brand offering furniture, lighting and accessories by a collective of Australia’s most curious, talented and spirited designers.
nau is the embodiment of fresh thinking, offering contemporary furniture, lighting and accessories by a collective of Australia’s most spirited designers including Adam Cornish, Adam Goodrum, Gavin Harris and Jack Flanagan.
Producing designs suitable for residential and commercial spaces, from elegant lounge furniture to modular shelving with endless possibility, the nau collection is reductive in form, honest in materiality and timeless in style.
nau collection pictured features the following upolstery;
Fat Tulip upholstered in kvadrat Sunniva 2 col. 172
Plum Easy Chair upholstered in kvadrat Vidar col. 972
Plum Ottoman upholstered in kvadrat Vidar col. 972
Bower High Back Meeting Chair upholstered in kvadrat Sunniva 2 col. 717
Bower Chair Low Back upholstered in kvadrat Maharam Leather Bask 002
Insitu images by Brooke Holm
Giulio Ridolfo and GamFratesi
The renowned Italian colourist Giulio Ridolfo has skillfully reimagined the colour palette of Kvadrat upholsteries Canvas 2 and Steelcut Trio 3 and the curtain textile Zulu 2 and will present the new Recheck, a refined woollen upholstery textile, inspired by traditional check patterns originating in women’s couture from the 1950’s. Designed by Giulio Ridolfo, the 17 colourways of Recheck are divided over four related patterns with subtle play of stripes and colour nuances.
In celebration of the launch, Danish-Italian design duo GamFratesi created the whimsical, expressive installation MASK, which will be on show at the Kvadrat showroom at Corso Monforte 15.
“We wanted to constrain ourselves using a single element, completely made of textile. The repetition will create a playful installation that highlights colour. Textile is the ‘mask’ of a piece of furniture, it changes its personality or make it act in an unexpected way. We play with the iconic shape and expression of the ancient mask. As an ancient human practice from different cultures, masks are not only used in ceremonies, but hold different meanings for protection and ritual as well as being used as ornamentation and for performance. Our aim was to emphasize the celebration of textile through this antique tradition.” GamFratesi
Kvadrat Maharam Australia Leather Launch
On May 18, the Kvadrat Maharam showroom in Sydney hosted a launch event for Maharam’s leather collection. With a strong turnout of 120 people, the showroom was transformed by a series of vignettes featuring designs by local talents Daniel Emma, Tom Fereday, Adam Goodrum, Grazia & Co, and Henry Wilson, upholstered in Maharam leather and styled by Emma Elizabeth. Selected pieces then traveled to Melbourne, where a private dinner was held for clients in a gallery-like setting.
DesignByThem select Kvadrat Tonica for Cabin Collection
Cabin is the latest release by DesignByThem founders Sarah Gibson and Nicholas Karlovasitis - otherwise known as GibsonKarlo. The new collection of armchairs, lounges, ottomans and booth style structures utilise a series of upholstered log modules, exploring geometric forms to create playful and personable pieces for the office or home.
"The inspiration for the design came from the simple intersecting patterns found in log cabin construction. We wanted to reference this and apply the cylindrical geometries to create a playful range that was welcoming, flexible, distinctive and had a sense of character” states Nicholas Karlovasitis.
"It all began with a series of cylinders. We then deconstructed the cabin arrangement into a lounge and armchair, experimenting with various diameters until we found a size that was comfortable for both the back and armrests" added Sarah Gibson.
The duo selected Kvadrat Tonica’s vibrant hues for the upholstery as they wanted to create a tonal effect. Similarly to Tonica, the collection is fun, refined, welcoming and distinctive without being visually overpowering, busy or dominant. “We felt that the range of fabrics we inevitably chose and have as options best represented this,” Sarah and Nicholas explain. “They are high quality and bring warmth to the range. The wool texture of the Tonica fabric adds further quality and timelessness to the piece.”
Maharam introduces Dots, designed by Paul Smith
Maharam introduces Dots, the fourteenth woven textile, and first dot pattern, designed by Paul Smith in collaboration with the Maharam Design Studio.
Since 2002, Paul Smith and Maharam have worked together to transform traditional suiting concepts into upholstery. Based on Smith’s designs for a woven silk necktie featured in his Spring/Summer 2017 menswear collection, Dots extends this practice of creating “classics with a twist” for interiors.
Uniting two timeless patterns, Dots juxtaposes a miniature houndstooth check with a bold polka dot to create a distinct design that fuses both motifs. The understated, matte houndstooth is constructed using a dense end-and-end warp with alternating light-and-dark cotton and nylon threads in the weft. Twill dots, speckled for a playful and graphic effect, are woven with a lustrous, mercerized cotton yarn, highlighting each spot.
Pulling from both customary menswear apparel colours and more modern references, Dots includes a palette of nine refined neutrals, brilliant pastels, and bright accents. The duotone background is checked with shades of cocoa, ruby, cerise, sage, jasper, chartreuse, cyan, ivy, and cobalt blue.
Click to view the full Dots collection
My Canvas by Kvadrat during London Design Festival
Works from 19 designers from around the world made up Kvadrat’s exhibition My Canvas at this year’s London Design Festival at Somerset House.
The third edition of Kvadrat’s design projects showcased contributions from 19 emerging and established designers from around the globe; from Japan to Poland, from the USA to France.
A celebration of creativity, the aim of the exhibition is to inspire the industry, to push boundaries in materiality and techniques, and make one rethink the use of the textile. My Canvas pays homage to a Kvadrat staple: the vibrant and elegant upholstery textile Canvas, crafted by renowned Italian colourist, Giulio Ridolfo.
Canvas stands out for its shimmering colour nuances, delicate contrasts and elegant structure. The new colour palette inspired by the painterly landscapes of Skagen, Denmark, comprises a variety of dark, light, cool and warm tones, reflecting the soft, Nordic pastel panoramas and dramatic, dark coastlines.
In an open brief, Kvadrat invited the designers to create their interpretations of Canvas informed by contemporary design. The exhibition is titled My Canvas, lending itself to the individual creative viewpoint revealed in each piece. Be it the beauty and intricacy of the yarn, the colour palette, the structural properties or architectural expression of the textile, the contributions invite the viewer on a journey of tactile discovery.
Anders Byriel, CEO Kvadrat: “Giulio Ridolfo has been the mastermind behind some of our most successful textiles during the past 13 years: Steelcut, Steelcut Trio, Remix, Hot, Recheck, Zulu and Canvas. His feeling and approach to colour is unique: in between colours and surprising colour combinations of yarns give every textile by his hand a three-dimensional and surprising depth. So, when we had to choose a textile for this third edition of design projects, we were sure it had to be one by Giulio Ridolfo’s hand.”
Kvadrat x adidas Originals Stan Smith
Kvadrat has teamed up with adidas Originals to create a truly special edition of the iconic Stan Smith sneaker that pays homage to the city of Copenhagen.
Drawing from Copenhagen’s utilitarian design, Japanese aesthetic and modernist values the collaboration presents three new iterations of the Stan Smith sneaker, featuring Kvadrat’s contemporary fabric Squares by Danish designer, Vibeke Rohland.
