Category: Design

Luca guadagnino and Nicolò Rosmarini in homo faber 2024

In Venice, Homo Faber 2024 welcomes its third edition at Fondazione Giorgio Cini on San Giorgio Maggiore island, running from September 1st to 3rd, 2024. For this year, the organizer Michelangelo Foundation for Creativity and Craftsmanship and its partners have chosen the theme ‘Journey of Life,’ devised by the Foundation’s Vice-Chair, Hanneli Rupert. They tapped director Luca Guadagnino to stage the event’s scenography and artistic direction, but it’s not a one-man team, not after he teams up with Milanese architect Nicolò Rosmarini so his production and exhibition design can come to life, one that designboom had had the chance to witness before its opening.

And life does come as ten themed exhibitions that welcome visitors. Their names follow the life-to-afterlife timeline: Birth, Childhood, Cypresses and Magnolias: a papier-mâché wood, Celebration, Inheritance, Love (Courtship), Love (Union), Journeys, Nature, Dreams, Dialogues, and Afterlife. In the Venetian event, Luca Guadagnino and Nicolò Rosmarini’s scenography leads viewers to what life means and what the afterlife may look like. The filmmaker says it has always been his job to find a way to tell a story with what is given to him. ‘This amazing and very streamlined and universal concept of the Journey of Life led us to understand how to envelop the audience through the amazing architecture of the Fondazione Cini so that the craft on display was not going to be overwhelmed, but at the same time the place itself was given a lot of relevance,’ he says.

Birth, Giulio Ghirardi | all images courtesy of Michelangelo Foundation, unless stated otherwise

‘Journey of life’ brims with pastels, pink and lots of vibrant hues

Luca Guadagnino is known for his movies Call Me By Your Name, Bones and All, Suspiria, and recently, Challengers. It’s no surprise he takes the meaning of life to heights by adding his flair for art-making. When visitors step inside Homo Faber 2024 in Venice, they walk through a ticket booth, showered with pastels and pink, and plenty of them. They pass through the passerella, thriving in colors such as apricot, powder, gray, and pink, linking each of the ten exhibitions. Mirrors become an object of repetition for the Italian film director, appearing in all stages to reflect the island’s surroundings as well as the natural light. Some pleated fabric walls come up too, a way for Luca Guadagnino to pay homage to the Venetian-born designer Carlo Scarpa, one of his artistic influences.

Beauty and color shine through Luca Guadagnino and Nicolò Rosmarini’s life and afterlife. They’re not bleak and fiery, but filled with lightness and playful objects. They’re flocked by a pair of 12-meter-high papier-mâché cypress trees, a dream-like reimagining of the Fondazione Giorgio Cini’s former swimming pool, and a forest of chandeliers descending from the ceiling of the Sala degli Arazzi. Even tributes to architecture and design notables such as Lina Bo Bardi come through, especially with the use of her famed glass easels with concrete bases. There’s even a tea room gleaming in Art Deco design, and at the end of the exhibition, the two art directors ask the visitors to ponder what death after life can feel and look like with two final rooms: one in black and one in white.

Reef, Josh Glukstein | artisan: Alexandre Vazquez

Contemporary crafts with over 800 objects by 400 artisans

Still, the main stars of Homo Faber 2024 are the craftspeople and their crafts, the way they make art, and the art itself. The event spotlights more than 800 objects by more than 400 artisans from more than 70 countries around the world. Some of these objects and processes aren’t immobile because some artisans stage live demonstrations and participatory workshops on how they make their art and crafts. Visitors can join and learn the techniques in making vases, laces, globes, watches, jewelry, shoes, writing instruments, and more. They may be able to embroider murmurations, a depiction of a huge flock of starlings, and make their own Japanese bookbinding, guided by master artisans and presented by Mazda.

