The Monocle Minute
On Design

Feeling creative? Make the world your canvas at an art complex inspired by Vincent van Gogh before heading to the Cyclades for a breezy break at a restful residence (pictured). Plus: we discuss the power of politics with an architecture studio in Venezuela and steel ourselves for a new book on a Canadian designer. But first, Gregory Scruggs with a lesson on why the present is worth preserving.

A host of household names have found impressive architectural commissions in sunny locales across the Mediterranean. Case in point is Frank Gehry’s work in the small city of Arles in the south of France. Here, the Canadian-American architect designed Luma, an interdisciplinary art complex that pays homage to Vincent van Gogh’s Starry Night, inspired by the shades of the Provençal sky. The tower’s twisted façade captures colour variations in the sky and gives the building, which also takes inspiration from the rocky landscape of the nearby Alpilles mountains, an ever-changing appearance. At the foot of the structure sits a glass rotunda inspired by Arles’ Roman amphitheatre, which serves as a reception area for visitors.

The result is a creative campus where artists, researchers and scientists can work together to deepen the understanding of issues related to the environment, education, human rights and culture. Luma’s summer programme showcases work by the renowned American photographer Diane Arbus, Cypriot visual artist Christodoulos Panayiotou and Chicago-based designer and artist Theaster Gates. “We are expanding the definition of what a cultural institution can be,” says Mustapha Bouhayati, deputy CEO of Luma Arles. “The building has become a contemporary beacon of the Mediterranean, imbuing the city and the people of Arles with a transformative energy.”

For more sunny stories about architectural icons in the Med, such as Daniel Libeskind in Mallorca, order a copy of ‘Mediterraneo’ from The Monocle Shop.

It was on his second visit to Greece that Berlin-based Danish architect Sigurd Larsen fell in love with the island of Kythnos and decided to design his own holiday home there. “An island somehow seemed more adventurous than the mainland,” says Larsen. “Kythnos was perfect because we were looking for a place with a communal atmosphere, where people live all year and you can find great food and privacy.” The architect purchased a hillside property that overlooks the Cycladic archipelago to build Piperi House, which consists of four white cubes clustered together to echo the surrounding architecture.

From the outside, its roofs serve as terraces, positioned to create windless spots despite the direction of the breeze. Two outdoor staircases connect the house to a small beach and a guest house has been built into an existing stone barn for families and friends. Inside, the stairs have been laid out so that visitors can circulate through the levels of the house – a decision influenced by the impossible constructions of Dutch graphic artist MC Escher. “The Cycladic islands have a strict building code, so we had to work within a framework,” adds Larsen. “But the laws around the proportions of the white cubes and the staircases on rocky slopes could still contain infinite possibilities. Once we understood the code, we started to play around with it.”
sigurdlarsen.com

Atelier Caracas is a Venezuelan cross-disciplinary architecture practice that has been producing furniture and collectable design since 2015. Its founders, Julio Kowalenko and Rodrigo Armas, have worked on a range of creative projects from residential interiors to a spa modelled on Stanley Kubrick’s 2001: A Space Odyssey. We caught up with co-founder Kowalenko (pictured on left, with Armas) to find out more about their multifaceted approach to architecture, furniture and industrial design.

Tell us about your ideation process for Atelier Caracas.
Rodrigo and I are both trained as architects but we have always looked for inspiration outside architecture. It’s an excuse to materialise our ideas in installations, collaborate with fashion labels or experiment more with industrial design. Everything for us – whether it’s a fork, a garment or a five-storey building – has the same rigour and the same complexity.

Who are your clients?
They are usually collectors. Someone that is willing to understand that a piece of furniture can be more than just ergonomic – it’s about the narrative. Design for us is like creating cinema – something that is interesting to approach and solve, and provides a way to just float. It’s a place where we can express our ideas without gravity.

Venezuela has been making global headlines for political reasons in recent years. Is it good to get people talking about something else through your design work?
Culture is political. That is the real problem in Venezuela. In the 1950s the country was an architectural hub but we isolated ourselves and disconnected from that era. This is what we are trying to talk about through our designs; not to revive it but to pay homage to that time and maybe create a new narrative in Venezuela.

For more from Atelier Caracas, tune in to ‘Monocle on Design’.

In 1988, Finnish creative Jukka Setälä designed this outdoor beanbag as a then-contemporary take on the classic seats filled with expanded polystyrene balls. It’s a design that Dutch firm Fatboy has refined – and continued to produce – over the ensuing decades, making it essential for any terrace or poolside in need of a comfy perch. Covered in a fabric that is resistant to UV, water and dirt, this beanbag is a summer staple that can remain outdoors no matter the weather.
fatboy.com

This chair looks like something that Gio Ponti might have designed had he spent a little more of his free time picking berries. Created by Danish modernist Nanna Ditzel, the Easy chair has a frame that resembles Ponti’s classic Leggeras but balanced on it is a woven wicker seat that is unmistakably Scandinavian – and has earned it the nickname “basket chair”.

The Easy chair was first presented at the 1950 Copenhagen Cabinetmakers’ Guild Exhibition and manufactured by Ludvig Pontoppidan throughout that decade. It was never made cheaply: Pontoppidan was one of the master craftsmen of his era and he ensured that the frame came in precious teak, mahogany and even rosewood. Still, such a pastoral piece of furniture wasn’t designed so that it could fetch tens of thousands of Danish kroner at auction. Just like carrying a wicker basket out into the forest, Scandinavian modernism was meant to be enjoyed by all and, in that spirit, the Easy chair is ripe for a reissue.

Frequenting scrapyards in the UK and Greece might seem like an activity that would land you on a watchlist but it was an essential part of Canadian designer Philippe Malouin’s creative process. His Steel Works exhibition debuted in 2021 at Athens’ The Breeder Gallery. It featured 35 objects built from scrap metal sourced from the south of England and Athens; each was plasma-cut, welded and sprayed with an extremely durable monochromatic paint.

It’s work that has now been documented in a book of the same name by Italian publisher Nero Editions. Featuring photography and critical design essays, the publication gives a detailed glimpse into Malouin’s process. We see how he plays with materials until they reach an original form of their own – be that utilitarian lamps, coffee tables or chairs.
neroeditions.com