The special edition Stan Smith showcases embroidered detailing on the three stripes and a contrasting leather heel patch. Branding is also featured on the tongue and heel of the graphic sneakers, which sit on a classic white outsole.
The Kvadrat x adidas Originals Stan Smith editions are available in Navy, Pink and Core Black – culminating as a collaborative release that is full of tone, texture and colour.
Kvadrat Soft Cells design workshop
In a bold, yet simple move, British architects Caruso St. John have refurbished a historic warehouse in the industrial harbour of Copenhagen. Using only spruce and a clever composition of sliding doors and floor-to-ceiling shelving to house the new Kvadrat Soft Cells’ design studio that features 6-meter-high ceilings and an airy, bright loft aesthetic.
The resulting space accommodates the Soft Cells team as they carry out a combination of acoustics research, design development, prototyping and communications
The refurbishment expresses an effortless juxtaposition between old and new. Starting out by stripping layers accumulated over time such as carpet, partitions, and suspended ceilings, Caruso St. John’s team was left with a shell of concrete columns and beams, and plaster infills.
All wires and pipes were removed and the distressed concrete walls were painted a bright white. The floor was also polished, revealing an industrial style terrazzo from the existing concrete aggregate.
On this base, Caruso St. John created the atelier in a single material, big sheets of oiled spruce lumber-board. The sheets divide the space into three parts: entrance foyer, main atelier and workspace, interconnected with wide sliding panels, so that they can be used separately day to day, and also opened for bigger and more social events. Each space has large storage units, often standing the full six-meter height, also made of spruce.
A long work surface in the entrance foyer accommodates the kitchen, and a custom fitted table in the workspace feature lumber-board work tops made in walnut referencing the original window panelling in the warehouse. To create a pleasant acoustic environment, Soft Cells panels are used to line walls and to provide a luminous ceiling for the mezzanine meeting rooms.
In collaboration with Kvadrat Soft Cells, Caruso St. John chose a miss-matched collection of loose furniture, European classics from the 1960s classroom along with more recent pieces.
“The project is meant to provide a flexible background for Kvadrat Soft Cells to pursue its ambitious and ever evolving plans. I think, so far, it is working.” explains Caruso St. John.
Soft Cells are available in Australia now. Please contact +61 2 9212 4277 or visit www.softcells.com.
Tom Fereday selects Kvadrat Maharam for Louis Vuitton collaboration
Award-winning designer Tom Fereday selected Kvadrat Maharam fabrics, including Maharam’s new leather collection, in his bespoke series of furniture pieces for Louis Vuitton’s new Bondi store in Sydney, Australia.
The series features solid ash, walnut and Victorian blackwood detailing - focusing on quality, natural materials and longevity. All the pieces were uniquely designed for the store, with the seating customised from Fereday’s existing collections including: Bow Chair, Pieman Chair and Hull Armchair. Staying true to Fereday’s commitment to thoughtful design outcomes that connect people through natural materials, tactile finishes and unique design the designer selected Kvadrat Maharam’s Bask Leather by Maharam and Coda Fabric by Kvadrat.
Fereday worked with Emma Elizabeth, creative director of Local Design, to style the pieces through the lens of photographer, Fiona Susanto. The shoot featured cleverly employed polycarbonate sheeting, attempting to mimic the façade of the new store.
Photography by Fiona Susanto. Styling by Emma Elizabeth.
Kvadrat Maharam’s new products from London Design Festival
Besides celebrating Canvas, designed by Giulio Ridolfo, Kvadrat also launched Georgina Wright’s latest upholstery textile, Skye - a woollen design with a simple yet refined expression - several colour updates to the Tonica and Daybreak collections from Kvadrat, and the Mesh and Tracery and Wend collections from Maharam.
Tonica 2 is a woollen melange upholstery textile by Georgina Wright. Inspired by natural landscapes, they go from subtle neutrals and soft pastel notes to pure highlight tones associated with the Bauhaus movement such as yellow, blue and red. The original Tonica was based on two piece-dyed wool qualities, Tonica 2 now comprises of three, allowing for a greater variety of tones and an enhanced expression of colours. Reflecting this, Tonica 2 goes a step further in meeting the original design goal of Tonica: to deliver a solid, clear and vivid colour expression shadowed with black.
Designed by Patricia Urquiola, Daybreak 2 is a unicoloured, transparent curtain with an open structure inspired by the light at dawn. Tactile irregularities play across the surface of the textile reminiscent of linen. As light conditions change, the expression changes too. Daybreak 2 comes in updated colours of neutral hues as well as a few subtly coloured tones, such as toned-down brick, soft yellows and understated greens.
The Mesh and Tracery collections by Scholten & Baijings and the Wend collection from Maharam Design Studio have also added to the range of colours.
Reflecting Dutch design duo Scholten & Baijings’s focus on nuanced colour and refined geometric patterns, the new designs Mesh and Tracery are created in collaboration with Maharam. While Mesh utilises tightly interlocking textures and a unique palette to create subtle geometric movement, Tracery is a small-scale pattern using gridded and diagonal lines to enhance graphic and textural depth.
Wend by Maharam Design Studio is a weave using nubby yarns to create a sophisticated boucle texture. Wend comes in a carefully selected palette of warm and cool neutrals with bursts of turquoise, sea glass, pine, zinnia and currant
Introducing the Range Rover Velar
Designed by Land Rover and launched in 2017, The Range Rover Velar ushers in a new design language for Range Rover, featuring new smoother lines and a refined interior that sets the tone for future models.
Unique in the segment, the Velar offers a sustainable premium interior with Kvadrat textiles, as an alternative to leather. In collaboration with Land Rover, Kvadrat designed Dapple Grey, a specially developed woolen textile to provide a premium textile interior for the Velar.
Dapple Grey exhibits the natural characteristics of wool with its hard wearing and comfort in all climates, allowing passengers to stay cool in the heat and warm in the cold.
Amy Frascella, Land Rover Colour and Materials Chief Designer, states that with the colour and material design of Velar in mind, their collaboration with Kvadrat couldn’t have been more appropriate.
“Kvadrat shares Land Rover’s ethos and desire to continually innovate, to offer more curated customer choice and to define the future of luxury materials in our respective design industries.”
Palampore from Maharam Digital Projects
Maharam Digital Projects is a curated assemblage of large-scale wall installations created by emerging and established artists, photographers, illustrators, fashion and graphic designers. Maharam Digital Projects are high resolution, museum quality digital prints, which are scaled and produced on a project specific basis. They are also washable and suited for low to moderate traffic installations.
The latest design to be added to the collection is Palampore, which originated as a series of twenty-one paintings of tree of life imagery interpreted from Palampore—a type of hand-painted, mordant-dyed cloth common in India during the 18th and early 19th centuries that was designed primarily for the European export market. Using watercolour paint on Japanese paper, each panel offers a different interpretation of the symbol in both fantastical detail and loose, gestural motifs.
Please view the entire Maharam Digital Projects here
Redesigned by SevilPeach, Kvadrat’s headquarters celebrate textiles, landscapes and creativity
London-based architects SevilPeach have transformed Kvadrat’s head office in Ebeltoft, Denmark, creating visual connections with the surrounding landscape throughout the complex.