If they wish to just gaze, they can marvel at craftsmanship and techniques such as the ones found in Sala Bianca. A room full of flowers, visitors meet an enfilade of vitrines right before their eyes and flowers made of paper. The art directors also shed light on the history of Fondazione Giorgio Cini’s architecture. While in previous editions they were hidden, Luca Guadagnino and Nicolò Rosmarini decide to exhibit photos of their restoration in the 50s through a collage of black-and-white images. In its own form, the restoration exudes craftsmanship that Homo Faber 2024’s theme resonates with. ‘It has been a tremendous experience of reflection on many of the great inspirations that have led our ideas, from Carlo Scarpa to the memory and history of Venice as a city of art,’ says Luca Guadagnino.

Celebration, Giulio Ghirardi

Homo Faber 2024 isn’t just on the island of San Giorgio Maggiore. It spreads out across the city of Venice as artisanal workshops for the city visitors. Seventy ateliers open their doors to the public, without the need for pre-booking, where they can dabble in the local arts and crafts of the city. Fondazione Cologni dei Mestieri d’Arte has developed the program with the support of Cartier and in collaboration with prestigious Venetian institutions, so Homo Faber 2024 can extend its events, exhibitions, and presentations. The list of events includes an exhibition entitled L’Italia nel cuore at the Hotel Splendid Venice – Starhotels Collezione, and a series of events each Wednesday evening at the Fondaco dei Tedeschi until the end of September 2024.

Perhaps the roots of Homo Faber 2024’s theme stem from objects dearest to people’s lives; at least that’s the impression Hanneli Rupert may leave. ‘I am particularly excited by the geographic variety of crafts and skillsets that we are showcasing side by side, many of which urgently need help to keep them alive for future generations to appreciate,’ she says. She chose ‘The Journey of Life’ as the foundation for Luca Guadagnino and Nicolò Rosmarini to work on because these words may sound simple, but their depth is philosophical and profound, a phrase masters such as the Italian filmmaker may help light up as a scenography. ‘Never in my wildest dreams could I have imagined the beauty and simplicity of vision with which Luca Guadagnino and Nicolò Rosmarini could have interpreted this,’ she adds. And in Venice, her statement rings true.

Dreams, Giulio Ghirardi

Love bed, Charlotte Colbert and Peter Reed | artisan: Alexandre Vazquez

Nicolò Rosmarini and Luca Guadagnino

The interior unfolds as a series of interconnected spaces spread across its two floors. On the ground floor, an open-plan dining and kitchen area is separated from a spacious living room by a corridor that essentially bisects the house. Large openings on both spaces serve to bring in views and light, integrating the immediate surroundings into the domestic experience, while an elongated lightwell in the heart of the house ensures that natural light also reaches the circulation area in-between them. A curved staircase leads to the private quarters upstairs, namely three bedrooms and a study. Here, each space boasts its own distinct orientation, strategically placed windows are used to provide carefully curated views, while windows opening onto the central lightwell ensure that the bathrooms also enjoy light throughout the day.

The architecture’s sculptural sensibility is matched by the soulful minimalism of interior design which is underpinned by a muted colour palette and plain materials. White surfaces dominate, imbuing the spaces with a soothing ambience, with hardwood floors adding warmth and raw concrete accents providing playful glimpses of the building’s underlying structure. The interior’s ascetic sensibility makes for a contemplative living environment. As the architect explains, “to fully appreciate this project, it is desirable to move through it, to invest a little time”. It seems that this home is not just a place to live, but a space to truly experience and savour.

Finding balance between concrete and nature within New York City will always be a struggle – one that resonates deeply with every denizen of the metropolis. The quest to harmonize these seemingly disparate elements is a nuanced negotiation that developers and designers alike unite to reconcile. In the case of Bergen, a 105-unit residential building amongst the tree-lined streets of Boerum Hill, Brooklyn, creative pioneers Frida Escobedo and Workstead teamed up to compose a building that reflects this paradigm shift in urban living philosophy.

Frida Escobedo drew inspiration from the brownstone bay windows typical of the Boerum Hill neighborhood. The building’s celosia facade reflects this heritage, with rhythmic geometry and natural stone masonry that respects and complements the surrounding context of Brooklyn’s historic architecture. The result is a structure that feels both grand and rooted, establishing strong ties to the neighborhood while providing a sense of belonging for its future residents.

