The 11th edition of NeoCon East, the sister show to Chicago’s summer contract furniture fair, was held October 16 and 17. Despite the government shutdown that legally prevented some GSA employees from attending, more than 7,000 visitors attended the show at Baltimore‘s Convention Center to peruse the wares of over 250 exhibitors. Keynote addresses from Michael Graves—who launched a new collection of textiles with cf stinson—and Suzanne Tick were augmented with ongoing educational seminars.
Designed in collaboration with San Francisco–based industrial design firm Mike & Maaike, the freestanding benching system (above) is designed with steel and MDF for both durability and flexibility. A center deck can support video and computer monitors, storage, and LED lamps with a concealed four-circuit, eight-wire raceway.
|Brought to you with support from:|
Wolf-Gordon’s “Force of Nature” spirals through Chicago’s Merchandise Mart during NeoCon 2013.
Based on the success of Wolf-Gordon’s inaugural NeoCon installation in 2012, chief creative officer Marybeth Shaw commissioned yet another show-stopping design piece for 2013. With the working title “Forces of Nature,” she turned once again to New York City–based design studio karlssonwilker and Brooklyn-based design-build collaborative The Guild to create a sculpture that would showcase the breadth of the company’s textiles and wall coverings. “The title ended up being quite appropriate to the final form, as the sculpture is a geometric construct with all of the resulting physical forces that might spin it out of the Mart’s ‘town square,’” Shaw recently told AN.
Karlssonwilker initially conceived of a kinetic sculpture, but Shaw wanted a large installation—nearly 30 feet long and 14 feet wide. At that size, there was no room for movement within the given space, a double-height ceiling over an escalator that would carry 42,000 show attendees. “We wanted it to rotate like a rotisserie chicken, but we went for a larger form,” said Graham Kelman, creative manager for The Guild. Ultimately, the team decided on a static sculpture resembling a twisted spine that gives a sense of movement through color and form. “I lost sleep over whether it would fit because if there was flex in the spine, it wouldn’t work.”
Getting excited for NeoCon? AN is. In fact, AN product editor Emily Hooper was so eager to see the latest design products for commercial interiors that she prepared this preview of some of best chairs, casegood systems, and acoustical panels that will be on view this year in Chicago.
To meet the needs of the nomadic workforce, Coalesse tapped Milan-based Toan Nguyen to design the Lagunitas line. Made to accommodate a solitary task session, a working lunch, or a brief touchdown to check emails, the collection features more than 50 combinations of seating, tables, and privacy screens perfect for laidback productivity.
|Brought to you with support from:|
How a boutique Brooklyn design-build collective strung up NeoCon’s first major installation.
Attendees of NeoCon in Chicago’s Merchandise Mart rode the escalators and ascended towards Wolf-Gordon‘s large crystalline canopy hanging overhead. Though NeoCon has come and gone, Wolf-Gordon has just begun using the tessellated, prismatic structure for an ad campaign that, for the company’s new Chief Creative Officer, Marybeth Shaw, signifies a renewed approach to design and a willingness to take risks. To announce Wolf-Gordon’s new face to the world, Shaw enlisted the help of advertising agency Karlssonwilker, who has created campaigns for Adobe, the New York Times Magazine, BMW, Vitra and MTV, among others, and The Guild, a Brooklyn-based design and build collective whose clients include Dior, Louis Vuitton, Nike, Hurley and Diane von Furstenberg. It’s a bit of an unexpected mix of talents, to be sure, but Shaw wanted to shake things up.
After developing a concept with Karlssonwilker that was inspired by Bruno Taut’s 1914 Glass Pavilion, Shaw turned to The Guild, where Creative Manager Graham Kelman translated her idea into a spiky, crystalline form onto which Wolf-Gordon’s fabrics, textiles and wall coverings could be displayed. Kelman’s first design had between 650-700 prismatic faces with an area far too small to show off the fabric, so Kelman decreased the amount of faces to around 250 while also increasing their individual size. “I increased the largest spike from three to six feet by using a sheet of material per spike side,” Kelman said. He was able to decrease “the total number of faces by two-thirds and still retain the aesthetic impact, volume and material” he wanted.
At NeoCon this year, IIDA (International Interior Design Association) presented copies of What Clients Want, the first-ever study of the client/designer relationship told from the point of view of the client, written and edited by Melissa Feldman, IIDA’s executive vice president. IIDA CEO Cheryl Durst called it “a groundbreaking account of how some C-suite executives have been able to alter their companies’ destinations through design [by] firms who got inside their corporate DNA and pushed them to be better.”
Durst is referring to companies like Autodesk, The Cosmopolitan of Las Vegas, the Cowboys Stadium, and Facebook, which enlisted the services of Primo Orpilla and Verda Alexander of Studio O+A, a husband and wife duo who have designed interiors for a roster of “techie brands” like Aol, eBay, Microsoft, and PayPal. In 2008, O+A was commissioned to consolidate Facebook’s spread of ten office buildings in Palo Alto, California, and merge them into Hewlett Packard’s former HQ. Studio O+A credits the extensive research they conduct on potential clients prior to any design work for landing the gig.
As North America’s largest interior design conference, Neocon is a great place to scout interiors trends. Here are a couple themes AN spotted during this year’s opening days. Video conference calls are an integral part of day-to-day office work for a growing share of businesses. Elegant office design and high-tech compatibility seemed to dovetail in many of the new products on display at Neocon. Read More
|Brought to you with support from:|
|Brought to you by:|
Self-supporting tessellations can take almost any form.
“People are pretty burned out on the office cubicle and panel systems,” said Nat Porter, general manager of Seeyond Architectural Solutions. The company, which launched this month, aims to give architects an alternative to standard space dividers with its new user-controlled parametric design and digital fabrication building system. Seeyond’s history goes back ten years, to sculptor and designer Jonas Hauptman’s experimentations with folded materials. For a class he was teaching, he turned for materials to Liberty Diversified International (LDI), whose roots are in the corrugated fiberboard industry. Hauptman teamed up with Paul James, a mathematician, economist, and industrial designer already working with LDI (now Seeyond’s parent company). They presented their business proposal in 2009 and the new fabrication system was born.
Continue reading after the jump.
We’re back from NeoCon in Chicago, where we had a fantastic showroom crawl with designers passing through Hafele, The Fine Line, and Toto. People had drinks, took in the fantastic products, and stretched their legs after a long day at the Merchandise Mart. Now that we’re back at the office, we drew a card for the winner of an iPad 2.
Vitra’s new ID Chair Concept by Antonio Citterio will include a mesh backrest option called Diamond Mesh, a 3-D pleated textile that allows for the air circulation of a standard mesh seat but with the comfort of an upholstered chair. Backrests are available in several heights, with optional head or lumbar supports. A complementary Silk Mesh seat upholstery is also available.
KnollTextiles recently introduced its new Ink collection, a collaboration with Pentagram partner Abbott Miller. The collection is a study in ink on paper and features three patterns: Drip, a series of interconnected letters; Drop (pictured), a striped ink-dot pattern; and Run, a “modern toile” created by guiding small ink drops across a page. All three patterns are 52 inches wide and made with 70 percent vinyl and 30 percent recycled polyester (backing).