Bernhardt Design introduces Curio by DUE, the El Salvador-based design studio of husband-and-wife team Harry and Claudia Washington. Intended as a chameleon of sorts, the Curio occasional table has been described as “the Meryl Streep of furniture. Whatever accent you want, the table can do it.”

Crafted in solid walnut or maple, Curio is designed to accommodate alternative tops for individual needs. If color is needed, it may be specified in bright or muted shades. In natural wood finishes, the table takes on a more conservative, reserved appearance. In high traffic areas, when more durable surfaces are required, a glass or Corian top may be selected. The beveled top, similar to a tray, creates a delicate profile without sacrificing strength. The shape of the tapered legs presents an unexpected visual twist, depending on the perspective. As Bernhardt’s team describes it, “The Curio table is a chameleon, but it is never vanilla.”

Curio is available in three different sizes. The 19” and 22” diameter tables have three legs; the 42” diameter table has four legs. Offered in a variety of natural wood finishes ranging from clear to ebony, Curio may also be specified in a variety of lacquer colors.

According to Bernhardt design, “A successful occasional table is the equivalent of a design sound bite: it should be clear, concise, and easily understood. Limited to the role of supporting player, it is frequently overlooked. Rooms are often designed to highlight the architecture, a rug, or a sofa, but rarely an occasional table. Although blending with its surroundings is essential, there is still a desire for interesting and notable small tables. Claudia and Harry Washington’s Curio table is one such piece, managing to embody the antithetical qualities of being understated and remarkably intriguing.”

About DUE Studio: Claudia and Harry Washington, heralded as the “first couple of design” in El Salvador, received unprecedented international press in 2009 for their six piece debut collection, Calibra, for Bernhardt Design. Relatively new to the global scene, both graduated with Interior Design degrees from the University of Applied Arts in San Salvador, and opened their design studio DUE, in October 2004, specializing in residential and retail interior design, product design, and retail branding. The Washingtons are ardent advocates for the design industry in El Salvador: they consult for USAID; judge Contempo, the design competition which catapulted their career; and lecture at numerous universities throughout Central America.

*Images courtesy of Bernhardt Design.

Rodarte – the American fashion powerhouse by sisters Kate and Laura Mulleavy – moves beyond the runway and into home décor this month. The duo has created five upholstery and three drapery patterns for Knoll Luxe, a luxury fabric division of Knoll, Inc. The new collection is an abstract translation of Rodarte’s runway inspirations from the past five years.

Known for innovative, conceptual collections, Rodarte often combines haute couture elements with daring, even destructive techniques (burning, etc.) for a uniquely fresh perspective on the runways. Now, the Mulleavy sisters are applying that same tactile- and concept-driven approach to their work with Knoll. The new line consists of designs named for the sisters’ favorite poets, including E.E. Cummings, John Keats, W. H. Auden and Dorothy Parker. Prices range from $130 per yard and up, and the color palette includes hues of ice blue, plum, wheat, fawn, and royal navy.

Notably, the Mulleavy sisters’ fresh perspective may come by virtue of their outsider status; prior to launching their label, neither sister had any formal fashion training. In fact, Kate studied art history and Laura studied literature and the modern novel at the University of California, Berkeley.

Speaking of Knoll’s collaborative history, Knoll Luxe creative director Dorothy Cosonas says, “Since its inception, Knoll has worked with cutting-edge designers – from Eero Saarinen to Ludwig Mies van der Rohe. Collaborating with Rodarte, arguably the most innovative voice in the fashion world today, furthers Knoll’s rich tradition.”

Several of the Rodarte for Knoll Luxe designs have been chosen for the permanent collection at Cooper-Hewitt. Check out the Knoll Luxe offerings – and their runway inspirations – below…

*above: Rodarte’s fashion and textile interpretations of Auden

*above: Byron fashion and textile interpretations

*above: fashion and textiles inspired by Keats

*above: fashion and textiles inspired by Emerson

*above: Parker interpretations in fashion and textile

*All images courtesy of Knoll. Fashion photography by Autumn de Wilde.