Complementing this exterior, Workstead utilized simple geometric forms and natural finishes within the interiors to emphasize a sense of quality and understated luxury. The result is a design that feels cohesive and soft, avoiding excessive ornamentation, which blends indoor and outdoor spaces for a stronger connection to place.

In the kitchens, the warmth of white oak flooring and custom millwork is balanced by the cool elegance of honed quartzite and brushed nickel. This interplay of materials continues in the spa-like bathrooms, where subtly veined honed marble evokes a sense of tranquil luxury. At the heart of Bergen stands the Glass House, a transparent jewel box connecting the residential wings and offering a visual bridge between Dean and Bergen Streets. Its striking cylindrical staircase, bathed in natural light, becomes a sculptural centerpiece, unifying the building’s levels and amenity spaces in a celebration of openness and connectivity.

Beyond lighting, Workstead collaborated with local artisans to create Bergen-exclusive elements, such as custom white oak handles in kitchens and vanity pieces in bathrooms. These bespoke elements blend vintage charm with modern sensibilities, using materials that will develop a patina over time, giving the residences a lived-in quality.

To learn more about Workstead head to workstead.com and for more on Frida Escobedo head to fridaescobedo.com.

Photography by Jonathan Hokklo.

Leo Lei translates his passion for minimalism into his daily-updated blog Leibal. In addition, you can find uniquely designed minimalist objects and furniture at the Leibal Store.

MSCHF and Mattel Creations release Not Wheels collectible car

MSCHF and Mattel Creations join forces to pay homage to a newbie driver’s often pre-loved and beat-up vehicle. They do so by bringing out ‘Not Wheels’, a collectible toy car that’s missing a wheel. Because of this, it can’t and doesn’t roll. No speeding away involved; just a passive ride in stasis. Hot Wheels may have started as children’s toys, but they soon lured in collectors, and MSCHF’s rusting, grayish memento may be a missing piece in their trove.

The duo says they drew inspiration from 1990s Japanese imports when they designed the MSCHF Hot Wheels car. It’s a die-cast vehicle with three different wheels: two Real Riders classic tires, one yellow spare tire, and one that’s missing, replaced by a rusted wheel hub. They say their collectible has tons of personality, and maybe they’re right, given the bright blue door, flag-like stripes and colors at the rear, stitches on the side, and blue stripes on the roof.

all images courtesy of Mattel Creations and MSCHF

dusty, rugged, and tarnished ‘not wheels’ car

There’s a reminiscence of childhood memories in MSCHF and Mattel Creations’ Hot Wheels car. The fogged-up windows have drawings of what’s supposed to be someone’s face, but the slogan emblazoned on the rear takes the limelight: ‘WASH ME!!!’. No one can wash the collectible car clean. It remains dusty, rugged, and tarnished as it should be. It’s dented and amateurishly repaired, as the art collective and the toy company describe, and that’s fine. The Not Wheels car wants to show how hard it’s been driven and how much it’s been loved anyway.

Someone has rolled down the driver’s window and left it open halfway before storming out. Perhaps the MSCHF Hot Wheels car has gotten into a car crash by the looks of its busted front windshield. There are parking tickets tucked between the wipers, but the driver has not bothered to take them out. Rust and dirt slowly gnaw at the bleached-out gray paint of the exterior. If the collector looks inside, the tan-colored seats appear as if they’re made of candle wax. And if they look closely, they’ll see the seat belt hanging out the door. MSCHF’s Hot Wheels car goes live on August 30th, 2024, priced at 30 USD per collectible.

the WASH ME!!! inscription at the rear of the MSCHF Hot Wheels car

MSCHF and Mattel Creations say they drew design inspiration from 1990s Japanese imports

detailed view of the rear plate

the collectible is a die-cast vehicle with three different wheels

MSCHF and Mattel Creations describe their Hot Wheels car as dented and amateurishly repaired

Needless to say, the selection of perfumes on sale is as eclectic as the store’s design. “We have spent months traveling and trying samples before finally deciding what we would include in our selection this first year”, Dimitra and Alexandros explain. “We selected perfumes based on that we personally love, could envision a friend wearing, or evoke memories.” The selection includes brands like Astier de Villatte, Atelier Materi, Ormaie Paris, Perfumer H, and Santa Maria Novella. Suffice it to say that they applied their selection to other scent-related products such as incense and candles, while flowers vary based on availability and seasonal constraints. “We prioritize using Greek producers in order to reduce our CO2 footprint and support the local market, currently offering just one bouquet arrangement each week to minimize waste.”

