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The power of paperFrame Publishers has slowly but surely gone through a transformation. ‘Nice to know’ books have made way for ‘need to know’ publications. It’s proven to be a good choice: books such as Colour Hunting, Materiologyand Engaging Spaces have done well, which is a good reason for us to Engaging Spaces have done well, which is a good reason for us to Engaging Spacescontinue on this track. We’re also very happy to announce that the launch of our magazine on art and visual culture, Elephant, has proven to be a success. Elephant, has proven to be a success. ElephantWe’re now catering to a wide creative audience of architects, (interior) designers and artists, making Frame Publishers a one-stop-shop for everyone interested in connecting to this group. Our new titles for 2012 and 2013 reflect our vision of creating high-end, physically attractive and informative publications for creators. My Secret Garden & Rock Strangers is our first art book. This hefty publication Secret Garden & Rock Strangers is our first art book. This hefty publication Secret Garden & Rock Strangersfeatures the work of Belgian artist Arne Quinze and consists of a box containing two books and two documentaries in four languages. Also new is Goods, a remarkable publication on product design. Goods, a remarkable publication on product design. GoodsNot only are 60 iconic design products analysed and featured from conceptual design sketch to realisation, Goods also shows international Goods also shows international Goodsreference projects for each product featured. From a personal perspective, I look forward to Masterclass Product Design. Aimed at bachelor’s degree students, graduates and professionals looking for a specialisation, this book provides an overview of 30 leading design schools from all over the world that offer a master’s degree in product and industrial design. Masterclass is the ultimate guide Masterclass is the ultimate guide Masterclassto help students and young professionals choose a school for further education, making it a socially important title. We will of course continue publishing successors of our bestsellers Grand Stand, Night Fever and Night Fever and Night Fever Powershop, publications for interior design Powershop, publications for interior design Powershopprofessionals that have proven their value. Publishers, distributors and book stores find themselves in interesting times. We still believe in the power of paper. We believe in the power of attractive physical objects. We believe in the power of information. We therefore continue to publish excellent books and magazines. You’re welcome to join us.

Robert ThiemannCEO Frame Publishers

Catalogue Fall 2012 – Fall 2013

1 Introduction

2 Coming Soon 4 Grand Stand 45 Goods6 My Secret Garden & Rock Strangers7 Masterclass Product Design

8 New!10 Materiology12 Night Fever 314 Powershop 316 Industry of Nature18 Sketch20 Where They Create22 Colour Hunting

26 Backlist

36 Sorry, Sold Out!

38 Magazines40 Frame42 Mark44 Elephant

46 Distributors

48 Contact Details & Credits

Introduction 1

Com

ing

Soon

The ultimate guide to help

students choose the school

that will suit them best

Palau teamed up with Robert Bronwasser to create multi-functional furniture that targeted flexible working environments. Following the zeitgeist of a more balanced work–life schedule, often employees not only choose when and where they work, but also how they work. Along with this technological change came the interior architects’ task to create more informal and open meeting areas and workplaces with furniture pieces to serve these new needs. With a business target group in mind, Bronwasser started designing Bricks. Inspired by landscapes and skylines, he thought-up the concept that a piece of furniture is not a solid form but a combination of streamlined blocks. Like bricks in a building, the combined elements can create different forms and lines. With various heights, widths and colours available for elements such as backrests and seating, laptop tables, power access points and separation walls, the multi-functional furniture creates an impressive architectural landscape. By keeping the individual elements clean and simple, and incorporating a horizontal line into the design, the suggestion of a skyline is further amplified. The neutral design offers interior architects numerous possibilities to experiment with different compositions. Since its launch in 2007, many new elements have been added to the collection. Bricks Wall, for example, is available in different sizes and geometrical forms and incorporates functional elements such as a mirror, pegs and a whiteboard. It can be combined with the seating elements but can also serve as a freestanding wall to create separate working spaces. Bricks Flex – a seat and a table – is the latest addition. The depth and height of the seat can be electronically adjusted, it has a tilt mechanism and lumbar support. The height of the table is mechanically adjustable and it can be moved horizontally as well. In line with the vision of creating flexible working places, all pieces of the collection can be combined with each other.

Photography: courtesy of Palau

RoBeRt BRonWaSSeR, owner of Smool Design, creates every day products that are easy to use and have distinguishing characteristics. In his own words, ‘A good product has the right looks, is smooth to use and is cool to have.’Bronwasser was born in Vlaardingen, the Netherlands. As a son of an architect, he grew up in a creative environment. In 1992, he graduated with honours from Delft Technical University. During his study, he worked as a freelance designer, already laying the foundation for his own design agency which he started in 2002. Services include product design, concept development, industrial design, art direction and design strategy. Iconic products are the Heineken beer tap, the grape wine rack for Goods and a unique set of coffee and tea tableware for Simon Levelt. Bronwasser combines creativity with many years of experience and knowledge of production techniques which he adapts to a wide variety of successful products.

