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San Francisco International Airport is the twenty-first busiest airport in the world by passenger traffic accommodating more than 50 million passengers every year. In this Overview, three massive airliners are parked at the international terminal.

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37.616800°, -122.380732°

Source imagery: Nearmap

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Lava flow surrounds a home on the Spanish Canary Island of La Palma, where the Cumbre Vieja volcano erupted on Sunday. Spurred by more than 20,000 earthquake tremors in the span of a week, it is the first major eruption here since 1971. As shown in the second and third Overviews, the intense lava sprays and plumes of smoke have caused thousands to be evacuated from the surrounding area and many structures have already been destroyed.

See more here: https://bit.ly/3CzWmDK

28.566667°, -17.833333°

Source imagery: Alfonso Escalero / Saúl Santos / Abián San Gil

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Mont Saint-Michel is a commune built one kilometer (0.6 miles) off the coast of Normandy, France. Over the past 600 years, the island has functioned as a monastery (accessible to pilgrims only during low tide), a French fortification that withstood English attacks during the Hundred Years’ War, and a prison.

Did you know you can get this Overview and many more from our Printshop? Visit over-view.com/shop/prints to see more!

48.636111°, -1.511389°

Source imagery: Maxar

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Every April, the streets of Milan flood to welcome an international spectrum of designers, architects, and artists for a week-long immersion into leading contemporary design. This celebration is known as Salone del Mobile, Milano and 2021 marked its 60th year anniversary in practice.

However, this year was quite unlike any other as we know. With the pandemic’s toll and limitations, the mere thought of people flooding any confine of space, outside or in, was enough to thwart the attendance of veteran visitors and big brand investment. As one yearly Salone devotee told me, this year’s version would be “baby Salone,” another told me, “it simply wouldn’t be worth it,” others, unfortunately, could not leave their respective countries to make the pilgrimage.

Frankly, I wouldn’t have known the difference of what’s worth or scale as this was my first visit to the lauded design Mecca with my familial team at Hello Human, an international PR collective based in New York City. I was simply lucky to be there. Another first for me is this: A byline with a design vanguard like Yellowtrace who, due to Australia’s lockdown, was unable to attend.

So, Australia, and beyond, here’s my rookie attempt at delivering Salone and Milan Design Week 2021 to your front door without any pre-existing context other than those forewarnings. Please share your favourites and thoughts as well because connection and dialogue—a natural byproduct of Salone’s packed calendar of events and installations—is what excellent design sparks in the first place.

We begin. As the saying goes, quality always trumps quantity. And even if this year’s work was at a minimized scale, aside from Hermes’ gargantuan presentation, there was a shimmering silver lining—resilience.

Salone 2021 revealed a creative Renaissance that was diligently at work during the pandemic who then came to the surface in Milan with an eager response to design’s collective future before we are left only to react.

I saw and learned of collaborative masterworks, like Lindsey Adelman’s Paradise or Bethan Laura Wood’s Ornate, that recruited independent artisans to bring astral concepts to fruition, literally for Wood. I saw a rise of young empathetic thinkers and designers in The Lost Graduation Show and throughout Alcova, masterfully developed by Space Caviar and Studio Vedet. I saw thoughtful technological applications, like Audrey Large’s Some Vibrant Things or Rashmi Bidasaria’s Karigari.

At large, I saw a lack of limitation. New hybridities of materials occurred all at once, like with Giopato and Coombes’ Milky Way Collection, or completely introduced, as with Michael Anastassiades’ recruitment of bamboo for his lighting series at ICA Milan.

It was clear to me that in 2020, a tenacious band of designers and curators stole at opportunity with whatever tools and materials were left at hand to make things that really mattered. Superalone 2021’s standout exhibitors, mentioned below (and in soon-to-come Part 02 of this Milan mega-report), excited and uplifted to challenge paradigms and move the conversation forward. Quickly, we were reminded why we descend upon an entire city, yearly if we can, in the first place. And enlivened by their contagious inspiration, I would be lucky to return in April 2022 to one day become this aforementioned devotee.

Written by Meggie Sullivan of Hello Human, a global PR company for small scale design studios.