When asked about their favourite flowers, Alexandros mentions his preference for the bitter orange blossoms, jasmine and wisteria. Dimitra on the other hand, says she’s currently into carnations, a flower that holds a special place in Greek culture, viewed as it is as a symbol of love, admiration and distinction. Nowadays used mostly in churches and cemeteries to adorn altars and tombstones as well as at Greece’s popular live music venues, known as ‘bouzoukia’ where they are thrown onto the stage at the performing singers, it is nevertheless rarely chosen for arrangements in “high end” flower shops, a paradox that Dimitra finds very intriguing.

Plans currently in the pipeline include offering limited-edition objects crafted exclusively for PHĀON, organizing workshops with artists whose practices involve sensory exploration, and launching a series of flower bouquets composed by renowned designers and artists later on this year. With such a deep love and obvious passion for what they do, their infectious obsession with the magical world of perfumery, scents and flowers is destined to captivate and inspire the hearts and minds of their ever-growing discerning clientele.

Melange is the latest collection from Spanish brand WOW Design, a line of ceramic tiles that can be paired together to create striking representations of painterly ombré effects. While high-gloss tiles remain a staple, there’s a renewed interest in more muted looks. Yet rather than pull from the archives to reference previous offerings, the designers turned to another form of adornment for inspiration. “We wanted to bring the essence of textiles to the walls,” the studio shares, “A big tapestry in the style of a work of art that encircles our living spaces.”

The designers were captivated by the different types of yarns and dyes of tapestries that blend in gentle progressions from one hue to another. Melange fuses art and technology to bring similar variations indoors. Each piece is made of white body ceramic that allows the lighter glazes to pop. The durable tiles are also suitable for commercial interiors because they are stain- and UV-resistant.

Standard square tiles are perennial favorites, used for almost every application. Yet specifiers are now requesting options that they can use in different sequences, and Melange offers an alternative. The 4.2- by 21.3-inch rectangular wall tiles have a matte finish, a seamless canvas for users to experiment with.

The color transitions change the appearance of walls and make spaces appear higher, narrower, or wider. The size was selected so that a standard room can be tiled with the fewest possible pieces, a bonus for those looking to reduce waste and lower project costs.

The vertical orientation echoes the subtle movement of drapery or a wall hanging, and provides visual interest, a welcome shift from the everyday horizontal arrangements. Combined with the array of powdery tints available gives tiles a sophisticated update.

The tonal Melange tiles are ideal for framing, using the ceramic pieces to highlight a feature like a window frame or doorway, for example. This technique works well in retail environments to accentuate niches. The tiles, with light layers of color, have added depth, eliminating the need for too-busy motifs that may clash with the merchandise on display.

WOW Design is known for the sophisticated signature hues introduced each season, yet Melange includes coordinating groupings rather than a few trendy shades. Whether on the cool or warm end of the spectrum, the curated colors tap into emotion and evoke memories, just as a scent or taste can.

There are 15 tiles in the collection, presented in three sets of five. Solids like Earth, Lake, and Cream can be applied to form a clean, monochromatic backdrop. Two-tone combos like Talc-Rose or Sea-Cloud replicate pastel chalk shadings that enliven walls so that clients can customize their spaces and make them truly unique.

For more information on the Melange tile collection, which goes on sale in the United States this fall, head to wowdesign.eu.

