Wednesday 22 February 2023 - Monocle Minute On Design | Monocle

Wednesday. 22/2/2023

The Monocle Minute
On Design

Image: Yellows/Carl Hansen

Ways of seeing

This week, we broaden our horizons with a visit to an artist’s attempt at poetic architecture on the fringes of Barcelona, perusing the exhibits at design brand Theoreme Editions’ first physical space in Paris and checking out Danish design firm Carl Hansen & Søn’s new, spring-ready range of outdoor furniture (pictured). But first, here’s Nic Monisse on well-meaning – but ultimately unsightly – architectural interventions.

Opinion / Nic Monisse

Antisocial architecture

On a recent visit to Barcelona I took some time to walk around Les Corts de Sarrià. The neighbourhood in the west of the city is home to Roca Barcelona Gallery, designed by Spanish architecture firm OAB, and a handful of striking mid-century apartment complexes. The latter are impressive works of concrete and steel, and I was instantly enamoured – until, on closer inspection, it became clear that several of them had their beams covered in anti-pigeon spikes. In architecture, as in many other things, the details matter and this was a blight on the beautiful concrete form. While the use of the spikes is understandable, I would argue that such interventions look worse than a building covered in pigeon excrement.

These structures are not alone. In metropolises across the globe, you’ll find netting, electrified wires, fake birds of prey and, of course, the ubiquitous metal spikes on awnings and beams. The approach also extends to other infrastructure aimed at deterring certain behaviours: lumpy bits of metal on park benches to put off skateboarders and blue lights in stairwells to prevent people from lingering.

This obsession with stopping unsavoury activities has led to a world where unsightly interventions are considered more acceptable than the consequences of certain human and animal behaviours. As owners, residents and custodians of buildings, we should want to keep them clean and tidy, yes, but buildings are made to be lived in, which means that they will get messy every now and then. I’d argue that occasionally having to clean a structure’s exterior of excrement is better than a space that is permanently blighted by unsightly spikes. Removing them will make our homes and neighbourhoods more visually appealing and inviting – and, at the very least, will make a walk around Les Corts de Sarrià much more enjoyable.

Nic Monisse is Monocle’s design editor.

The Project / Espai Xavier Corberó, Spain

Sense of the sublime

In Esplugues de Llobregat, a small conurbation on the fringes of Barcelona, stands this sprawling, surreal structure that was built, in part, by Catalan artist Xavier Corberó. In 1967, Corberó bought the old farmhouse on these grounds and added a vast, Escher-like extension, composed of about 300 concrete arches spanning out from an octagonal central courtyard. He was, in his own words, “attempting poetry”; he created a labyrinth made of wood, glass and concrete that blurs the distinctions between indoor and outdoor spaces, gallery and living area. Surprises, as well as sculptures by Corberó, lurk in every corner.

Image: Anna Huix
Image: Anna Huix
Image: Anna Huix

The building served as studios and accommodation for artists in residence and was used by Corberó as his atelier until his death in 2017. Today the estate is municipally owned; while it is a popular location for photoshoots and performances, with fashion brands such as Miu Miu and Fendi Casa shooting campaigns here, it is also open to the public as a museum. Fans of Corberó’s work and experimental mid-century architecture would do well to stop in.

To discover more of Spain’s architectural icons, pick up a copy of our newly released publication, ‘Spain: The Monocle Handbook’.

Design News / Theoreme Editions, France

Object lessons

In 2019, Paris-based creatives David Giroire and Jérôme Bazzocchi launched Theoreme Editions, a brand that pairs the best up-and-coming French designers with artisans who can skilfully execute their ideas. Now the duo are opening their first physical space. Facing the Palais-Royal Garden in Paris, the gallery will be dedicated to showcasing furniture and sculptural objects.

Image: Mickael Llorca
Image: Mickael Llorca
Image: Mickael Llorca

Flooded with light, the space features blonde wood, Versailles-style parquet floors and white walls that allow Theoreme Editions’ playful pieces to take centre stage. More recognisable designs such as Pool’s bouclé-fabric Achille armchair (pictured, on top) are displayed alongside poetic creations by the likes of Victoria Wilmotte and Adrien Messié, while a selection of paintings, photography and sculptures complement the furniture. Located near the Pinault Collection at the Bourse de Commerce and the forthcoming Fondation Cartier, the gallery space enhances not only the works on show but the neighbourhood’s creative community. It’s sure to be a popular spot for design enthusiasts in the French capital.
theoremeeditions.com

Words with... / Manon Tardieu, Norway

Inside story

Norwegian fashion house Holzweiler is known for its unisex collections of coats, jackets and knitwear. But it has also become renowned for its smart shop fit-outs, created in collaboration with the brand’s long-time design partner, Snøhetta. Recently, the two firms partnered on the fit-out of Holzweiler’s Copenhagen shop – its first international retail outpost. Snøhetta’s ambition for the space was to bring a little bit of Norway to Copenhagen, with the interiors balancing form and materiality while also telling the story of the brand. To find out how this was achieved, we caught up with Manon Tardieu, senior interior architect and project lead.