Smool Design Paul van Vlissingenstraat 6a 1096 BK amsterdam the netherlands t +31 (0)20 636 0804 info@smool.nl www.smool.nl

a piece of furniture is not a solid form, but a combination

of streamlined blocks

the collection consists of many elements in various dimensions and finishes that can all be combined, offering countless possibilities to create a customised piece of furniture for any business space and demand.

this design sketch clearly shows how Bronwasser translated his inspiration of a skyline into a furniture landscape.

impressions of possible arrangements of the different elements in the Bricks collection.

Page 053Volume G o odsPage 052 Section Se ating

Product Bric k S When 2007 Manufacturer Pa l auDesigner r oBert Br on wa SSer

(Smo ol DeSign)

Dutch furniture design brand Palau was founded in 1997. Targeting both the consumer market and business environments, its collection consists of comfortable, high-quality upholstered seating pieces, tables and cabinets in a variety of colours, materials and dimensions. To meet different client needs, Palau works with national and international designers among which are Robert Bronwasser, Richard Hutten, Arik Levy, Björn Mulder, Mario Ruiz and Edward van Vliet. All products are developed and produced in the Netherlands. Combining craftsmanship with architectural needs, Palau has also worked on custom-made projects for corporate clients such as KPMG, ING, Credit Suisse, Rabobank, KLM Royal Dutch Airlines, WTC Amsterdam, and many more.The company’s starting point for an ecologically-sustainable product is one with a long life cycle, in combination with the use of eco-friendly materials and production methods. Palau is constantly in search of new materials and methods of production to reduce its ecological footprint.

Palau Cruquiusweg 111 m 1019 aG amsterdam the netherlands t +31 (0)20 463 3980 info@palau.nl www.palau.nl

employees not only choose when and

where they work, but also how they work

a surface on the side of this seating element offers room for a laptop.

the newly-developed Bricks wall – here combined with seating elements – can also be used as a freestanding space separation element.

Set up in the showroom of Palau, this Bricks furniture landscape features a variety of elements, colours, fabrics and finishes. any kind of fabric can be applied but Palau works mostly with kvadrat, gabriel and de Ploeg.

the electronically adjustable Bricks Flex element is one of the most recent additions to the collection. the same as with the other elements, the seat is made of eco-foam. in order to reduce its ecological footprint, Palau replaced a part of the fossil material in the foam by natural oil from the castor oil plant, ricinus communis. the characteristics of this high-resilience (Hr) foam are even slightly better than the standard Hr foams.

Page 055Volume G o odsPage 054

When 2007 Designer r oBert Br on wa SSer

(Smo ol DeSign)

Manufacturer Pa l au

Section Se ating

Product Bric k S

MoRe inteRioRS that feature Bricks:— Tax Authorities, The Hague, the Netherlands, 2011— VU Medisch Centrum, Amsterdam, the Netherlands, 2011— Baarnsch Lyceum, the Netherlands, 2010— Stanislavski restaurant, Amsterdam, the Netherlands, 2009

Hooper architects designed the office of the healthcare system developer Pharma Partners in oosterhout, the netherlands in 2012

the rabobank in Hilversum, the netherlands was designed by Ben kraan architecten in 2009.

rietmeijer designed the amsterdam office of the law firm Van Doorne in 2011.

Page 057Volume G o odsPage 056 Section Se ating

When 2007 Designer r oBert Br on wa SSer

(Smo ol DeSign)

Manufacturer Pa l auProduct Bric k S

Wood, steel, HR foam, fabric

Flexible

x 2007

Palau

Robert Bronwasser (Smool Design)

Bricks

Volume G o odsPage 050

Designer

Completed

Dimensions Materials

Product

Manufacturer

Page 051 Section Se ating

Product family

Product Bric k S When 2007 Manufacturer Pa l auDesigner r oBert Br on wa SSer

(Smo ol DeSign)

Section Se ating

Editor Frame / Graphic design Frame / 512 pages / 240 x 320 mm / Hardcover / €69.00 / ISBN 978-90-77174-72-2 / April 2013

t the fashion trade show Bread & Butter in Berlin at the start of 2012, Levi’s was to

launch a new collection and Kenneth Jaworski at Como Park Studio was commissioned to create a branded space. The concept needed to show urban streets as a vital playground for Levi’s first global product line. With inspiration coming from installation art, scaffolding frameworks and temporary structures, the 800-m2 space would instil the busy, human and industrial nature of city streets as part of the new Levi’s global story. A city within the trade fair environment was created inspired by static archetypes of city streets – vendors’ cabins on street corners, city squares, etc. – versus aspects of change and renewal, such as construction sites and regeneration. Shopping avenues ran around the edge of the space, surrounding a central market square that was a hub of the community.

A long communal table was a focal point where people could hold discussions and meetings, or just eat and relax. This internal square and outer streets informed material choices for these two zones: the unfinished nature of the scaffolding, ra w wo o d, unf in i sh e d steel, colourful tape pieces and rough paint work all contributed to the idea of the world as a ‘work in progress’. Wo r k i n g c l o s e l y w i t h Maurizio Donadi at Levi’s, Jaworski – who also worked on the July 2011 Levi’s stand – included multi-coloured walls we and the same oak herringbone flooring to have a continuity between the two environments.