Anna Zappia is a New York City-based writer and editor with a passion for textiles, and she can often be found at a fashion exhibit or shopping for more books. Anna writes the Friday Five column, as well as commercial content.

inside the freebird residence by alexis dornier

Architect Alexis Dornier completes Freebird as a private residence pairing Japanese design with tropical modernism in Berawa, Bali. The centerpiece of the project is a living room positioned above the swimming pool, connecting two wings of the house and forming an ‘H-shaped layout from above. This area features retractable glass walls that transform it into an outdoor space, with a glass floor offering views of the pool below, reminiscent of Stanley Kubrick’s 2001: A Space Odyssey.

Freebird residence by Alexis Dornier | all images © KIE

low-carbon tropical design in Berawa, bali

The ground floor of the Freebird project houses a gym and two guest rooms, all designed to maximize views and access to a tropical garden designed by local group Bali Landscape Company as a lush backdrop that expands the indoor-outdoor living experience. The yoga area, inspired by architect Kengo Kuma’s Glass House, features extensive use of glass to maintain a connection with the natural surroundings. Meanwhile, a distinctive feature near the entrance is an expansive wine fridge, serving as both a practical insulation solution and a striking sculptural element. Alexis Dornier (see more here) worked alongside interior designer Kosame, whose selection of furniture combines functionality with sculptural aesthetics that oscillate between Japanese and tropical accents. 

maximizing views and access to a tropical garden

Sustainability is a core component of the Freebird residence, with sustainability management partners Eco Mantra, playing a pivotal role by significantly reducing the home’s energy consumption and carbon footprint. Complementing the ‘green’ design is a selection of materials throughout the Alexis Dornier residence that showcase local craftsmanship, featuring paras Kerobokan stone walls and wooden ceilings with fluted patterns paired with a variety of textiles and fabrics that add depth and warmth to the clean architectural lines.

living room positioned above the swimming pool

combining tropical modernism with Japanese design

Alexis Dornier creates wooden ceilings with fluted patterns at the Freebird residence

When the opportunity arose to design the new GYOPO office, it was an obvious choice for interior designer Grace Lee-Lim. GYOPO is a collective of diasporic Korean creatives based in Los Angeles, California, dedicated to generating and sharing various programs to support their community. As a Korean-American herself, Lee-Lim felt a deep connection to the project, which presented a significant challenge: a rundown, dilapidated office floor in Koreatown.

Before

The existing space featured a stained navy blue carpet with matching doors and trim – a color that’s meant to evoke calmness but instead did the opposite. Given that the office is currently leased, Lee-Lim aimed to implement budget-conscious, impactful changes without making any structural alterations.

To get the full details of this office transformation, we chat with Lee-Lim on how she was able to find renter-friendly solutions for this small space, her approach to honoring Korea’s rich heritage, and what she’s most excited about in the coming months.

You often hear about renter hacks that elevate residential areas, but rarely for commercial locations. In designing this space, what renter-friendly solutions or decisions did you implement?

We thought it’d be best to work within the framework presented, so the first major task was to pull out the blue carpet and vinyl baseboards to reveal the concrete beneath, which automatically brought the space from outdated to current. The next biggest change came through paint, which we did for all of the ceilings and walls throughout the headquarters. We painted the ceiling in a soft, warm beige that envelops the room, and since it’s in a darker shade than the walls it creates a coziness that softens the concrete floors. We kept all the communal walls a neutral off white as the programs that are held often involve interchanging artworks, so the walls need to act as a canvas. We saw an opportunity to shift the energy when entering the hallway, so we color-blocked it in a rich verdant green that leads to the restroom, which is wrapped in a vibrant ochre yellow for a fun contrast.

We also installed new terrazzo tiles in the restroom that coordinate with the ochre paint and replaced all the fixtures to bring it up to date as well. For the kitchenette, we installed L-shaped cabinets from Ikea and had the shelves above custom built to size in the niches.

I imagine that culture and heritage were at the forefront of your mind when designing this office. How did you pay homage to these elements?

GYOPO is a collective of diasporic Korean cultural producers and arts professionals generating and sharing progressive, critical, intersectional and intergenerational discourses, community alliances, and free educational programs. For GYOPO, the community is the culture, so paying homage means designing an environment that transforms with the usage, comfort, and needs of the people who come through its doors.