A spectacular new 320 square metre showroom allows clients to explore the company’s
full range of textiles and products on site. The freshly opened up office spaces encourage collaborative working practice between departments and a new welcome area, social spaces and an inviting library extend Kvadrat’s familial ethos.
The landscape that has so profoundly influenced Kvadrat’s use of colour has been brought into the building through new floor-to-ceiling windows and the opened-out offices and studios offer long lines of sight.
Above all, SevilPeach has used lavish Dinesen oak floors throughout, furniture by Nanna Ditzel, Greta Jalk, Hvidt & Mølgaard and Verner Panton, among others, to honor Kvadrat’s historic relationship with Scandinavian design.
Based in Ebeltoft since its foundation in 1968, Kvadrat’s current headquarters were commissioned from architects Poulsen & Therkildsen of Aarhus in 1980. The red brick of the building’s construction echoes the local architectural vernacular, while the low profile of the structure sites it comfortably in the surrounding coastal landscape.
Kvadrat at imm Cologne 2018
For imm Cologne, Danish-Italian design duo GamFratesi skilfully reimagined Kvadrat's stand at Design Post Cologne.
Featuring a minimalistic wooden framework that incorporates rows of textile covered panels on three sides, these panels work like blinds that can be tilted horizontally to reveal glimpses of the interior.
GamFratesi: "The Design Post space is a combination of shared areas and private showrooms. The idea was to create a system that clearly identified Kvadrat from the outside through the use of fabric. The flexible system offers two solutions for different activities: private for meetings and work, or more open during the different events."
The novelties presented here were San by Louise Sigvardt, Melange Nap by Akira Minagawa, Instill by Maharam, as well as Mingled Plaid and Segmented Stripe designed by Paul Smith for Maharam.
View the new designs here
My Canvas by Kvadrat at the NGV Melbourne Design Week 2018
Aligning with the “design effects” theme of the NGV’s Melbourne Design Week, Kvadrat’s My Canvas installation was exhibited at LCI Melbourne in March 2018.
My Canvas was originally developed in honour of Kvadrat’s fruitful 13-year collaboration with Italian designer Giulio Ridolfo and saw Kvadrat invite designers to create unique works using Ridolfo’s distinctive upholstery textile Canvas.
Kvadrat left the brief open to interpretation and unveiled the results at My Canvas at Somerset House during London Design Festival 2017 before embarking on a global tour that included LCI Melbourne for Melbourne Design Week 2018.
Designers in the My Canvas exhibition for Melbourne Design Week included:
Designer: Christien Meindertsma
Project name: Pigeon Service
Location of designer; The Netherlands
Designer: Atelier Max Lipsey
Project name: Woven Bench
Location of designer: The Netherlands
Designer: Maria Jeglinska
Project name: Background(s)
Location of designer: Poland
Project name: Catwalk Bench
Location of designer: The Netherlands
Project name: MASK
Location of designer: Denmark
Designer: Butternutten AG
Project name: The Principles of Hiding
Location of designer: Germany
Designer: Teruhiro Yanagihara
Project name: Gravity
Location of designer: Japan
About My Canvas exhibition
My Canvas is the third edition of Kvadrat’s design projects that showcase collaborative contributions by emerging and established designers from around the world. The program is a celebration of creativity that aims to inspire the industry, push boundaries in materiality and techniques and encourage people to re-evaluate textile uses. In this iteration My Canvas pays homage to a Kvadrat staple: the vibrant and elegant upholstery textile Canvas, crafted by renowned Italian colourist Giulio Ridolfo.
Canvas stands out for its shimmering colour nuances, delicate contrasts and elegant structure. The new colour palette is inspired by the painterly landscapes of Skagen, Denmark, and comprises a variety of dark, light, cool and warm tones, reflecting the soft, pastel panoramas and dramatic, dark coastlines of the Nordic region.
Kvadrat invited participating designers to create their own contemporary interpretations of Canvas, and the My Canvas exhibition explores the individual creative viewpoint revealed in each piece. Be it the beauty and intricacy of the yarn, the colour palette, the structural properties or architectural expression of the textile, the contributions invite the viewer on a journey of tactile discovery.
Anders Byriel, CEO Kvadrat: “Giulio Ridolfo has been the mastermind behind some of our most successful textiles during the past 13 years: Steelcut, Steelcut Trio, Remix, Hot, Recheck, Zulu and Canvas. His feeling and approach to colour is unique: in-between colours and surprising colour combinations of yarn give every textile by his hand a three-dimensional and surprising depth. So when we had to choose a textile for this third edition of design projects, we were sure it had to be one by Giulio Ridolfo’s hand.”
Constance Rubini, Hans Meier-Aichen, Jeffrey Bernett, Yves Marbrier and Njusja de Gier curated My Canvas.
“In this sometimes chaotic moment, we look to people who can lead culture to make sense of competing points of view, and to show us a way – or ways – forward. The My Canvas project, as a whole, displays kaleidoscopic creativity, reflecting the diversity of the group based on cultural vision. It is a testament to what happens when you present talent with a provocative opportunity, a blank canvas.” Jeffrey Bernett, designer and curator.
My Canvas follows on from the success of Kvadrat design projects Hallingdal 65 in Milan (2012) and Every Colour is Divine in Divina (2014).
Scholten & Baijings Darning Samplers by Maharam.
Dutch designers Scholten & Baijings delve into their textile heritage with passion and creativity. With the idea of Dutch Darning Samplers in mind Carol and Stefan who are based in Amsterdam reconnected with this craft. The samplers’ anachronistically modern sense of simplicity, geometry, and colour were a revelation to Scholten & Baijings, who soon tracked down two inspiring examples through an antique textiles dealer. The novelty of this craft whilst pleasing to the eye, also prolongs the useful lives of valuable garments and household linens. Presenting themselves as much more than a piece of cloth but historically as a respectable source of income and means of education. This trade was practiced from a young age and were important skills for young women to possess and rely on in order to manage a successful marriage.
This will be Maharam’s fourth collaboration with Scholten & Baijings. The functional and intricate design of Darning Sampler, Darning Sampler Large, and Darning Sampler Plaid are each orientated on a spacious grid. With petite motifs each comprise of several overlapping rectilinear planes, rendered in its own weave structure and set of colors to yield a sense of depth and transparency. At once these darning samplers are simple, sophisticated and deeply attractive to any interior setting.
Explore more of the range here
Lila and Raas by Doshi Levien
Crafted by design duo Doshi Levien, Lila and Raas are vibrant upholstery textiles with an exceptional colour story.
Inspired by the commonalities of outwardly contrasting worlds – Royal Indian miniature paintings, glazed Chinese ceramics and Modernist paintings – the sensual colour concept for the textiles comprises natural, deep tone-on-tone colours and subtle combinations, which unite to create intriguing new hues. The names of the fabrics, which are derived from Hindu mythology, reflect this. Lila means ‘play’ or ‘dance’ while Raas refers to ‘aesthetics’ and ‘feelings’.
