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.
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.
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.
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
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.
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.
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.
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.
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.
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.
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.
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.