W H E R E Berlin, Germany W H E N January 2012T R A D E F A I R Bread + Butter D E S I G N E R Como Park Studio p.000

C L I E N T Levi Strauss & Co.T O T A L F L O O R A R E A 800 m2

P H O T O G R A P H E R Zowie Jannink S T A N D C O N S T R U C T O R Brandwacht & Meijer

C O M O P A R K S T U D I O

Levi’s

Et estibusciam, nis rerspere sunt quodi volorer itatiae si omnis ent nvenimin evelist ruptate coribus.

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0 0 6 G R A N D S T A N D 4A P P A R E L 0 0 7L E V I ' SC O M O P A R K S T U D I O

fter 10 years, the flooring company Parador returned to Domotex 2012 in

Hannover, Germany with a monolithic-seeming new appearance. Designing the presentation of five new products was the job of the D’art Design Gruppe. A 6.5-m high solitaire ensures that the company’s presence is tangible from afar. Five architectonic floor panels rise up out of the stand’s surface, creating a new dimension for products.Black transparent gauze envelops stand’s exterior steel construction, on the one hand to delimit it and on the other to simultaneously enhance the open design concept. The atmosphere within the stand’s interior is like a cosy retreat. The focus is drawn to the product highlights communicated via all five panels that are lifted up at an angle from the floor and are equipped with backlit graphics and mirrors that reflect the products, as well as a promotional movie. The angled panels are like a lid that has

been lifted up, revealing examples of laminate, parquet and vinyl floorings on the exposed floor beneath. A major materials library, where product samples can be vertically pulled out of a huge wall at the back of the stand, visualises the products’ and materials’ variety for visitors. The basic illumination of all Parador products corresponds to the natural daylight in order to present the materials in the closed fair hall in their real colour shades, while warm light shades ensure that the visitors feel comfortable in the fair stand’s communication area.

W H E R E Hannover, Germany W H E N January 2012T R A D E F A I R Domotex 2012D E S I G N E R D’art Design Gruppe p.000

C L I E N T ParadorT O T A L F L O O R A R E A 403 m2

P H O T O G R A P H E R Tobias Wille S T A N D C O N S T R U C T O Rviva Messe- und Ausstellungsbau

D ’ A R T D E S I G N G R U P P E

Parador

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Conecabo. Ut moluptaqui ommo modit quianisti consero estibus ea nobit, nihicaeped dolor acerat.

Et estibusciam, nis rerspere sunt quodi volorer itatiae si omnis ent nvenimin evelist ruptate coribus.

Architectonic panels rise up out of the stand’s floor surface

0 1 2 G R A N D S T A N D 4A R C H I T E C T U R A L P R O D U C T S 0 1 3P A R A D O RD ’ A R T D E S I G N G R U P P E

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Large city vistas gave visitors the sense of being ‘in’ the citites

Floor plan

1 Tunnel2 Market sqaure3 Shopping street4 Wall with cityscape graphics5 Information desk6 Chill area7 Meeting room8 Office9 Cloakroom10 Storage

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Robert Bronwasser (Smool Design)

BricksDesigner

Dimensions

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Page 051

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Designer r oBert Br on wa SSer

(Smo ol DeSign)

a piece of furniture is not piece of furniture is not a solid form, but a combination a solid form, but a combination

of streamlined blocksof streamlined blocks

the collection consists of many elements in various dimensions and finishes that can all be combined, offering countless possibilities to create a customised piece of furniture for any business space and demand.

Page 053

Designer r oBert Br on wa SSer

(Smo ol DeSign)

employees not only choose when and

where they work, but also how they work

the electronically adjustable Bricks Flex element is one of the most recent additions to the collection. the same as with the other elements, the seat is made of eco-foam. in order to reduce its ecological footprint, Palau replaced a part of the fossil material in the foam by natural oil from the castor oil plant, ricinus communis. the characteristics of this high-resilience (Hr) foam are even slightly better than the standard Hr foams.r foams.r

Page 055

Designer r oBert Br on wa SSer

(Smo ol DeSign)

rietmeijer designed the amsterdam office of the law firm Van Doorne in 2011.

Page 057

Designer r oBert Br on wa SSer

(Smo ol DeSign)

New Retail DesignThe scenographic design of space and the creation of a stimulating atmosphere are crucial in shaping human experience. The design of trade-fair stands has become increasingly important to exhibiting organisations, and today’s designers are playing an essential role in integrating brand identity into fascinating corporate presentations. Following in the steps of the three previous books in the Grand Stand series, the latest publication in this series, Grand Stand 4: Design for Trade Fair Stands, brings readers up to date on current developments in the fast-paced world of stand design. The book encompasses 150 stunning projects representing a varied selection of remarkable trade fair environments from around the world, all of which have grabbed the attention of visitors to recent commercial events. Each stand is presented on two to six pages, which include an in-depth description of both concept and design, project credits and stunning photography. Outlined are the challenges that designers must overcome due to space limitations and lighting logistics, with technical information provided to help further explain the design process from concept to execution. An index of designer profiles and contact details of all stand constructors is included.