GROUP SHOWS/ ALCOVA

Abandoned military hospital vibes at Alcova. Photo by DSL Studio/ Piercarlo Quecchia.

Spread installation at Alcova courtyard. Photo by DSL Studio/ Piercarlo Quecchia.

Situated just outside of Milan’s centre, Alcova was a standout destination that more than satiated the curiosities of the adventurous who were willing to step out. The site itself––chosen and curated by Space Caviar and Studio Vedèt—served as a former military hospital and has stood untouched since its abandonment years ago.

Thus, Alcova’s cold tiled corridors, cracked facades, and rusted structures, now overtaken by lush greenery, offered a perfect canvas for Salone’s emerging to veteran talent.

Llot Llov magic at Alcova. Photo by Petra Hurai.

Llot Llov’s Fran lamps, handmade in Latvia.

Agglomerati with Fred Ganim. Photo by DSL Studio/ Piercarlo Quecchia. See more here.

Agglomerati X Fred Ganim. See more here.

London-based Agglomerati’s debut collection, MASS, designed by Australia’s own, Fred Ganim, was a manipulation of Palissandro Bluette marble, chipped away from Gruppo Tosco Marmi’s quarry.

In an interplay of gravity and the materials’ sheer structural force, Ganim and Agglomerati created a cantilevered and modular shelving series: MASS Large, Medium, and Small. Round Table, a reinvention of Ganim’s early work in 2015, was deftly engineered from a singular block of Quartzite as if it were silk.

Lindsey Adelman’s Paradise installation at Alcova. Photo by Matteo Imbraiani. See more here.

Not to be missed, was New York City’s Lindsey Adelman and her collaborative work: the Paradise chandelier. A galactic reinterpretation of Murano glass artisanal traditions and centuries-long expertise, Paradise’s pink and amber glass globes were blown by Brooklyn-based Michiko Sakano and Pennsylvania’s Vetro Vero studio.

Adelman tapped textile designer, Taryn Urushido, to magically disguise electrical wires with her crocheted brass chains. Adelman’s orchestration gave way to a stunning braided assembly of pinned glass globes, chains, and links. Not to be unnoticed, was Adelman’s bespoke brass hieroglyphics, of her own amusing lexicon (i.e. “lol”, “fun is a virtue”,“seek balance”).

Objects Of Common Interest X Etage. Photo by DSL Studio/ Piercarlo Quecchia.

Objects Of Common Interest X Etage. Photo by Stefanos Tsakiris.

Within what was Alcova’s coldest and most dreary of former medical rooms, stood the chromatic, domesticated space-age landscape of FUTURE ARCHAEOLOGY from OBJECTS OF COMMON INTEREST’s Eleni Petaloti and Leonidas Trampoukis and Etage Projects.

In a joyous response to the brutalist-loving environs they were allotted, the teams played with illusion and perception via colour and form inherent in their arched, kinetic, and bubbly works.

Double Up Studio’s (Josefin Zachrisson & Mira Bergh) Seats System.

Making their debut at Salone, Mia Bergh and Josefin Zachrisson, aka Swedish Girls, hosted a near party with Motion Surrounded where their Seats System, a joint work, welcomed visitors to idle and recline in conversation.

The kinetic outdoor-indoor modular bench and table collection was also situated alongside Zachrisson’s independent Mess, a crevassed series of glass vases that delicately held her beautiful violet proteas.

Peel Vases by Alyssa Lewis & Marcela Trejo. Photo by Studio Santiago.

SEM Milano at Alcova. Photo by Amir Farzad.

Aracea Lamp by Gupica X Visionnaire. Photo by Elettra Bastoni.

Tapestry 270 by Adaptism. Photo by Emma Batsheva.

Design Academy Eindhoven graduates, Paul Youenn and Eliott Vallin of  Adaptism Space, presented, Tapestry 270—a layered investigation into the ways we transition between indoors and outdoors. Upon the Merino Wool tapestry, applied outlines of garment patterns (which could be used if chosen) were encompassed by a visual meta-reference of merino wool fibre observed at a microscopic level. Tapestry 270 serves multiple functions Adaptism sought to recognize: warmth, protection of space (and its users), as well as a whimsical storytelling object.