The 30-foot panoramic view of Koreatown is something that roots the community from inside out; handmade Jogakbo drapery (a traditional Korean style of patchwork) by Joann Haeun Ahn was pieced together to layer over the view. At times resembling a map, the patchwork curves, bends, and hugs the shapes of the neighboring businesses outside, and the translucent fabrics allow for the colors of Koreatown to peek through and become part of the interiors as well. The benches along the window were fabricated to mimic that of a Pyeong Sang (a traditional Korean platform or wide-rectangular bench) where people take their shoes off and sit for rest, with the added benefit of storage beneath for the stacking foldable chairs GYOPO utilizes for their many programs.

Let’s talk about furnishings! Which furniture pieces or brands did you choose to outfit the space, and why?

Early into the design process, a GYOPO steering committee member mentioned that her friend at Popular Architecture designed a large oval breakaway table: two half moons that flank a rectangular center table, which comes together to create a 10.5′ oval, or breaks apart to be used separately. We collectively loved the form and functionality of it, so we purchased the plans from them and had it fabricated by a local LA artisan, MM Surface Craft, who built the majority of the furnishings for this project. This table has had an enormous amount of usage in varying states: as an oval conference table for large meetings, a smaller circle for a more intimate experience, or even as a stage for performance art as Sung Neung Kyung did here.

For the small square tables, I loved the idea of having pieces that evoke the lightness and feeling of being at a cafe. These “cafe tables” can be moved around easily and allows for more privacy in the event the large oval table is being used for a meeting or presentation. We really wanted a cross base rather than the typical pedestal, but also wanted to ensure that it wouldn’t tilt easily, so we worked with MM Surface Craft to get the perfect angle for the final design and love the outcome very much! They also fabricated the wall-mounted storage benches we mentioned above, as well as the custom shelving in the niches of the kitchenette.

The chairs are from Blu Dot and are incredible indoor/outdoor designs made of 100% recycled plastic. The clients emphasized the need for stackable chairs, so we were thrilled when we saw that these not only look beautiful but also stack up to 12 at a time! We decided to select three colors to alternate so that we could infuse some playfulness and contrast into the otherwise neutral space.

Color can significantly transform drab spaces – those “before” photos really tell the story! How do you thoughtfully incorporate color in spaces like these?

Everything ultimately comes down to balance, which is definitely a characteristic of my design ethos. There always has to be an element of surprise, mystery, and even a little mischief in a space, or else it can feel bland and lifeless. We wanted the majority of the headquarters to be neutral and serene so as not to cause distractions or take away from the programming and events held, but we balanced that with the saturated green of the hallway and punchy yellow of the bathroom that introduces a different energy into the space. The multi-colored chairs also add the feeling of whimsy and lightheartedness that we felt was necessary to lighten the seriousness overall.

What are you most excited about in the upcoming year?

I’m part of the Asian American Pacific Islander Design Alliance (AAPIDA), which is an organization that engages, promotes, and empowers AANHPI folks working within the home and design industries. AAPIDA only launched about two years ago and has grown so rapidly! It’s such a beautiful experience to witness those in the interiors/architecture/build space gain more visibility and traction in the industry, something we haven’t had much of until now. We’re expanding to all the different regions of the US and I’m excited to be a part of its growth, as well as support other designers who are carving the path forward!

GYOPO’s Pacific Imaginaries program Photo by Taylor Kaltman

GYOPO’s Pacific Imaginaries program Photo by Taylor Kaltman

GYOPO’s Pacific Imaginaries program Photo by Taylor Kaltman

To learn more about Grace Lee-Lim’s practice, visit graceleelim.com.

General contractor: Schneider Construction & Development.
Photography by Sara Pooley unless otherwise noted.

As the Senior Contributing Editor, Vy Yang is obsessed with discovering ways to live well + with intention through design. She's probably sharing what she finds over on Instagram stories. You can also find her at vytranyang.com.