Interior Products from Sketch to UseInstead of just filling a book with new products, Goods takes design publishing a step further; 60 iconic design products are analysed and featured from conceptual design sketch to realisation. And that’s not all. This huge book also shows international reference projects where these products have been used successfully. Goods focuses on all interior product ranges, from chairs to cabinets, from floor lamps to down lights, from kitchens to bathrooms. Featured brands include HansGrohe, Moooi, Herman Miller, Gaggenau, Vitra and Zumtobel. Included products are by designers Yves Bahar, Karim Rashid, Hadi Teherani, Patricia Urquiola and many more. Each product is showcased on eight pages which include contact details and profiles of the producer and the designer, product photos, drawings, sketches, renderings, photos of the design and manufacturing process and photos of recently-designed interior projects in which the product has been used.

Grand Stand 4 Goods

54 Coming SoonGoodsGrand Stand 4Coming Soon

Editor Frame / Graphic Design Frame / 496 pages / 220 x 280 mm / Hardcover / €59.00 / ISBN 978-9077174-69-2 / April 2013

Author Saskia de Coster / Art direction Arne Quinze, Dave Bruel, Denis Decaluwé / 576 pages / 240 x 320 mm / Two hardcover books in slipcase incl. two DVDs / €49 / ISBN 978-9077174-84-5 / December 2012

My Secret Garden & Rock Strangers

Masterclass Product Design

Artist Arne Quinze’s installation, My Secret Garden, encourages visitors to explore their own mental place where they keep their most personal thoughts, memories, desires and secrets. My Secret Garden is complementary to his other work, Rock Strangers, on the coastline in Ostend, which is a public confrontation with alienation in the centre of the city. Quinze invited Belgian author Saskia de Coster to capture the alienation which the Rock Strangers exude, as well as the intimacy of My Secret Garden (exhibited at Kunsthal Rotterdam) in contemporary stories and distinctive film footage as the projects were running at the same time. The documentaries are explorations of both projects, through interviews about Quinze’s work, unique footage of the making of the installations and ‘uncanny’ performances. The outcome is a quest for the traces of these works in each and every one of us. The complete box contains two book publications and two documentaries (DVDs) in four languages: Dutch, French, English and German.

Guide to the World’s Leading Graduate SchoolsAimed at current bachelor’s degree students, recent graduates and professionals looking for a specialisation, this book provides an overview of 30 leading design schools from all over the world that offer a master’s degree in product and industrial design. The featured schools are selected based on a list of criteria including the quality of the graduation work, the employability and success of former students, the list of faculty, and their reputation in the design industry. Each school is featured over 10 pages containing useful information like a programme description, application details and requirements, student demographics, faculty and alumni lists, tuition and scholarship details, and address and contact details. The articles also give a real insight into life at each of the schools – from the opening introduction by the dean, followed by examples of recent student work, an interview with a successful alumnus, information about the school’s location regarding housing, transportation and the cultural scene from a student’s perspective, and more. A world map indicating the spread of schools, a summary table and a notebook section with space for the future students own research, complete this guide.

76 Coming SoonMasterclass Product DesignMy Secret Garden & Rock StrangersComing Soon

Editor Frame / Graphic Design Frame / 328 pages / 170 x 230 mm / Soft cover / €29 / ISBN 978-9077174-71-5 / November 2012

New

The latest publication in the

Powershop series outlines the

key role that designers play

to integrate brand identity

into retail concepts in order

to realise some of the most

exciting shopping destinations

in the world

Extended edition with

36 pages of new material!

The Creative Industry's Guide To Materials And TechnologiesA book intended for all creative professionals who rely on materials and technologies – architects, designers, stylists, artists and the like, from students to experienced practitioners – Materiology is written in a style that conveys a wealth of information in a language that’s easy to understand. This book covers everything there is to know about materials and technologies in one single volume.

Materiology’s comprehensive exploration of materials is divided into four sections:1. Categories of materials: various types of wood, plastic, glass, metal, lighting, etc.2. Catalogue of materials: catalogue cards that identify various materials, from the most basic substance to the latest cutting edge innovation.3. Processes: major methods of processing materials (e.g. injection moulding, extrusion) explained with instructive diagrams.4. Thinking out of the box: issue of relevance to any study of materials and technologies, such as ecology and virtual issues.

The updated, soft cover edition holds 18 new material catalogue cards among which are superconductive metamaterials, semi-conductor materials, rare earth metals, lithium and photovoltaic materials. New information about sustainability is added to the book in the form of the process ‘recycling’, and an in-depth article on how to deal with sustainability in projects, touching upon the subject of biomimicry and environmental, economical, strategic and health-related stakes.