Now Showing: Raphaele Shirley‘s “0910 Light Shots,” a site-specific, multimedia artwork for The Project Room for New Media at The Chelsea Art Museum. In this new laser light and fog installation, Shirley uses light beams to draw lines and planes in space, creating a dynamic, minimalist laser environment that explores the principles of perception. This installation questions the meaning of space by playing with the physics of light and spacial geometry, creating ever-evolving colored structures as the visitor shifts in his or her viewing angle. With “0910 Light Shots,” Shirley has constructed both a site-specific, ephemeral object and an interactive installation; the composition’s nature is directly influenced by every viewer’s unique presence.

The installation runs through June 19th.

Images and a video featuring Raphaele Shirley on opening night are below…

above: Raphaele Shirley’s “Shooting Stair,” published by Dorfman Projects, 2009. below: Images from Shirley’s “0910 Light Shots” installation.

0910 LIGHT SHOTS by Raphaele Shirley
The Project Room for New Media at CAM
Chelsea Art Museum
Home of the Miotte Foundation
556 West 22nd St. at 11th Ave., NYC
chelseaartmuseum.org
212-255-0719

*All images and video courtesy of The Chelsea Art Museum.

Blu Dot is determined to make good design accessible to everyone by offering top quality, contemporary designs at affordable prices. At the same time, the Minneapolis-based furniture design firm stands out for its laid-back attitude and sense of humor – no stuffy design hierarchy here, just quality work and playful presentation.

Partners John Christakos, Charles Lazor and Maurice Blanks launched Blu Dot in 1997. “The three of us were college friends and shared a passion for art, architecture, and design. After we left college and began to furnish our first homes, we didn’t like the stuff we could afford and we couldn’t afford the stuff we liked. We figured we were not alone and we were naïve enough to try and do something about it.”

Describing their work environment, they say: “Blu Dot is fast-paced and rewarding, but most importantly we play croquet every Friday at 4:00.” Their goal is to bring good design to as many people as possible through a collaborative process that creates useful, affordable and desirable products.

And that collaborative approach is working; Blu Dot was honored with the editors award for overall “Body of Work” at the International Contemporary Furniture Fair (ICFF) earlier this month. Check out pieces from their latest line below…

above: Rook Lamp: You don’t need to be skinny to be beautiful (take that Real Good Chair!). This little light of ours is, unapologetically, a bit chunky- and we think it’s pretty hot. It’s also a confident show off: Rook can sit on three legs, but he prefers to sit on one! Solid walnut with an off-white linen shade and a gray 80” cloth cord. $199

*above and below: Toro: Ole, motherf#@!xer! You will be hanging (literally) in style in the thick, saddle leather sling of this lounge chair. It’s comfortable and marvelous all at once. Choose between day (natural leather sling with white-stained, solid beech frame) or night (black-tanned leather sling with black-stained, solid beech frame). $999

*above: Cant Desk: A cantilevered silhouette sets the stage for hard work. Or update your page so everybody knows that you just bought a sweet desk. Desktop is in a warm walnut veneer with solid walnut legs, and your choice of grey or bright red powder-coated steel accents. $599

*above and below: Flat Out: The name says it all. Sit up or sleep it off. Quickly convert from upright lounging to horizontal sprawl. Playful contrast stitching, kicky French seams, and a solid stainless steel base add pizzazz to the straightforward yet inviting form. $999

All images courtesy of Blu Dot.

British milliner Jane Taylor‘s handcrafted, stunning hats and headpieces are inspired by vintage materials and classic designs, embellished with vintage feathers, veiling, lace, gems and antique adornments. Every hand crafted piece is unique, and Taylor works closely with clients throughout the design process to achieve tailor made pieces to perfectly suit clients’ specifications.

Taylor has collaborated with leading British designers such as Caroline Charles and has worked with well known figures in the music industry to create bespoke headpieces used in music videos and television appearances. Her pieces have featured in fashion pubs like VOGUE, Elle, Tatler and Harpers.

Jane Taylor’s pieces can be purchased online, and in the next week, her whole diffusion range will be available to view and buy in the online shop: www.janetaylormillinery.com/catalog/Shop/.

For us, it was love at first sight. Check out Taylor’s latest works below (beautifully photographed by Sarah Jones), and let us know what you think!

CREDITS:
Photography: Sarah Jones Photography
Make-up Artist: RMP Makeup
Fashion Styling: Kate Anya Styling
Dresses: Lisa Redman

Now showing at Smithsonian’s Cooper-Hewitt, National Design Museum: “Ted Muehling Selects: Lobmeyr Glass from the Permanent Collection.”