The Tapestr Collage by Kristina Sipulova + Rita Koszorus Nora and Jakub Caprnka.

Hear My Roooar by Andrey Budko.

Jutta Werner for Nomad. Photo by Anna Daki.

Jutta Werner for Nomad. Photo by Anna Daki.

Jutta Werner for Nomad. Photo by Anna Daki.

Botanica by Leo Rydell Jost. Photo by Luis Venegas.

Giovanni De Francesco for Trame. Photo by Mattia Parodi.

Maddalena Casadei for Trame. Photo by Mattia Parodi.

Artificial Wasteland by Ignacio Subias Albert reimagines the artificial reproduction of grass. Sights of the lawn currently deemed as ‘ugly’ are carefully reproduced in 100% plastic in order to present them as equally desirable ideals.

 

GROUP SHOW/ MASTERLY

Bloomlight by VOUW Studio responds to the passersby and bends to meet them.

Bloomlight by VOUW Studio at Masterly, Palazzo Francesco Turati courtyard.

 

The Masterly show, held within Palazzo Francesco Turati’s courtyards and Beaux-arts-adorned hallways, hosted the work of 100 Dutch artisans, makers, and agencies with a curation achieved by Nicole Uniquole.

To start in the courtyard: Amsterdam-based Vouw Studio’s Mingus Vogel and Justus Bruns manifested their philosophy of ‘slowtech’ with Bloomlight. A series of towering lanterns that respond to passersby as if they were a hospitable creature, bend when one approaches. Bloomlight’s technology senses our presence and reacts, blooming open to greet and warm one with light. VOUW notes that their use of technology is an effort to “slow down the world.”

Rive Roshan shared the free spirit of childhood through a collection of carpets painted by their 3-year-old daughter and produced by Moooi Carpets.

With a fantastic take on the prodigal artistic child, Rive Roshan embraced their own three-year-old, Ava Paloma de la Rive Box. Little Ava’s “The Sky Owls and the Puddle”—her abstract painting achieved during lockdown in her parent’s studio—was transformed into a MOOOI carpet masterpiece. And a star was born.

Alongside her carpet, Rive Roshan shared a new range of 3D-printed sand objects also inspired by their dearest Ava, stoking the youthful spirit within us all.

Studio Selma Hamstra at Palazzo Francesco Turati.

GLASSSH by Studio Selma Hamstra.

GLASSSH from Rotterdam-based, Selma Hamstra, featured a series of rose-hued glassworks all crafted and designed by Hamstra—a rare continuity when one asks most designers today, “who made this?”.

Standing nearby, Hamstra’s collection was an ode to her master, Gerte Bullee, and training at Gerrit Rietveld Academy she devotedly noted. With GLASSSH, Semstra took on an academic dive into taming a material that delicately straddles utility, artistry, and craft all too literally, even beyond her own liking, representing an achieved discipline more so than any other medium we may know.

Studio Stefan Scholten presented The Stone House, the first solo project of the Dutch designer since partying ways with Scholten Baijings he established with his wife, Carole Baijings. Photos by Simone Bossi.

The Stone House by Stefan Scholten of Amsterdam-based Studio Stefan Scholten, marks his solo debut collection commissioned by Stone Made Italy.

A sustainable material investigation, Stone House integrated terrazzo with what-would-have-been discarded offcuts of marble, sourced from local quarries near Forte dei Marmi, Italy. The collection of chairs, dining tables, a stone ‘carpet’, wall, and coffee table reveal a brand new technology that values imperfection and an amalgamation of color, pattern, and minimalist line.

 

INSTALLATIONS

Hermes installation. See more here.

With tactility and technique being the major focus of Hermes’ new home collection, the French luxury brands’ much-awaited return to its usual Milan Design Week stakeout ​​in the La Pelota Jai Alai event centred in the heart of Brera, was nothing short of an atmospheric showstopper. The colourful and immersive space designed by Charlotte Macaux Perelman, titled Contemplating Materials, echoed his peers beyond. The space featured five monolithic patterned and painted architectural chambers, outfitted in a series of geometric fabrics, all resting on a bed of terracotta-hued sand that blanketed the Pelota court’s floor.