To realise their vision, Doshi Levien mixed more than 100 gouache colours by hand, then hand-painted them onto samples. These were used as reference in production to dye the yarn with great accuracy – resulting in sophisticated, elegant colours that cannot be found in any existing colour systems.
“Working on Lila and Raas has been a very deep and intense exploration in aesthetics of mixing colour. We wanted to create colour by mixing paints by hand, rather than choosing colour references from existing colour charts,” Nipa says and continues “There is play of aesthetics, between ancient and modern references, vivid and faded colours, memories and remains of colour on architecture; two colours layered on top of each other like textured glazes.”
Kvadrat Maharam Supports Play Pod for Sydney Design Festival
Kvadrat Maharam are proud to have sponsored The Play Pod outdoor installation that was featured in the 2018 Sydney Design Festival.
The installation featured Kvadrat Maharam textile’s which were used to upholster The Play Pod’s seating and create the spaces curtains. The Play Pod is an all ages friendly life sized ‘Rubik’s Cube’ that brings purposeful play to a metropolis and its under-utilised, unsafe, concrete spaces. The Play Pod was developed under collaboration with Scott Carver Architects and Hoyne branding and graphics.
The project concept of this multi-purposeful and mobile pod was to create a variety of interactive experiences ranging from a library, cinema, stage classroom or playroom for kids. How this space is used is truly up to the user. Day or night The Play Pod is seen as a solution to enhance social interactions in these spaces often forgotten or avoided, to forge a brighter and more vibrant city.
The Play Pod is not limited to its original placement and the installation is available to fill a blank space in your city or neighbourhood. To do so get in touch with, discover more or enquire about what The Play Pod and your imagination can bring to your city.
Learn more about Play Pod here
Kvadrat Maharam Australia supports LOCAL DESIGN
Kvadrat Maharam Australia are proud to be a supporting partner of leading Australian design initiative LOCAL DESIGN and LOCAL MILAN No. 3 in 2018.
The third edition of LOCAL MILAN presented by LOCAL DESIGN was unveiled at the 2018 Milan Design Week and featured the work of 26 Australian designers.
The Exhibition is the largest independent showcase of Australian design to date in Milan and was curated and creatively directed by LOCAL DESIGN’s founder Emma Elizabeth. Through Elizabeth’s creative direction and styling of these pieces, they became reactive in the confinement of the Palazzo’s vibrant interior walls.
LOCAL DESIGN strives to raise the level of awareness, credibility and understanding of the Australian design scene, to a global audience. Each room will stage a snippet of the 26 designers, that collectively shift through concepts of colour, scent and sound. The designers include:
Designer: Adam Cornish
Project name: Rev stool, Strand chair
Location of designer: Melbourne
Designer: Adam Goodrum x Arthur Seigneur
Project name: Bloom cabinet
Location of designer: Sydney
Designer: Anna Varendorrf / A.C.V Studio
Project name: Brass vases, brass object wall, table light
Location of designer: Melbourne
Designer: Christopher Boots
Project name: Light fixtures
Location of designer: Melbourne
Designer: Charles Wilson
Project name: Floor lamps with King Fisher
Location of designer: Sydney
Designer: Daniel Emma
Project name: Bling Bling Dynasty
Location of designer: Adelaide
Designer: Dowel Jones
Project name: Venena Arca
Location of designer: Melbourne
Designer: Emma Elizabeth
Project name: Natural Progressions
Location of designer: Sydney
Designer: Fred Ganim
Project name: Plane Table
Location of designer: Melbourne
Designer: Hava Studio
Project name: Three New Mirror Designs
Location of designer: Sydney
Designer: Henry Wilson
Project name: Uplights and wall lights in Bronze
Location of designer: Sydney
Designer: Jamie Durie
Project name: Pandanus Table
Location of designer: Sydney/ LA
Designer: Jon Goulder
Project name: Innate
Location of designer: Adelaide
Designer: Jonathan Zawada
Project name: Piece of Pie Coffee table
Location of designer: Byron
Designer: Kate Banazi
Project name: Three-dimensional Installation
Location of designer: Sydney
Designer: Korban/ Flaubert
Project name: Nude #6
Location of designer: Sydney
Designer: Nicholas Fuller
Project name: Voyage Partitions
Location of designer: Adelaide
Designer: Ross Gardam
Project name: Noon Collection
Location of designer: Melbourne
Project name: ‘The Sydney’ and the Santiago Luxe
Location of designer: Sydney
Project name: Jeanette chairs and barstool
Location of designer: Sydney
Designer: Tom Fereday
Project name: SIA Chair
Location of designer: Sydney
Designer: Tom Skeehan
Project name: NAVE Chairs and SO Glass Light
Location of designer: Canberra
Designer: Walter Barda
Project name: Torso Chair
Location of designer: Sydney
Designer: Volker Haug Studio
Project name: Oddments, The Anton sconce and the modular Step & Kick range.
Location of designer: Melbourne
Find out more about LOCAL DESIGN here
Kvadrat Maharam and Living Edge welcome Carole Baijings to Sydney
Kvadrat Maharam and Living Edge enjoyed the company of Carole Baijings in Sydney to launch the ColourForm Sofa which offers a fresh and inspiring take on colour and form.
Designed by Scholten & Baijings in collaboration with Herman Miller and Maharam, it is a comfortable and timeless design for home and office environments.“Herman Miller, Maharam and Scholten & Baijings are all leaders in the use of colour in design. Colour is a powerful communication device, and these designers and manufacturers create palettes and choose materials to evoke emotion or create an atmosphere. ColourForm is fresh, lighthearted and calming, and the universal design makes it ideal for work and home life,” said Jo Mawhinney, Director of Product and Brand Experience of Living Edge.
ColourForm Sofa Group expresses Amsterdam-based Scholten & Baijings’ mastery of colour, textile and form. Husband-and-wife Carole Baijings and Stefan Scholten take colour and textiles as the starting point of their design process, often designing their own. In this case worked with Maharam Design Group to develop two upholstery textiles for ColourForm, to create a draped look, as if blankets have been folded over the wooden frame. Pare is a soft, matte woven blend with quilting for a cushioned effect. Tracery has detailing in colour and pattern with small grids for texture and interest.
The textiles are available in numerous colourways that can be mixed and matched for a monochromatic or multi-coloured look, and the wooden frame is also available in various colour options. “You live with a sofa for a long time, so the colour needs to have longevity, to be sophisticated and a bit subtle. But we still think it’s nice to make a statement, so we have some stand-out colours in the range too,” said Stefan Scholten in an interview for Herman Miller.
The ColourForm seating collection has an upright and sculptural quality with glimpses of the exposed wooden frame. It includes two- and three-seater sofas with and without arms, a club chair, ottoman, bench, sectional, and a distinctive tête-à-tête. Each piece can stand alone or be combined with others to provide a place for work, play and relaxation in home and office environments.
Two backrest heights allow for different settings and purposes. High-back modules create moments of privacy and low-back modules encourage collaboration. They can be combined for varied seating arrangements or to guide people through a space.