Jewelry and decorative arts designer Ted Muehling has been invited to curate a Cooper-Hewitt show of more than 100 pieces by legendary Viennese glassmaker, Lobmeyr. The resulting exhibition – which runs through fall 2010 – features J. & L. Lobmeyr glassware from 1835 to 2008 (spanning nearly the entire history of the firm) from the museum’s permanent collection, alongside original drawings lent by Lobmeyr, and other related works from the museum’s collection. The result is a thoughtful show, grouped by period, that demonstrates the timelessness of Lobmeyr’s glassware, the company’s influence on the modern aesthetic, and the its ongoing collaborative spirit.

Over the years, Lobmeyr has collaborated with an amazing list of designers and artists, including Josef Hoffmann, Adolf Loos, Michael Powolny and Josef Wimmer. The collection also features works by major 19th-century designers, such as Ludwig Lobmeyr and Josef Storck, as well as glass by contemporary designers like Max Lamb and Polka.

Muehling, who has also created his own designs in glass for Lobmeyr (see below!), brings a unique perspective to the show, and has chosen works that celebrate the art of drinking and entertaining.

Celebrated for its clear, simple forms, many of the Lobmeyr’s designs have been in continuous production since their introduction in the mid-19th century. One of Lobmeyr’s most celebrated commissions is the Starburst Chandeliers at the Metropolitan Opera in New York City.

According to Lobmeyr co-owner Leonid Rath, “Our parents conserved an appreciation for quality and the abilities of craftsman. We inherited a great opportunity…and we have a great love for designers in a time when people are fed up by superficial products.” Rather than compromising on quality, he says, Lobmeyr continues to create quality work that simultaneously pleases the contributing designers, the company and the public. “There is no tradeoff.”

“Ted Muehling Selects” is the 10th in a series of small one-gallery exhibitions in the Nancy and Edwin Marks Gallery. The museum invites guest curators from all around the world to create exhibitions and installations interpreted in their own voice from works in the museum’s permanent collection.

*above: Butterfly” Tumbler, pattern no. 279. Designed by Ted Muehling (American, b.1953) . Manufactured for J. & L. Lobmeyr. Austria, 2007. Glass. Museum purchase through gift of Arthur Liu and Anonymous Donor and from General Acquisitions Endowment Fund.

*above: Josephine bedside bottle. Designed by POLKA (Marie Rahm (Austrian) and Monica Singer (Austrian). Manufactured by Bšhmische Manufaktur for J & L Lobmeyr. Vienna, Austria, 2006. Glass. Museum purchase from General Acquisition Fund.

*above: Ambassador” wine decanter, pattern no. 240. Designed by Oswald Haerdtl (Austrian, 1899–1959). Manufactured for J. & L. Lobmeyr. Vienna, Austria, 1925. Glass. Museum purchase through gift of Arthur Liu and Anonymous Donor and from General Acquisitions Endowment Fund.

*above: “Black and Gold” Water pitcher. Designed by Karl Massanetz (Czech, 1890–1918). Manufactured for J. & L. Lobmeyr. Vienna, Austria, 1913–14. Glass. Museum purchase through gift of Arthur Liu and Anonymous Donor and from General Acquisitions Endowment Fund.

*above: Group of table glass, pattern no. 218 . Designed by Stefan Rath (Austrian, 1876–1960). Manufactured for J. & L. Lobmeyr. Vienna, Austria, ca. 1905. Glass. Museum purchase through gift of Arthur Liu and Anonymous Donor and from General Acquisitions Endowment Fund.

*above: Drinking set no.248 – “Loos.” Design: Adolf Loos, 1931. The bar set. The architect Adolf Loos was ahead of his time with this clear, uncompromising concept of form. This tumbler service is made with a so called brilliant pattern on the base. Each line is still cut by hand and carefully matt-polished. This series paved the way for modern glass design and is another Lobmeyr classic since 1931. This particular image courtesy of Lobmeyr.

*All photographs by Andrew Garn, except Drinking set no.248 – “Loos.” Images courtesy of Cooper-Hewitt, National Design Museum.