Amongst the volumes, the new home collection could be found, and highlights included designs such as ‘sillage d’Hermès’, a chair with an endearingly organic form, designed by Studio Mumbai. The presentation set out to examine the characteristics and technical approaches behind the brand’s creation of raw and natural materials. The environment toed the line between tradition and innovation — and as one would expect from the storied French house — evoked warm feelings of refinement, comfort and elegance. See more here.

| The article Best of Supersalone & Milan Design Week 2021, Part 01. appeared first on Yellowtrace. |

https://www.yellowtrace.com.au/best-of-supersalone-milan-design-week-2021-part-01/

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Manhattan, seen at center, is the most densely populated borough in New York City and is home to roughly 1.6 million people. With a land area of roughly 23 square miles (59 square kilometers) and about 1.6 million residents, there are approximately 72,000 people here for every square mile.

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40.783333°, -73.966667°

Source imagery: Maxar

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Tableau has debuted a new spatial design for Post Service during Copenhagen’s 3 Days of Design. A year in the making, the apartment will be used as a therapeutic clinic that addresses grief and death head-on. Integrating art and design into the healing process, the team worked closely with several progressive artists and designers, curating pieces and designing new objects that will encourage patrons to engage with their senses.

The team describe Post Service as a “facilitation studio working with discussions around death, grief and nourishment.” With the design of such a space often being neglected, Copenhagen darlings Tableau pulled their socks up and rose to the occasion. Through material and form, the space welcomes participants to interact with the environment, objects and themselves, in an engaging way.

With Julius Værnes Iversen at the helm, Tableau is a multidisciplinary studio that functions as an art gallery, design studio, concept store and florist. The studio has a passion for product design and a knack for collaboration, often working with different artists, designers and craftsmen in the process of new creations. Renowned for their big and small floral installations within Denmark, the practice has recently entered the interior design game, proving to be a force to be reckoned with.

Related: Tableau Flower Shop in Copenhagen by Studio David Thulstrup.

Leading the whole interior project, the studio orchestrated everything from the choice of colours on the walls to the curating of objects and furniture. The generous apartment includes a myriad of wellness zones including two rooms with private infrared saunas, a movement room with a handmade ballet barre and a bespoke rubber granulated carpet, a ”nourishment” room, a specially made nail table, a long organic shaped red velvet couch, a “fringe bomb” chair, a specially made daybed, and many other quirky, enticing objects to engage with.

For the office, the team created a one-of-a-kind crystal desk made from Azul Macaubas, a type of quartz. When entering the space, visitors are met by walls and ceilings painted in mint, lavender, blue, and even silver tones.

Each room contains several art pieces specially created for the space or chosen from Tableau’s own curation of art and design. The artists and designers are both emerging and established from across the globe featuring work from Laurids Gallée, Jacob Egeberg, Kristine Mandsberg, Carsten Inderelst, Arnaud Eubelen, and many others. All objects and pieces were chosen carefully to create a specific flow of energy throughout the space, working with the functionality of each room that the objects and pieces are in.

The guidance inherent to this process encourages clients to become mindful of their senses, play with different materials, allow design and art to impact them and take them deeper into the well of feelings and emotions while still holding space for them to unpack their lived experience in a safe environment.

Death and grief are taboo topics in many cultures which makes open discussions of the subjects difficult. Post Service welcomes an approach of playfulness, curiosity, and creativity through the objects and pieces which all have their own story and personality behind them. The space aims to be not only beautiful, but a place where both body and mind are engaged and cared for.

| The article Spatial Design for Death, Grief & Nourishment: Post Service by Tableau in Copenhagen. appeared first on Yellowtrace. |

https://www.yellowtrace.com.au/tableau-post-service-copenhagen-spatial-design-for-death-grief-nourishment/

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Be ready to be wowed by a facility that feels like the world of Ex-Machina and Passengers colliding into one. This is Sonica’s First Landings, headquarters for the international fit-out contractor as well as a start-up base for FDIs based in Dublin, Ireland. Designed by Kingston Lafferty Design (aka KLD) and commissioned by Sonica founder Donnacha Neary, KLD were required to create an office fit-out and first ‘landing point’ for emerging entrepreneurs, but not without three overarching principles that; a—the space must not look like an office, b—feature technology and style that future proofs the workspace, and c—‘oozes the energy and dynamism’ of Sonica’s team and their high regard for quality design.

