Janelle Zara
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Posts Tagged ‘Janelle Zara’

Anselm Reyle-Designed Rugs and More to Debut in Milan

Anselm Reyle’s “Untitled,” 2012, hand-knotted rug Himalayan wool and silk

During Milan’s mega trade show Salone del Mobile, Gothenburg-based Swedish handmade rug company Henzel Studio is teasing its new “Henzel Studio Collaborations, Volume #1,” a collection of rugs by an impressive roster of designers: Anselm Reyle, assume vivid astro focus, Scott Campbell, Leo Gabin, Robert Knoke, Helmut Lang, Linder, Marilyn Minter, Jack Pierson, Richard Prince, Juergen Teller, and Mickalene Thomas. Each richly textured piece has been woven in Nepal using centuries-old traditional techniques.

While the collection’s official launch is scheduled to take place will be at Barneys during Frieze New York from May 9, the works of Reyle and Lang will be on view at Milan’s Temporary Museum for New Design from April 8 to 13. For those of you who won’t be heading to Italy next week, ARTINFO offers its own sneak peek below.


How Skipping School Led Charles Renfro to Architecture

Learn the genesis of his career in just two minutes.

After a particularly bad episode of bullying in the fourth grade, Charles Renfro told his mother he didn’t want to go to school anymore. “She asked me what I wanted to do, and I said ‘I want to go look at buildings’,” he says in the latest installment of “What Made Me,” a series of video shorts by T Magazine. Rather than send him back to class, Renfro’s mother obliged; she took him on a two-week tour of downtown Houston’s architecture, from Philip Johnson’s Bank of America Center to “kind of ridiculous commercial developments.” The tour struck a chord with 8-year-old Renfro, and turned out to be that formative (and heartwarming) moment that led to his becoming a principal at Diller Scofidio + Renfro. See the full video here.

— Janelle Zara (@janellezara)

Image via Azure

New York Design Week Adds an Avant-Garde Fair by Sight Unseen

After four years as a central event during New York’s still-fledgling Design Week, the NoHo Design District is sadly no more.

Forward/Slash Light, 2014, by Ladies & Gentlemen

“The real estate in the area really exploded,” explains Jill Singer, who, along with Monica Khemsurov, founded the design site Sight Unseen and launched the multi-site design event in 2010.


Featherweight Champion: Benjamin Hubert’s Ripple Table Up for Best Design of the Year

Good design is not as much about reinventing the wheel as it is pushing the limits of how far you can go with it. Take Benjamin Hubert’s 2013 Ripple Table for Canadian manufacturer Corelam, for example, on view at the London Design Museum’s “Designs of the Year 2014″ exhibition that opened Wednesday. Lauded for its lightness — although its surface measures eight feet by three feet, the whole thing weighs 20 pounds — it’s not made of any space-age materials, but 0.8mm-thick sheets of laminated Sitka spruce plywood.


Shigeru Ban Wins 2014 Pritzker Prize

Best known for his groundbreaking use of paper as a tool to build humanitarian relief in the immediate wake of disaster, 56-year-old international architect Shigeru Ban has been awarded the 2014 Pritzker Prize.

“Shigeru Ban is a force of nature, which is entirely appropriate in the light of his voluntary work for the homeless and dispossessed in areas that have been devastated by natural disasters,” announced Pritzker Prize jury chairman, the Lord Palumbo. “But he also ticks the several boxes for qualification to the Architectural Pantheon — a profound knowledge of his subject with a particular emphasis on cutting-edge materials and technology; total curiosity and commitment; endless innovation; an infallible eye; an acute sensibility — to name but a few.” His most iconic works include cathedrals, cabins, and a concert hall, all constructed from cardboard tubes in response to major natural disasters. He is the third Japanese Pritzker prize winner in the past five years.

— Janelle Zara (@janellezara)

David Rockwell Sparks the Conversation With His New Grill Design

David Rockwell, the architect behind the set of “Hairspray,” TED’s bespoke talk-oriented auditorium, and the carnivalesque layout of the Googa Mooga food festival, has always been a fan of designing spectacle with user experience in mind. The backyard barbecue seems to be no exception.

We’re also fans of those puck-sized dials.

Rockwell this weekend launched his David Rockwell by Caliber Grill, a large-scale product being billed as “the world’s first social grill.” At 60 feet long, 30 feet wide, and 36 inches tall, its design is meant to evoke a “ceremonial table,” according to its official release, but its most social feature is its disappearing lid. It glides into a canopy, allowing guests to gather 360 degrees around the flame—just as our cave-dwelling ancestors had always intended. “Cooking can now take center stage,” says Rockwell, and now the chef no longer has to be lonely.

— Janelle Zara (@janellezara)

Image via Caliber Grill

9/11 Memorial Museum Design Details Unveiled

In May, the long-awaited National 9/11 Memorial Museum will open its doors 70 feet below the New York City street level. Its architects, Davis Brody Bond, offer a preview of what visitors will experience, a thoughtfully crafted progression through the underground foundations of the World Trade Center towers.

“We relied on four principles to guide our work: memory, authenticity, scale and emotion, hoping to provide the most sensitive, respectful and informative experience for visitors,” said Davis Brody Bond principal Steven M. Davis in the plans’ official release. After visitors enter the museum through the Snøhetta-designed pavilion located between the reflecting pools of the memorial’s plaza, for example, they’ll descend “the Ribbon.” This gently sloping ramp, similar to the one used to remove debris from Ground Zero, was designed intentionally for slow descent, providing visitors a space for contemplation.


Zaha Hadid’s Right-Hand Man Dismisses “Moralizing,” “Symbols of National Identity,” the Venice Architecture Biennale, and More

Now’s not a great time to be Zaha Hadid’s publicist.

Between Hadid’s stated indifference to laborers’ deaths at her Al Wakrah World Cup stadium construction site, Patrik Shumacher’s new Facebook rant against the political correctness of the Venice Architecture Biennale, and the pair’s general reverence for parametricism above all else, they’ve established their lack of human compassion almost as a signature of their practice. But truly, morality and human consequence are merely obstacles to achieving great architecture, according to a recent Architectural Record interview with Shumacher. (Did you know, for example, that “symbols of national identity and culture” are just a distraction?) Fred A. Bernstein asked refreshingly pointed questions, broaching the poor construction quality of the Guangzhou Opera House, Facebook polemics, autocratic governments, and more, which somehow gave the architect room to further distance himself from humanity. We’ve included the highlights (or lows) of the conversation below with no additional commentary.


SCADpad: Design Students to Populate a Parking Garage With Micro Architecture

Addressing the need for urban housing in the evermore-crowded future, the students of the Savannah College of Art and Design are experimenting with a new apartment typology ideal for very small spaces — parking spaces, in fact.

The future, built to scale


At MoMA, a Functionless Object Finds Meaning in Form

“75 Watt,” 2013, is a functionless object, not unlike many of the other exhibits in MoMA’s new “Collection of Ideas” design show, but its existence does serve a purpose. Designers Revital Cohen and Tuur Van Balen, who operate the Cohen Van Balen studio in London, created the polygonal aluminum piece based solely on the bodily movements that would be required to manufacture it. In collaboration with London choreographer Alexander Whitley, they filmed the elaborate manufacturing “dance” of an assembly line in a Chinese factory to illustrate the modern reduction of laborers to machines. The designers named the resulting short film and the object itself “75 Watt,” the amount of energy a person can sustainably exert during an eight-hour work day, according to “Marks’ Standard Handbook for Mechanical Engineers.” Both are on view at MoMA’s “Collection of Ideas” through January 11, or in the clip below.