Friends since childhood, Daniel Hellman and Eric Chang began their furniture design/build practice – Hellman Chang – together on weekends in a Maryland garage. As enthusiasm for their furniture grew, their weekend obsession turned into a thriving business. Shortly after launching the firm, their dramatic, handmade pieces got the attention of Interior Design Magazine, which awarded them the 2006 Best of Year Product Design Award. Since then, the duo has moved to Brooklyn, and their client roster now includes names like the Four Seasons Hotel, Setai Hotel, Sotheby’s, and Metropolitan Home’s Showtime Showhouse.

Hellman Chang currently distribute their line through designer showrooms throughout the US. Below, two of our favorite Hellman Chang pieces, from the boldly angled “Z” series…

*above: Hellman Chang’s Z Dining Table, available with either a static base, with a pedestal base which expands, or as a large dining table with fixed pedestal bases placed apart from each other.

*above: The Z Bedside Table’s softly twisting legs create a dramatic effect.

*above: designers Daniel Hellman and Eric Chang

To learn more, visit Hellman-Chang.com.

*Images courtesy of Hellman Chang

NY-based designer Dror Benshetrit has designed the bottle for a new, modern absinthe called fenom (a la “phenomenon”). His launch party during last weekend’s ICFF showed off both the bottle – designed with the intention of reflecting its surroundings – and the beverage inside: an absinthe handcrafted from traditional herbs – including grand wormwood – by one of France’s few remaining absinthe experts. Unlike traditional absinthes, fenom is drinkable without the traditional preparation ritual of water and sugar; in fact, it’s best served as a chilled shot or as a base for cocktails.

Describing his design, Dror tells us: “A mirror has many unusual properties that, when applied to the standard shape of a bottle, give an individual the unique ability to interact with it. In a larger atmosphere, the bottle can capture the image of the entire party from its distant spot on the shelf.”

He goes on, “The ‘f’ also plays with the traditional curves of the bottle. From one angle it is seen as the letter ‘f,’ but when turned 90 degrees it appears only as a straight, sharp line. This encourages people to spin the bottle, allowing both the ‘f’ and the mirror to transform, and providing a playful yet intimate connection between the observer and the bottle.”

To learn more about fenom, including where you can pick up your own bottle, visit fenomabsinthe.com.

*Images courtesy of Studio Dror.

Now showing at Jen Bekman Gallery: “…Practice…,” photographer Gregory Krum‘s first NY solo show, explores the concept of art making, and the ways in which truth is derived simply by virtue of belief. Krum – also the retail director of the shop at Cooper-Hewitt Museum – offers three series of photographs for his debut show, titled after Gerhard Richter’s book, “The Daily Practice of Painting,” in which the author states, “Art is the highest form of hope.”

In line with Richter’s words, the three series are based on one simple but potent sentiment: Here is to all the unprovable truths, bravely fueled solely by belief.

Series include:
*Devotion to an endeavor. Manifested as images from the climbers’ cemetery in Zermatt at the base of the Matterhorn, images of dust and sand whose form is stolen from pictures I love or react to, i.e. Vija Celmins or Thomas Struth. Portraits of houseplants made with a cell phone camera, and in the case of ‘Cherifa Tree’ whose form is stolen from Brice Marden and whose content is stolen from the tree through which Jane Bowles’ lover, Cherifa, controlled her.

*Interiors that explore objects as containers of meaning, the meaning we place in them, and the extent to which all man-made objects are an act of communication

*Devotional offerings…the daily practice.

The 24 small photographs – pinned in a grid to the wall by the artist – that depict devotional offerings made by Krum in varying states of decay may be the most engaging. The repetition of these sculptural objects mimics the daily rituals that become symbols of belief. The artist’s daily compulsion to create is rooted in the same faith that inspires the spiritual to practice these rituals.

…Practice…
Photographs by Gregory Krum
On display at Jen Bekman through June 27th.

Images below…

*above: Zermatt (I Chose to Climb)

*above: Krum’s Dust No 65

*above: Untitled Mantle

*above: Offering 46

*above: Offering 66

*above: Offering 79

Jen Bekman Gallery
6 Spring Street
New York, NY 10012
Tel: 212.219.0166

*Images courtesy of Gregory Krum.

“A person’s success in life can usually be measured by the number of uncomfortable conversations he or she is willing to have.” – Timothy Ferriss

Inspired by the quote above, the Brooklyn-based design firm Design Glut organized “Uncomfortable Conversations,” challenging 15 designers to create something to provoke an uncomfortable yet important conversation. Participating designers were given complete freedom with the type of object they created, the materials they used, and the topic of the conversation they set out to provoke.