“Simplicity is always the key thing with any of our products. We emphasise colour, so we always produce designs that are quite minimal, which allows the colours and details to come into focus,” said Carole Baijings.
The Herman Miller ColourForm Sofa is exclusivily available at Living Edge.
Kvadrat presents Re-wool at Orgatec 2018
Re-wool is an upholstery textile designed by Margrethe Odgaard that reuses leftover wool from the company’s yarn spinners; Hint and Glow by Giulio Ridolfo exemplify the designer’s masterful, sensuous approach to colour.
Suitable for public and private spaces, the textiles open new avenues of opportunity for architects and designers seeking to optimise quality of space.
Re-wool and Really’s new laminated surface for Solid Textile Board will unite sophisticated expressions with reduced environmental impact while Glow and Hint brings a fresh perspective to the experience of aesthetic tactility.
Explore Re-wool here
Kvadrat and Wes Andersen collaborate at Kunsthistorisches Museum
Spitzmaus Mummy in a Coffin and other Treasures at Kunsthistorisches Museum 2018
Wes Anderson and Juman Malouf November 6 2018 – April 28 2019
In 2012, the Kunsthistorisches Museum Vienna initiated a new series of exhibitions for which remarkable creative individuals are invited to present their own personal selections of objects drawn from the museum’s historical collections. The museum’s collections number more than four million objects, and span a period of five thousand years.
For this edition, American filmmaker Wes Anderson and writer and illustrator Juman Malouf have been selected by Kunsthistorisches Museum Vienna to curate the exhibition. Titled Spitzmaus Mummy in a Coffin and other Treasures, this special exhibition marks the third instalment of this series and opened on 6th November 2018.
The exhibition is a collaboration between the Kunsthistorisches Museum Vienna and the Fondazione Prada and will be presented at the Fondazione Prada, Milan, from October 2019. Jasper Sharp (Kunsthistorisches Museum) and Mario Mainetti (Fondazione Prada) have assisted with the curation. It is accompanied by a fully illustrated catalogue with text contributions from Sabine Haag, Jasper Sharp and Wes Anderson.
Kvadrat has supported the exhibition with 500 meter of Divina 3 textile in a selection of colours which upholster the walls in the different areas of the exhibition space.
Clouds by Kvadrat now available in 8 new colour combinations.
In collaboration with Kvadrat, internationally acclaimed designers Ronan and Erwan Bouroullec have created Clouds, an innovative, interlocking fabric tile concept for the home. Made from one element and attached with special rubber bands, they can be installed to a wall or hung from a ceiling.
Clouds evolves as you add elements to it, producing a unique three-dimensional effect. Inspired by the inviting look and feel of the surface, it is possible to construct your own piece and make your vision reality. Self-expression lies at the heart of the appeal of Clouds.
Creating your own piece is quick and easy, whether you want a simple design or a complex decorative screen or wall. You can easily arrange and re-arrange the tiles to reflect your individual style and bring new ideas into your home, time and time again.
‘This piece instantly produces three-dimensional shapes that constantly evolve as you keep adding new elements to the geometry by banishing traditional rectangular settlements.
Clouds coat architecture in a more fluid yet dynamic way; bringing surprisingly colourful fabric windows to any room.’ Ronan and Erwan Bouroullec.
Clouds comes in 8 colour combinations of Divina, Divina MD and Divina Melange, and infinite possibilities of mixing and matching. They are available in boxes of 8 or 24 pieces.
Since its initial launch in 2009, Clouds has won numerous awards, including Design of the Year 2010 by Design Museum London and Danish Design Award 2010 by Danish Design Center. They also form a part of the permanent collection of the Art Institute of Chicago.
Ronan and Erwan Bouroullec
Ronan and Erwan Bouroullec are two of the most influential designers in the world today. Trained in modern art and design, originally, they come from a town near Rennes in Brittany, France.
Since 1999, the Bouroullecs have worked together from their studio in Paris. Their diverse output spans furniture, product design, interior design and the development of conceptual objects.
Discover clouds here
Passel by Maharam
Introducing Passel, a new residential textiles by the Maharam Design Studio. Focused on the purity and substantiality of materials without the need for embellishment, Passel broaden Maharam’s residential offering with an exploration of color, construction, and texture.
Passel is a highly distinctive boucle texture woven in France by the same resource that fabricates many Chanel suiting materials. Here, lofty mohair boucle and fine wool threads intertwine before being gently felted and pressed. Ten colors are evenly distributed to create a balanced plaid design that’s further unified by a constant black boucle. With a concise palette centered on unexpected combination of brights and neutrals, each color of Passel is woven on its own dedicated loom.
Maharam offers a comprehensive collection of textiles for commercial and residential interiors.
Explore Passel here
Patio by Kvadrat
Patio is an upholstery textile developed for outdoors, which offers exceptional colour vibrancy. Designed by Karina Nielsen Rios, it is made with a highly durable, specially developed Trevira CS yarn.
A result of 3 years intensive research, Patio features a fluorocarbon-free, environmentally-focused finish, which is water-repellent and fast-drying. It also provides resistance against chlorine, seawater and artificial weathering and is Flame-retardant. In addition to its technical features, it also stands out for a soft touch compared to other outdoor fabrics.
Patio has a subtle structure, which combines two coloured yarns in the warp and one in the weft. Depending on the level of contrast between the colours, Patio appears either almost unicoloured or more textured. Its versatile palette brings a fresh, sporty perspective on colours to outdoors textiles. It combines natural and neutral nuances, as well as bold highlight tones.
Patio is suitable for all outdoor spaces, as well as other areas, like spas and indoor pools, where high-humidity and chlorine are a factor. In addition to furniture, it can also be used for screens, parasols and umbrellas.
Karina Nielsen Rios
Based in Copenhagen, Karina Nielsen Rios studied fine weaving and textile design at the Danish Design School, the Philadelphia College of Textiles and Science, Jette Nevers’ textile studio and Skals Håndarbejdsseminarium (VIA University College).
Karina Nielsen Rios’s sleek, cool work combines aesthetic insight, craftsmanship and a desire to innovate with high-tech materials. It often sits at the cutting-edge of textile design and has featured in several exhibitions and galleries.
For further information please click here
Kvadrat Maharam announces sponsorship of LOCAL MILAN 4
We are proud to be a major sponsor of the fourth edition of LOCAL MILAN will be unveiled at this year’s Milan Design Week in the 5 Vie district, the historic heart of Milan and centre of art, design and culture.
Presented by EMMA ELIZABETH and LOCAL DESIGN, LOCAL MILAN NO.4 will feature 44 Australian / New Zealand designers and will be the largest independent showcase of Australian design to date in Milan.
With a vision to advance awareness and understanding of Australian design amongst a global audience, the exhibition of the designers’ work is heavily curated and stylised by LOCAL DESIGN’s Emma Elizabeth. Where she invites guests to walk through these editorially arranged sets, that bring the collective of designers together to celebrate colour, texture and sound.
Across the ten rooms and two level Palazzo, formally occupied by Diesel and Moroso the 44 designers pieces will be integrated into the rooms, including pieces from New Volumes ™, nau and an exclusive collection of LOCAL DESIGN works for Lane Crawford, creatively directed by Emma Elizabeth. The bottom level will also play host to the nau cafe, support by Australian furniture brand nau, where guests can take a moment to stop and reflect over refreshments and a quirky Australian snack.