Materiology (Dutch)

1110 NewMateriologyMateriologyNew

Directed by matériO / Editors Daniel Kula and Elodie Ternaux / Graphic Design Général Design / 380 pages / 200 x 295 mm / Soft cover / €49.90 / ISBN (Dutch) 978-90-77174-97-5 / November 2012

129 cutting-edge restaurants, bars, clubs and hotels

Hospitality DesignThe latest publication in the Night Fever series takes you on a whirlwind, round-the-world tour of the best in hospitality design. Required reading for those seeking to keep up with the field’s latest trends, Night Fever 3 presents 129 interiors – restaurants, bars and clubs, and hotels – offering a detailed look at the cutting-edge approach of their creators. Today, designers distil a venue’s essence – be it the flavours of its menu or the ambience of its party scene – and incorporate it in the interior, often working with aspects of its setting to create a certain atmosphere. Presented on 600 pages is a varied selection of successful designs, from subtle to stunning, monochromatic to vibrant, and budget to exorbitant. The selected venues, all opened in the past three years, were created by young studios and world-renowned design firms, including Alfredo Häberli, Concrete Architectural Associates, Estudio Campana, Neri&Hu Design and Research Office and Wonderwall. Night Fever 3 is divided into three sections: restaurants (EAT), bars and clubs (DRINK), and hotels (SLEEP). Each article, lavishly illustrated with outstanding photographs, explains how the design concept was developed and executed. Many articles also feature technical information, such as floor plans, sections and sketches, which help to clarify the design process from concept to execution. Also included is an index of studio profiles and contact details of the featured architects, design studios and brand agencies, making this book an indispensable source of both information and inspiration.

Night Fever 3

1312 NewNight Fever 3Night Fever 3New

Editor Frame / Contributing author Sarah Martín Pearson / Graphic Design Frame / 600 pages / 230 x 297 mm / Hardcover / €69.00 / ISBN 978-90-77174-63-0 / June 2012

148Industry of Nature

149Industry of Nature

Boxfish, one of the 25 species belonging to the Ostraciidae family, swim in tropical waters around coral reefs. They reach a maximum length of 45 cm and feed mostly on algae, sponges and molluscs. It is clear where the boxfish derived its name. The young ones have a slightly rounded shape but it becomes more box-shaped as they mature.

The quasi-parallelepiped shape is formed by a rigid structure. This unusual geometry doesn’t allow the body of the animal much flexibility and it moves in water by means of a complicated combination of movements of its five fins. However, it moves slowly, making optimum use of its stable hydrodynamics*, even in turbulent water. Useful qualities when it must manoeuvre where it normally lives in the confined spaces among corals. It can also reverse and expends the least possible energy in its movements.

The skin of boxfish is also of interest for the way it is formed: it must be ready to resist impacts and is in fact a sort of armour, formed by hexagonal, interlinked bony plates following the example of a honeycomb. This gives rigid-ity, protection and stability, the latter thanks to small vortices* which are generated along its body when it moves.

Boxfish appear to defy all the laws: they seem to be the exact opposite of a hydrody-namic shape while in fact it is optimised for its environment.

HydrodynamicsBoxfish

ApplIcATIOn

In 2005, Daimler automotive engineers produced a Mercedes-Benz bionic* car, based on a boxfish shape, as a concept ve-hicle. Among other things, the wind resistance of the vehicle is improved by 65%. see

photos above and p.150 © Daimler A.G.

read p.73.153.155

Industry of Nature

Boxfish, one of the 25 species belonging to the Ostraciidae family, swim in tropical waters around coral reefs. They reach a maximum length of 45mostly on algae, sponges and molluscs. It is clear where the boxfish derived its name. The young ones have a slightly rounded shape but it becomes more box-shaped as they mature.

The quasi-parallelepiped shape is formed by a rigid structure. This unusual geometry doesn’t allow the body of the animal much flexibility and it moves in water by means of a complicated combination of movements of its five fins. However, it moves slowly, making optimum use of its stable hydrodynamics*, even in turbulent water. Useful qualities when it must manoeuvre where it normally lives in the confined spaces among corals. It can also reverse and expends the least possible energy in its movements.

The skin of boxfish is also of interest for the way it is formed: it must be ready to resist impacts and is in fact a sort of armour, formed by hexagonal, interlinked bony plates following the example of a honeycomb. This gives rigidity, protection and stability, the latter thanks to small vortices* which are generated along its body when it moves.

Boxfish appear to defy all the laws: they seem to be the exact opposite of a hydrodynamic shape while in fact it is optimised for its environment.