Totalling approximately 2,800 square metres and stretching over two levels, First Landings’ narrative begins by entering a narrow entrance that curves to the left into a circular function space curated with gradient orange joinery and floating blue disc ornaments. Following the curve of the breakout area sits a classy bar framing a blackhole tunnel to draw visitors in, before surprising them with a plush and velvety deep blue lounge for a dramatic and theatrical flair.

Ascending the orange square tiled staircase opposite the entrance unveils a collection of organised play spaces and workspaces arranged in a manner to erase tropes of a typical open office layout. Centralised at the floor plate are stationed with a boardroom sandwiched by two medium meeting rooms on either side calmly illuminated by Mission to Mars orange. Arranged on the perimeter of the footprint are inbuilt flexible offices and recreational pods that ranges from a podcasting studio, DJ booth, virtual golf to hot-desking lounges.

Towards a corner is a café distinguished by a white tiled orange glass-walled space, and in another is also a circular lounge with an added window seating for panoramic views beyond. Another place of rest also includes a Zen-like pod encased by a perforated translucent wall with green planting being the only colour within the white space.

Strong elements of linearity and geometry are layered within the program of the space to offer an endless horizon while circulating around the office area. In addition to the square tiles and fluorescent lighting, KLD encapsulates Sonica’s personality through lava-lamp-like blue and their signature tangerine orange against shades of concrete shell and occasional stone type textures.

The colour combination transforms into effective wayfinding, with orange stripes on the polished black floor around the first floor, otherwise effectively distinguishing built-in joinery found in grey panelled walls. Whilst an overwhelming amount of blue has been spilled inside the lecture theatre, spots of it are enjoyed in the scattered furniture — complimenting the space for a playful effect.

Against the hot-cold ensemble, metal elements are added to reinforce the sense of futurism — perforated metal sheets line against the reception joinery, otherwise chainmail-like blinds curve themselves around the circular lounge. Added peppered terrazzo on selected floor areas and graphical black tiled white grout tiling in other office or inbuilt seating spaces, it’s almost like KLD have pulled elements of a meteorite to tighten the space-like feel.

With each entry experience of the headquarters reminiscent of Archigram Collages, First Landings serves as an excellent precedent for future office fit-outs. Gone are the days of formalised open office areas, but now lifted with an intergalactic air ready to motivate and promote exceptional collaborative workspaces. Work hard and play hard while establishing your own career? This is the place to be!

See more projects by Kingston Lafferty Design on Yellowtrace.

| The article Sonica “First Landings” Workspace of the Future by Kingston Lafferty Design. appeared first on Yellowtrace. |

https://www.yellowtrace.com.au/kingston-lafferty-design-sonica-first-landings-dublin-workspace-of-the-future/

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Large chunks of ice float offshore Severny Island in the Russian Arctic. Almost half of the 18,882-square-mile (48,904-sq-km) island is covered by the Severny Island ice cap, which — if considered part of Europe — is the largest glacier by area on the continent. The ice cap spans 7,900 square miles (20,500 sq km), making it about the same size as the entire country of Wales.

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75.451901°, 63.205232°

Source imagery: Airbus Space
© CNES 2021, Distribution Airbus DS

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Shelter Cove is a small, remote community located along the “Lost Coast” of northern California, where the King Range meets the Pacific Ocean. Due to its rugged terrain, the Lost Coast region has no major highways and is mostly natural and undeveloped. The one-runway Shelter Cove Airport, seen at the bottom of this Overview, helps visitors access the area when weather permits.

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40.027778°, -124.073333°

Source imagery: NASA

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The Serrania de Hornocal is a range of colorful mountains in northern Argentina. The peaks reach an elevation of 15,620 feet (4761 meters) above sea level and get their incredible colors and patterns from an exposed limestone formation known as Yacoraite. The visual variations within the rock layers results from historical changes in sea levels.

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-23.338950°, -65.171590°

Source imagery: Maxar

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