“It’s hard to describe Australian design as it draws from so many cultures and influences,” says Emma Elizabeth. “The objective of LOCAL MILAN over the past four years has been to present a collective of Australian design that allows guests to start creating their own dialogue in regards to our design industry. In time heightening the global perspective of our Australian aesthetic and style, encouraging and supporting local designers to continue advancing and developing the industry.”
The scenography for LOCAL MILAN No.4 will be layered with sponsor materials including: kvadrat maharam fabric, breeze blocks, stone and custom flora/fauna sculptural moments from Berlin based, Australian floral stylist: Ruby Barber. A bespoke sound scape by Australian DJ and Model, Mason Mulholland will echo contemporary Australian culture through the rooms. With the Milan based, Australian graphic designer and creative director Bradley Seymour putting is visual curiosity spin on the visual identity of the show.
Pause at Melbourne Design Week
Kvadrat Maharam Australia collaborated with HASSELL, Arup, MPA, Eness, Allsense and 3dinflate to bring the public an immersive sensory experience for Melbourne Design Week 2019.
Titled “Pause’ and conceived under the Melbourne Design Week theme of ‘Design Experiments’, the installation was developed as a sensory experiment, to allow the public to immerse themselves in a moment undisrupted by the temptation to capture anything on social media.
"We mediate the world and share our experiences through digital means. Whilst on one hand this connects us and makes our experiences richer – on the other, the constant need to validate our experiences by sharing them online impacts our ability to be entirely present in a moment. ‘Pause’ is a physical installation and sensory experiment that can only be experienced by one person at a time. By not being able to share it online, it encourages the participant to enjoy a moment to themselves."
Pause was presented at Melbourne Design Week 2019, an initiative of the Victorian Government in collaboration with the NGV.
Kvadrat Salone 2019 Preview
Blue is Divine
At this year’s Salone del Mobile, Kvadrat is presenting Blue is Divine, a colourful homage to Finn Sködt: graphic designer, painter and long-time collaborator of Kvadrat. The exhibition is inspired by pure pigments from his workshop and Divina Melange in Sködt’s favourite Ultramarine blue. Celebrating the mark of Finn Sködt and Kvadrat’s extensive collaboration, an updated colour palette of Divina Melange will be launched, accentuating the textiles continuing strong colour story.
New colours in Divina Melange 3 The palette for Divina Melange has been carefully picked, based on the designer’s personal colour library – a vast collection of hand-painted samples that document each and every colour used in Finn Sködt’s works as a painter over the past decades.
Corso Monforte 15
Salone Del Mobile
At the fair, visitors are invited to an immersive experience into a universe of texture and aesthetics where we show our new textile and rug collections.
Pavillon 22, stand E25 + F20
Kvadrat Maharam at Local Milan 2019
The fourth edition of LOCAL MILAN was unveiled at this year’s Milan Design Week in the 5 Vie district, the historic heart of Milan and centre of art, design and culture.
Presented by Emma Elizabeth and LOCAL DESIGN, LOCAL MILAN NO.4 featured 44 Australian / New Zealand designers and was the largest independent showcase of Australian design to date in Milan. With a vision to advance awareness and understanding of Australian design amongst a global audience, the exhibition invited guests to walk through ten editorially curated rooms which brought the collective of designers together to celebrate colour, texture and sound.
Working with a palette driven approach to the two level appartamento, Emma Elizabeth utilised a montage of hanging Kvadrat and Maharam Studio collections, to act as backdrops to the stylised sets. The editorial approach to each room design, framed a visual vignette capturing a connection between upholstery and hard furniture.
We are proud to be a major sponsor of the fourth edition of LOCAL MILAN.
Raf Simons No Man’s Land
For the sixth chapter in the Kvadrat/ Raf Simons collaboration, the Antwerp-based designer presented four new textiles in an irreverent conceptual installation during Milan Design Week.
Raf Simons’s new textiles appeared in a fantastical realm, playfully exploring inside and outside spaces. The diamond grid pattern of Novus 1 and Novus 2 was re-imagined as garden fencing in distinctly non-suburban colours. The thick cording of Phlox echoed in the wooden slats of transport palettes on which it appeared as cushions in an ad hoc seating arrangement. Atom was shredded to create a speckled floor, recalling grassy lawns, flower gardens and even patches of dust.
Set within the entrance to the installation was a garden flowing like a carpet of colour. Created by Raf Simons’ long-time collaborator Mark Colle, the garden provided a space for visitors to socialise.
Within the exhibition, three prefab buildings designed by Jean Prouvé housed a seating area for visitors, a mid-century home and a workshop. In the workshop, textiles were presented as if they were works in progress, exhibiting the materials and process behind each design, and allowing visitors to get hands-on-acquainted with the fabrics. For the visitors seating area, Utrecht furniture designed by Gerrit Thomas Rietveld for Cassina upholstered in Vidar was specifically selected by Raf Simons for the space.
Click here to explore the new Kvadrat/ Raf Simons collection.
Kvadrat at Salone del Mobile 2019
Kvadrat’s sensuous stand at Salone was an intriguing constellation of meticulous designs, subtle nuances and vibrant designs.
An immersive experience into a universe of texture and aesthetics, Kvadrat all-encompassing textile collection included the latest Kvadrat/Raf Simons collection and the new Divina Melange and Campas 300.
Atom is an experimental bouclé with a seemingly random pattern that unveils speckles of colour that are reminiscent of a lush garden or tiny drops of paint. It comes in colourways that play with bold contrasts, which embody Raf Simons’s signature style, as well as series of deep neutral combinations. Atom is only the latest of the Kvadrat/Raf Simons textile designs to draw oblique inspiration from the colours of nature.
Matte Novus 1 and shimmering melange Novus 2 offer refined variations of a jacquard-woven bouclé. With references to furniture designer Jean Royère’s Tour Eiffel series and even traditional handwoven Moroccan rugs, Simons created a fading grid design that seems to melt into the textiles’ textured background. Ideal for mixing and matching, they share a versatile colour palette that ranges from soft neutrals, sometimes flecked with red or emerald green, through to stronger electric blues and scarlet.
Phlox is Raf Simons’ take on classic corduroy. Characterised by a velvety handle, ribbed structure and amped-up scale, the textile has a soft, short-cut pile that reflects the light. As a result, it expresses colours with an almost iridescent richness. Its colour scale evokes memories of the 1970s with striking red, green and blue make-up shades.
Divina Melange 3 is a vibrant piece-dyed woollen upholstery textile reminiscent of felt. Compact and smooth, it expresses colours and the shape of furniture exceptionally well. Unlike previous editions, its colourways go beyond pairs of light and dark versions of the same colour – and therefore deliver greater diversity than ever.
Campas 300 is an elegant matte curtain with a voluminous drape and a subtle diagonal structure. Its updated palette has been refined into 20 colourways. Consisting of dark shades, these complement the curtain’s smooth, firm, densely woven construction and signature colour properties.