HydrodynamicsBoxfish

Beautiful illustrations

drawn especially for

this book

Another Approach to EcologyNature has always been a source of inspiration and resources to mankind – from the reproduction of floral motifs to the use of wood – but it has more to offer. Throughout the ages, nature has developed and optimised countless solutions to issues that also man faces daily. There is an amazing playground of smart, simple and sustainable behaviours, just waiting to be explored and learned from. Beautifully illustrated, Industry of Nature describes 75 strategies that nature has developed in response to needs such as protection, strength, aerodynamics, camouflage and more. Some of these solutions have already been applied to designs which are therefore also featured in the book. For example, the light and resistant honeycomb materials that take inspiration from the cellular structure built by bees, supramolecular materials with properties of self-healing that are inspired by human skin, and the Eastgate Centre building in Zimbabwe that has passive air conditioning, inspired by termite mounds. Furthermore, interviews with architecture studio AtelierZéroCarbone, biologist Janine M. Benyus, Professor of philosophy Catherine Larrère, designer Mathieu Lehanneur and ethical marketing consultant Hervé Naillon, highlight the ecology issues from different angles. Other features are a chapter on the history of biomimicry, a graphical timeline showing Earth’s developments, a bibliography and an extensive glossary.

Industry of Nature

1514 NewIndustry of NatureIndustry of NatureNew

Directed by Élodie Ternaux, matériO / Graphic design Atelier MAJi / Illustrations Dépli Design Studio / 288 pages / 224 x 284 mm / Hardcover with dust jacket / €49.90 / ISBN 978-90-77174-48-7 / December 2011

Purple faux leather binding and 696 gilt-edge pages

New Retail DesignFollowing on from its successful predecessors, the latest publication in the Powershop series outlines the key role that designers play to integrate brand identity into retail concepts in order to realise some of the most exciting shopping destinations in the world. Readers will discover how designers encapsulate different styles with a brand coherence whilst often mixing-up the settings to create thrilling, theatrical spaces. Architectural aesthetics using form and function are vital in many of the visionary designs, as well as a sense of fun. Divided into nine chapters, the book opens the doors of shops and showrooms by over 130 international designers – both new studios and world-famous designers, including Hayon Studio, Ippolito Fleitz Group, Ronan & Erwan Bouroullec and Wonderwall. The latest interiors range from luxury fashion boutiques to bakeries, car showrooms to supermarkets and pop-up shops to department stores. The gold-tinged pages are filled with outstanding photography and descriptive texts about how the design concepts were developed and executed. Many shops also feature technical details such as floor plans, sections and sketches to further explain the design process from concept to execution. Completing the book is an index of the featured designers, with studio profiles and contact details, along with addresses of all the shops.

Powershop 3

1716 NewPowershop 3Powershop 3New

Editor Frame / Graphic design Frame / 696 pages / 240 x 320 mm / Faux leather hardcover / gilt-edge pages / €69.00 / ISBN 978-90-77174-46-3 / February 2012

40 41

96 97

264 265

174 175

176 177

4141

97

265

175

177

First comprehensive

volume of Karim’s

sketches and artworks Artworks of Karim RashidA talented artist since childhood, Karim Rashid’s sketches are bursting with vitality and optimism. His drawings all exhibit a visual consistency and confidence of line that is impressive in its visual form and its communicative power. In his global design practice, Karim’s sketches are the conceptual reference point for all project development work. Karim’s award-winning designs include objects such as the ubiquitous Garbo waste can and Oh Chair for Umbra, and interiors such as the Morimoto restaurant in Philadelphia and the Prizeotel in Bremen. He has collaborated with clients to create designs for Method and Dirt Devil, furniture for Artemide and Magis, brand identities for Citibank and Hyundai, high-tech products for LaCie and Samsung, and luxury goods for Veuve Clicquot and Swarovski – all of which are featured in this book. Karim has produced thousands of sketches and hundreds of digital illustrations, 300 of which are shown in Sketch, offering a visual insight into his design process. Apart from an introduction explaining Karim’s love for drawing, there is no need for additional commentary – the drawings speak for themselves. Sketch will serve as a document of inspirational explorations to Karim fans as well as artists and designers.

Sketch

1918 NewSketchSketchNew

Author Karim Rashid / Graphic design Stephen Schmidt, Duuplex / 280 pages / 230 x 297 mm / Hardcover in PVC slipcase / €39.90 / ISBN 978-90-77174-61-6 / October 2011

Photos of Opening Ceremony family members that have been archived over the past nine years.

How many people work at Opening Ceremony? [Leon]Intheentirecompany,125people.HereintheNewYorkstudiothereare31ofus.What are the working hours? Wegetinataround10a.m.Leavingislate.Are there animals on the work floor? Sometimes–thereareSpy,AnimalandMickey.What do you do? Ioverseethecreativesideofthecompa-ny:Iworkwiththedesignteamonourowncollection,dealwiththebuyers,workwithourshowroomonwholesaledistribution,andthenanythingelse–includingworkinginthestoresontheweekends.How does the space define your work? Itdoesn’t.Thespaceactsasaplatformforustocreate.Weoccupy750m2,with90m2ofoutdoorspace.Could you do what you do anywhere else? Surewecan.Butwelovebeinginthisvibrantcity.Does New York influence the brand in that sense? Ithinkthatthepeopleweseeonthestreetorthatcomethroughourofficearedefinitelyinspiringus.Weliketoworkinaverytransparentenvironment,sowemadethespaceconducivetothat.How do you get to work? Bikeortaxi.What do you like most about the office? Thepeople.Thewindows,thelightandthekitchenalsomakeitaconvenientbase.WelovebeinginChinatown,closetoourretailstore.What sort of sports and leisure facilities are around? Theareaisdottedwithshops,eater-iesandhangouts–specialmentiongoestoLuckyBakeryandFayDa.ForpaintwehaveLendy,forgroceriesweshopatGrandSt.Market.OnecansweateverythingoutatnearbyBoLawKungFu.What personal elements in your office make it yours? Ihavealotofcollectionshere.Amaga-zinecollection,avintagecollection,familyphotosandtonsofsnacksfromallaroundtheworld.Oh,andthereismymono-grammedumbrella.Do you have a favourite corner? Yes,it’scalled‘thedirtyroom’.It’saspecialplacethatyoucanfilltothebrim.