Image: Snohetta

Snøhetta has been responsible for the interior design of several of Holzweiler’s shops. How do you approach the fit-out of a new space to ensure that it feels fresh and distinctive but still part of the brand’s identity?
It’s an ongoing discussion in the office. We don’t want to have a clear recipe; we don’t want to have a fixed idea of what retail is or should be. So we aim to start from scratch every time. We try to reinvent the wheel to be sure that it’ll be fresh but still feel linked to the brand that we’re designing for.

How do you strike the balance between newness and familiarity?
We do parallel research between the form that we want the space to take and the materials that we want to use. The material choices are then woven into the narrative that we write together with a brand, which helps the space to begin to make sense, and then the design falls into place. Just as the brand is creating a narrative from one collection to another, so does the space or the spaces that we create. They tell a story.

What is the story of Holzweiler’s Copenhagen shop?
The overarching theme that ties the space together is one of Norwegian identity. It’s about anchoring this to the place where Holzweiler is setting up. It’s also about the exploration of identity in shapes and forms; for Copenhagen, we looked at nature as our starting point.

To hear more from Manon Tardieu, tune in to ‘Monocle On Design’.

From The Archive / Concentric Glassware, Italy

Ripple effect

The form of Concentric Glassware, designed by Lella Vignelli in 1981, is inspired by its name, with the bottom of the glasses in the collection shaped like two circular waves, mimicking the ripples created by a drop of water. Despite its beauty (and Vignelli’s detailed designs for both an old-fashioned and a highball glass), the collection was never put into production.

Illustration: Anje Jager

Vignelli Associates, founded by Italian-born couple Lella and Massimo Vignelli, was one of Manhattan’s central design firms in the heady 1980s. Though it’s unclear why Concentric Glassware – a masterly example of Vignelli’s knack for geometric, glamorous design – never made it into any bar cabinets, we’re hopeful of a revival, thanks to the fact that the technical drawings and photos of prototypes are archived at the Vignelli Center for Design Studies at the Rochester Institute of Technology in upstate New York. We’ve got our fingers crossed that a savvy student can tap into the records and convince the Vignelli heirs to permit its manufacture.

Around The House / AH Outdoor, Denmark

Stacked in favour

Image: Yellows/Carl Hansen
Image: Yellows/Carl Hansen
Image: Yellows/Carl Hansen

In preparation for the coming spring, Danish design firm Carl Hansen & Søn has released a new range of outdoor furniture. AH Outdoor was created in collaboration with the late Copenhagen-based architect Alfred Homann and consists of a stackable range of chairs, tables and benches made from untreated teak wood. The high natural-oil content in the timber allows the furniture to patina naturally, making for highly durable furnishings that will age gracefully in response to their immediate microclimate. Ergonomically curved armrests, backs and seats marry form and function with Scandinavian minimalism. The result is a smart collection that combines Homann’s practical aesthetics with Carl Hansen’s century-old understanding of timber craftsmanship, making it a must-have for anyone looking for a sleek addition to their terrace or backyard set-up.
carlhansen.com

Places That Work / Royal Observatory, UK

Timeless quality

In the last of this series (for now), which was inspired by Monocle’s February issue, we head to the Royal Observatory in Greenwich. On a hill above the Thames, with views of central London, it was picked by Jay Osgerby, co-founder of design studio Barber Osgerby, as a place that just, well, works. Here he tells us why, providing some tangibles to the intangible question: what makes a place – be it an office or a park, a street corner or a train station – work?

Image: Alamy
Image: Alamy

“The Royal Observatory in Greenwich is on a high point, on one of the only hills right on the Thames,” says Osgerby. “Designed by Christopher Wren, it’s the birthplace of time as we know it, with the Greenwich Meridian running through the surrounding park. It’s an ideal place to contemplate time, looking at history and also to the future.”

For more places that work, chosen by 50 leading designers and creatives, pick up a copy of Monocle’s February issue.

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