Blue is Divine: Kvadrat Showroom
Kvadrat transformed its showroom into a colourful homage to designer and painter Finn Sködt during this year’s Milan Design Week. A long-time collaborator with Kvadrat, the exhibition shed light on the artist’s painstaking methodology and the intriguing colour story behind his new palettes for Divina Melange and Campas 300.
Finn Sködt’s extraordinary sense for colour and aesthetic purity underpins his long-standing collaboration with Kvadrat. Blue is Divine provided a rich insight into his work methods by bringing together bottles of his pigments, a series of textile creations in his favourite Ultramarine blue, contrasting rolls of Divina, and the hand-painted samples he has used to record all the hues in his paintings – from which the new colours for Divina Melange and Campas 300 are taken.
Kvadrat acquires share of Dutch textile company FEBRIK
Kvadrat has taken a majority stake in the Dutch textile company FEBRIK. The global leader in design textiles, Kvadrat hereby adds a substantial knit portfolio to its product offering.
Strongly rooted in Tilburg, the Netherlands, which is historically tied to the textile industry, Dutch textile company FEBRIK has in less than 10 years made its international mark on the design community with its innovative approach and designer collaborations.
“FEBRIK has, like no one else, broken the code to innovative knitting and we are very impressed by their capabilities. We are looking forward to help develop FEBRIK become the global leader in knitting for interior,” Anders Byriel, CEO Kvadrat
Jos Pelders, founder and CEO FEBRIK: “We have been admirers of Kvadrat for a long time and we are very excited to join forces. It feels right and there is a good click between the teams. Moreover it gives us the opportunity to accelerate our global expansion through the Kvadrat network.”
On the 1st July 2019, FEBRIK will re-launch as Kvadrat FEBRIK and will be sold through Kvadrat Maharam. All sales and all customer support including orders, sampling and logistics will be taken over by the local Kvadrat Maharam team.
There are now 9 knitted textiles in the Kvadrat FEBRIK collection, some best sellers staying as they are and some that will be introduced in new colours. New textiles are also in development and will gradually be introduced over time.
To discover the Kvadrat FEBRIK collection please click here.
Introducing Soft Cells from Kvadrat
Kvadrat Soft Cells creates fully customisable, high-performance acoustic panels characterised by aesthetic excellence and exceptional versatility. In addition, we offer end-to-end project support, delivered by a global network of specialists who have been specially trained in architecture and design.
We are dedicated to pushing the aesthetic and technological boundaries of acoustic solutions. Reflecting this, Soft Cells acoustic panels set the benchmark for sustainability, flexibility and durability.
Soft Cells are used in numerous visionary architectural developments all over the world. These include: The Royal Danish Library, Oxford University, PricewaterhouseCoopers, Rolls-Royce and Microsoft.
Kvadrat Soft Cells is a Kvadrat-owned company.
Discover more about Soft cells here.
Soft Cells at Lindenes Norway
Under – Soft Cells above and below the surface
The ceiling passage at Under, an iconic under-sea restaurant designed by Snøhetta architects, features Soft Cells acoustic panels in different geometries upholstered in the multicoloured custom textile Under. The solution is pioneering: each of the multicoloured panels has a unique geometry and look.
As you ‘go under’ into the dining area, which looks out at marine life, the ceiling, which unites concave and planar Soft Cells panels, creates an immersive experience. The acoustic environment steadily becomes crisper and stiller, while the colours melt from light reds to dark greens and blues.
The result of intensive collaboration between Kvadrat and Snøhetta, spanning well over a year, the Soft Cells acoustic ceiling solution meets the stringent functional and regulatory requirements of the project: industrial-life, top-tier fire-retardancy, optimal acoustic conditioning and seamless integration with lighting fittings.
Reflecting this, Kvadrat Soft Cells developed a special fitting so the light spots in the ceiling can be individually angled to accommodate the curvature of the ceiling as well as avoiding any reflection in the large window. The team also organised installation and perfect alignment of the pattern on all the panels.
Art on the ceiling
The textile Under was developed based on a vision of the architects, who wanted a richly structured, multicoloured textile for the restaurant. Snøhetta have worked with Kvadrat for many years and initiated a new collaboration with Kvadrat’s Custom Made Products department, CMP.
CMP identified a proven Trevira CS quality that would meet the necessary fire safety as well as the acoustic requirements.
Next, a series of workshops with Snøhetta to define the final design followed. These explored which technical solution would best realise the goal of moving from light to dark, and create an increasingly still acoustic environment when travelling down into the dining area.
Under comes in 11 custom colours and sits at the apex of textile craftsmanship. Most of the design’s yarn tones are custom-made, then woven into heavy bundles, which each comprise unique tone-in-tone combinations.
As each of the colours has its own repeat, Under’s pattern is always changing. Exceptionally, the eye-catching gradients travel from both top to bottom and left to right. This instils the ceiling with extraordinary vibrancy: like the ocean, it constantly ebbs and flows.
Henrik C. Bagge-Nielsen, CMP: “At Kvadrat Custom Made Products we offer a custom-service. Working on over 300 projects a year, we build on over 40 years’ experience of learning, observing and translating designer data into reality. This enabled us to develop and deliver Under in a year. We know Snøhetta always seek the extraordinary. And the way Under flows across the panels is art on the ceiling.”
A tapestry of geometries
Like Under, the Soft Cells acoustic ceiling solution is also highly advanced. The panels, as with all Soft Cells solutions, are custom-made for a perfect fit. They were produced, delivered and installed by Kvadrat Soft Cells.
In addition to producing technologically-challenging concave acoustic panels, Kvadrat Soft Cells also ensured the stripes of Under’s pattern align perfectly, across every single panel. This was achieved through meticulous attention-to-detail when upholstering the panels.
From a purely functional perspective, the Soft Cells solution meets the demanding standards of the project. It not only provides Class A sound absorption performance; it also meets the stringent fire safety standards that the restaurant, with its unique location, demands.
Furthermore, for this particular project, Kvadrat Soft Cells developed a special fitting for the 394 LED spots integrated in the ceiling. This enabled the electrician, whom the Kvadrat Soft Cells installers worked closely with, to precisely position each one at an optimal angle”.
Thomas Lorenzen, Sales Manager Europe, Kvadrat Soft Cells: “The Soft Cells ceiling solution at Under looks beautiful and delivers industrial-life, optimal acoustic conditions – while meeting the demanding FR requirements of the restaurant. Everything about it expresses high quality, from the way the panels exactly align to the seamless integration of the spots.”
A creative collaboration with deep roots
Kvadrat and Snøhetta have collaborated on many projects, over a period lasting well over a decade. This includes a number of acclaimed venues, such as the Oslo Opera House and the National Museum for Norway.
Thomas Lorenzen, Sales Manager Europe, Kvadrat Soft Cells: “The ceiling at Under is outstanding both functionally and aesthetically – it makes a powerful statement about the excellent, long-standing collaboration we enjoy with Snøhetta.”