Where do you go when out of inspiration? Ihaveenoughideastolasttwolifetimes.Have you been chained to the office once? Overnightersworkingonretailbuysorchangingthestoredoexist.What do you do in the first few minutes you’re in the building? Drinkmycoffee,readmye-mails,tellmyco-workerssomejokes.What happens daily, at a given time? Ialwaystalktoeverysinglememberofmyteam.Is there a smoking spot? Thepatio,oronestepsoutside.Do you have plants? Yes,Shirley,CarolandJoeywaterthem.In three words, your work environment can be defined by? Thewonderfulpeople.Is lunch a communal event? Weindividuallygetfood,exceptforFridayswhentwoofusmakelunchfortheentireteam.Any favourites? Asianfood!And notorious munchies? Asiansnacks,crackersandhummus,yogurt,carrotsticks,sourHaribogummies,coconutwater.

( 44 )( Opening Cerem

ony )

( 45

)( O

peni

ng C

erem

ony )

( 230 )( Clive W

ilkinson Architects )

( 23

1 )( C

live W

ilkin

son

Arch

itect

s )

The pink wire pig ‘somehow’ found its way from Milan to London and then to LA, where ‘it is now very content-ed, especially on its Vitra sofa’.

A very early project for a Pittsburgh housing scheme – perhaps the last model Wilkinson built himself.

‘I actually change clothes depending on

the type of work’

The façade of the LA building with the company logo.

How many people work at Opening Ceremony? [Leon] In the entire company, 125 people.Here in the New York studio there are 31 of us.What are the working hours? We get in at around 10 a.m. Leavingis late.Are there animals on the work floor? Sometimes – there are Spy, Animal andMickey.What do you do? I oversee the creative side of the compa-ny: I work with the design team on our owncollection, deal with the buyers, work withour showroom on wholesale distribution,and then anything else – including workingin the stores on the weekends.How does the space define your work? It doesn’t. The space acts as a platformfor us to create. We occupy 750 m2, with 90m2 of outdoor space.Could you do what you do anywhere else? Sure we can. But we love being in thisvibrant city.Does New York influence the brand in that sense? I think that the people we see on thestreet or that come through our office aredefinitely inspiring us. We like to work in avery transparent environment, so we madethe space conducive to that.How do you get to work? Bike or taxi.What do you like most about the office? The people. The windows, the light andthe kitchen also make it a convenient base.We love being in Chinatown, close to ourretail store.What sort of sports and leisure facilities are around? The area is dotted with shops, eater-ies and hangouts – special mention goesto Lucky Bakery and Fay Da. For paint wehave Lendy, for groceries we shop at GrandSt. Market. One can sweat everything out atnearby Bo Law Kung Fu.What personal elements in your office make it yours? I have a lot of collections here. A maga-zine collection, a vintage collection, familyphotos and tons of snacks from all aroundthe world. Oh, and there is my mono-grammed umbrella.Do you have a favourite corner? Yes, it’s called ‘the dirty room’.It’s aspecial place that you can fill to the brim.

clothes depending on

The façade of the LA building with the company logo.

( 224 )( Clive W

ilkinson Architects )

( 22

5 )

( Cliv

e Wilk

inso

n Ar

chite

cts )

‘When being creative I wear

T-shirts’Architect Clive Wilkinson at his desk. On the globe (right): ‘It’s important to know where you are every day.’

Clive Wilkinson ArChiteCts

Architecture studioLos Angeles, United States

Say Clive Wilkinson Architects and heaps of prestigious names pop up: the Los Angeles-based architecture practice, with a smaller hub recently opened in London, has designed head-quarters for Google, the Disney Store, TBWA/Chiat/Day and the Macquarie Bank, as well as colour-filled premises on three campuses of the Fashion Institute of Design & Merchandising (FIDM), in Los Angeles, Orange County and most recently San Diego. From ever-summery, surf-driven LA, Clive Wilkinson talks about a day at the office.clivewilkinson.com

‘I reckon I work around 80 per cent of the time on my Mac, and 20 per cent creating things with my hands.’

The cat is part of a limited edition the artist created with Grizedale Arts in the UK. The text reads, ‘I am scared of nature’.

Breuning drawing up a tarot card for a group exhibition in New York.