The resulting body of work (which was exhibited over the past weekend in NY) is remarkably broad, including housewares and furniture, jewelry and fashion, graphics and video. But all are connected by one simple desire: to make you uncomfortable.

According to Design Glut partners Liz Kinnmark and Kegan Fisher, “We believe it’s the role of creatives to start the uncomfortable conversations that cause people to grow.” If you’re up for some playful designs – and possibly a bit of discomfort – take a look at some of the show’s projects below…

Mind the Gap
by Andrew Haarsager
Gloves to prevent unwanted landings on the subway
Solid silver, lambskin, silk, $350

New Yorkers have come up with countless ways to circumvent unwanted contact. Be it the tiny fences that keep dogs out of planters, ledge-bumps that fend off skateboarders, or the scratched plastic pass-throughs one crams bills into after late-night taxi rides – there are hundreds of examples of this “separation innovation.” Of the many effective anti-contact devices, one of the most successful has proven to be the rows of wire spikes that prevent pigeons from landing on signage and windowsills. And really, can you blame them?

Well, pigeons aren’t the only things that tend to land where one doesn’t want them. In fact, one doesn’t even need to be outside to experience it. How about the phenomenon of holding onto a subway pole, while the inconsiderate hand above yours starts to slowly drift down?

The Mind the Gap gloves are an experiment in transferring the innovation of bird-spikes from architecture to one’s person. Can the threat of a passive stab always fend off the unwanted touchdown of a downwardly drifting pest?

In Case
by Materious

We are living in an era where public trust in corporations is extremely low; the pillars of capitalism stand on questionable ground. We are hardly surprised at revelations of corruption, fraud, and exorbitant greed perpetrated by the companies that have become so crucial to our health and well-being. How does a society that is founded upon, and so reliant upon, the corporation reconcile these lapses of morality?

From the outside, In Case seems like a fairly typical hard-shell brief case. When opened, however, an integrated, hand-powered paper shredder is revealed, which provides the iniquitious business professional the ability to destroy stealthily any incriminating documents at a moment’s notice.

The Awkward Moment Card
by Design Glut
3″ x 5″ greeting card. Letterpress front, blank inside.
Printed by Publicide, $20 for a set of 5

Finally, a greeting card to get you through your most awkward moments. This simple design helps you start the uncomfortable conversations you want to avoid, but really shouldn’t. It has a million uses. Get these cards for apologizing, for asking a favor, or for breaking the ice with someone you barely know.

Uncomfortable Typographic Situations
by MSLK (http://mslk.com)

Every day, graphic designers make typographic choices which either enhance or detract from the message communicated. From font choices to poor letter and word spacing, these decisions can have unintended consequences, occasionally transforming the meaning entirely.

It’s Not You, It’s Me / It’s Not Me, It’s You
by Ana Linares
16” Chain, Sterling Silver or 14k Yellow Gold, $150

In relationships, conversations can get tabled, feelings get bottled and next thing you know, you’re summoned to having “the talk”. There’s no message that describes better a break-up than the one and only: “It’s not you, it’s me” or why not, “It’s not me, it’s you.” Sure, it’s super cool to rock your own name, but why not rock instead the uncomfortable phrase that follows a break-up? Commemorate the moment with this beautiful necklace and turn it into a conversational piece!

Pre-Handshake Handshake Device
by Dominic Wilcox

Many people in the world seem to be at war with each other. We see families split through disagreements, gang warfare on the streets, whole civilisations and religions constantly battling. This device aims to help those who are at odds with each other make a first move toward reconciliation.

A traditional handshake can sometimes be just too big a step for those entrenched in their dislike of the other. No matter how important it is for two people to reconcile their differences they simply can’t get over their pride and lower themselves to the symbolism of a handshake with the other party. I designed this product in an attempt to give those people a new, more acceptable alternative. I hope that this device will lower the bar for initiating reconciliation from the heights of the full contact hand-on-hand handshake to a more palatable non-contact handshake.

I plan to contact embassies around the world where resentment is prevalent. I would like to see all family counseling offices have one in their meeting rooms. I would encourage all people of New York who have fallen out with a friend, family member, work colleague or gang member to … use the Pre-handshake Handshake Device and let bygones be bygones.

*Click here to learn more about Uncomfortable Conversations.

*Images courtesy of Design Glut.