Above and below the ocean, Lindenes, Norway
137 panels upholstered in a specially developed textile Under – named after the restaurant for which it was developed; 126 Soft Cells Broadline planar panels, 11 Soft Cells Free-Form concave panels
Additional project facts
Acoustics: the Soft Cells panels performs according to Class A as per ISO 11654/EN ISO 354
Flammability: the Soft Cells panels performs according to B-s1, d0 as per EN13501-1
CE Marking: the Soft Cells panels comply with the EU-harmonized product standard for suspended ceilings (EN-13964)
Imagery by Ivar Kvaal
Discover more Soft Cells projects here.
A sustainable acoustic solution
Soft Cells are designed for optimal sustainability. Consequently, they meet all major environmental building certification schemes - notably, DGNB, LEED*, BREEAM and HQ.
Made with 50% recycled aluminium, Soft Cells are long-lasting. Due to their patented tensioning mechanism, they are unaffected by humidity and temperature. Moreover, they can be reupholstered and their components reused.
Relevant LEED Credits:
MR Credit 2: Construction Waste Management
MR Credit 3: Material reuse
MR Credit 4: Recycled Content
Kvadrat goes 007
Here comes some fun news on our Divina textile being used in the Aston Martin DBS Supperleggera special edition. In honour of the iconic Aston Martin being featured in a James Bond movie “On Her Majesty’s Secret Service” 50 years ago, they have launched this limited series of 50 cars.
Please visit Aston Martin’s homepage and view the image above of the interior of the car with our Divina Red Felt from the press release. On the picture you can see where Divina 3 623 is used – as a lining in the middle arm compartment.
The first customer orders will be delivered in Q4 of 2019.
Kvadrat Maharam at DENFAIR
As part of the new workspace precinct centre at DENFAIR 2019, Futurespace directors Angela Ferguson and Gavin Harris were appointed to create a purpose-driven space within the area where design and technology innovations in the workspace can be experienced.
Their inspiring installation called #futurework featured a series of design portraits that communicated just what it is that makes Australian workplace design truly special. These design portraits incorporate furniture, finishes, ideas, lighting, graphics and technology to share with the design and wider community the playfulness, inventiveness, creativity and inspiration behind Australian workplace interior design.
The installation included Kvadrat DIVINA 3 and FEBRIK GENTLE 2 textiles in one of the three combined interactive spaces.
In other areas of DENFAIR we also saw the creative use of Kvadrat and Maharam textiles in the newly launched Puffalo lounge design by Ross Didier where the clever combination of colour, print and voluptuous shapes inspires multiple combinations in this modular piece that exemplifies Didier’s celebration of that laid-back style.
Designed by the Maharam Design Studio and Leon Ransmeier, Maharam’s NeoCon 2019 showroom presented an atmospheric arrangement of new textiles by Paul Smith, Hella Jongerius, Sonnhild Kestler, Finn Sködt, Margrethe Odgaard, and Georgina Wright considered to be our boldest scale of installation to date.
Beyond the Merchandise Mart, an offsite exhibition designed by Maharam Media, Ein schönes ödes Haus. (A Lovely Bare House.) celebrated our collaboration with the Swiss textile designer Sonnhild Kestler through artifacts transported from Kestler’s Zürich atelier, photography of her studio process by Nick Ballón, and select Maharam textiles within an industrial interior in Chicago’s historic Fulton Market.
For additional reading, please see the published essay by Maharam Stories on the resurgence of interest in pattern by Alice Rawsthorn and an interview with Sonnhild Kestler in honour of our expanded collaboration.
AMOREPACIFIC HQ - Beauty in appearances and acoustics
Seoul, South Korea
AMOREPACIFIC is the largest cosmetics company in Korea, responsible for a portfolio of 30 brands. The company’s new headquarters, which was designed and completed by David Chipperfield Architects, is in Seoul, South Korea.
The cube-shaped 22-storey building represents AMOREPACIFIC’s creativity and ambition. The design concept revolves around ensuring open communication with AMOREPACIFIC’s employees and the local community. More than 3,500 AMOREPACIFIC employees will work out of the building.
In addition to the office areas, the site incorporates a museum, a library of exhibition catalogues, an auditorium and a tea house. It also includes three gardens, which each cover an entire side of a separate section of the headquarters.
To ensure a perfect match with the building’s design requirements, Kvadrat Soft Cells R&D developed special product and installation solutions, throughout the project. Furthermore, a Soft Cells production facility was set up in Seoul. This guaranteed an optimal delivery schedule and the ability to swiftly make changes, if and when new requirements emerged.
Different types of custom Soft Cells panels are installed on walls and ceilings throughout the building. The areas they are used in are: offices, meeting rooms, customer test areas, auditoriums, the CEO’s room, the museum, the VIP floor and utility areas, including a nursery.
A specially-defined 50 mm panel installation depth was developed for the headquarters (Usually Soft Cells panels have an installation depth of 55 mm). To achieve this, new modified profiles were extruded while installation parts were redesigned.
Instead of magnets, a suspension system with horizontal profiles on the walls and fastening hooks in the panels is used at the building. Cost-effective, this helped to accelerate the installation process on long walls with many similar sized panels.
L-shaped Soft Cells panels were engineered especially for the project. This met the need from the architects for panels that go around corners. To create these, the Soft Cells team applied an existing way of fixing textile on small panels to standard-size frames.
This led to the development of panels which feature a piece of textile that goes around a corner. Crucially, the challenges provided by fire curtains and particular structures are met by this new design.
Extra slim Soft Cells panels were also created for the AMOREPACIFIC headquarters. These are just 20 mm thick and are used on all fire hydrant doors.
‘Behind Kvadrat’s Soft Cells stands an innovative approach and unique methodology of thought, based on a universal philosophy of life. A philosophy that not only aims to continuously improve the environment we as humans live, work and relax in, but also to balance the measures taken with what a product actually offers, to find a solution of purpose rather than of mere function.
This philosophy fits in perfectly with our holistic building concept, which elaborates not only the professional ambitions of the company but also on its social and cultural aspirations, by combining the workplace with a wide range of communal activities,’ Christoph Felger, Partner and Design Director at David Chipperfield Architects Berlin, responsible for the design of a new headquarters for Amorepacific, Seoul, Korea’s largest beauty and cosmetic company.
Architecture and design
David Chipperfield Architects
Seoul, South Korea
Broached Goulder at Kvadrat Maharam, Sydney
October 31st - November 2019
The imminent launch of the Broached Goulder collection designed by Jon Goulder is an honouring of layers of intergenerational knowledge and inherited craft. Broached wrestled with the expectation of 'legacy' and what it ultimately means to defy it and, in doing so, redefine it.
17 Foster St, Surry Hills
8:30am to 5pm Monday to Friday
For enquiries email firstname.lastname@example.org
Broached Goulder is a collection of limited-edition furniture that recounts, through artisanal making, a deep connection between Jon Goulder a fourth-Generation Australian furniture maker and the generations that came before him.
The Maharam leather used in the collection has been supplied by Kvadrat Maharam and has been used in highly diverse ways; as woven panels to form the intricate sliding doors of the credenza and the chaise lounge, then as a robust water formed skin backing a standing-mirror and finally as a laminated structural form in the console.