( 64 )( Olaf Breuning )

( 65

)( O

laf B

reun

ing )

Pieces of crasset’s often colourful work.

Francis Fichot at his rosewood desk, Model 93-4 by Nanna and Jorgen Ditzel, produced in 1955.

( 184 )( m

atali crasset )

( 18

5 )

( mat

ali c

rass

et )

‘When being creative I wear

T-shirts’

The cat is part of a limited edition the artist created with Grizedale Arts in the UK. The text reads, ‘I am scared of nature’.

First book publication

of the successful blog –

wheretheycreate.com

32 different co

vers

Where Barbera’s blog documents only part of his journey, this book dives in further. Barbera’s search is simple and clear: he only visits and photographs the studios of people whose work he loves and whose space he likes. For this book, Barbera chose 32 studios which form a diverse selection of his work. Featured are media companies like the magazine Wallpaper* and fashion houses such as Acne, as well as artists, architects, illustrators and designers from all over the world. The images are as he finds the spaces, just the way they are, unstyled and raw. Barbera’s signature style is a mix of a bird’s-eye view with an exquisite eye for detail – personal narratives hidden in the nameplate at the doorbell, the way the papers are stacked on a desk or the paraphernalia we human beings tend to nest with. Barbera prefers to shoot with natural light only, giving the visual documents a graphic layer of shadow play. In addition to all these photos, descriptions of the spaces by the owners of the studios are included. Interviews with these creators reveal not only how their daily environment influences their output, but also what’s on their desk and even what’s in their fridge.

Where They Create

2120 Where They CreateNew

Photography Paul Barbera / Author Alexandra Onderwater / Graphic design Frame / 288 pages / 240 x 300 mm / Hardcover / 32 diff erent covers / €37.90 / ISBN 978-90-77174-49-4 / July 2011

NewWhere They Create

Colour research

and colour

experimentation in

design, architecture,

fashion and art

How Colour Influences What We Buy, Make and FeelColour plays a vital role in our visual experiences and affects senses such as feeling and taste, but it also shapes our actions subconsciously. In this publication many facets and functions of colour are considered, while repeatedly questioning its influence on humans in general. The in-depth articles and interviews in this book examine the role of colour in commercial projects and artistic concepts and analyse its impact on wellbeing. In the first chapter, ‘Commerce’ (buying/selling), experts cast a light on colour trends and dissect the use of colour in branding messages. The following chapter, ‘Aesthetics’ (making), offers an insight into the conceptual use of colour, as well as the challenges and techniques entailed when applying colour to a wide range of materials. The relationship between body, mind and colour forms the focus of the ‘Wellbeing’ (feeling) chapter. Additionally, facts about colour interspersed throughout the book trace what colour has meant to people and cultures down through the ages in every part of the world. This book takes us on a colourful journey, hunting out and broadening our horizons into the immense potential of colour. With an appreciation of every nuance, tone, tint and shade, the possibilities are truly infinite.

Colour Hunting

2322 NewColour HuntingColour HuntingNew

Compiled by Hanneke Kamphuis and Hedwig van Onna / Author Jeanne Tan / Graphic design Frame / 264 pages / 200 x 265 mm / Hardcover with dust jacket / €49.90 / ISBN 978-90-77174-27-2 / June 2011

Ba

cklis

t

A book intended for all

creative professionals

who rely on materials and

technologies, from students

to experienced practitioners,

Materiology is written in a

style that conveys a wealth

of information in a language

that’s easy to understand

Innovative Materials for Architecture and DesignFollowing the smashing success of Material World 1 and Material World 2, the third edition in this series offers over one hundred materials and semi-finished products carefully selected by matériO. This collection covers materials with a wide variety of properties and aesthetic qualities, like modular, undulating wall coverings, fish-skin leathers, photovoltaic textiles, and LED lighting systems powered by wafer-thin batteries. Material World 3 gives architects, designers, students and other creative professionals product information, technical specifications, and suggestions for ways in which to use the latest fascinating materials and finishes. Included are the names, addresses, phone numbers, and websites of suppliers – all the information needed to contact and purchase every item featured in the book.

Directed by Élodie Ternaux, matériO / Graphic design Atelier MAJi / 232 pages / 230 x 280 mm / Hardcover / €49.90 / ISBN 978-90-77174-26-5 / May 2011

Shaping Japan and BeyondJapanese firm Intentionallies is out to push the architectural envelope, to research the depth and range of architecture and design and to break boundaries. The portfolio of this contemporary design firm covers 15 years in which the outfit created remarkable environments at home and abroad. Featured projects include private residences, offices, restaurants, commercial buildings, shops, product designs and more. The explanatory texts, sketches and drawings by founder Shuwa Tei, the rich array of three-dimensional visuals and the wealth of photos, provide a comprehensive picture of a Japanese phenomenon. Contributing essays by Tyler Brûlé, the Editor in Chief of Monocle, Masamichi Katayama, principal of Wonderwall, Kengo Kuma and many more affirm this appraisal.

Author Shuwa Tei / Graphic design Tycoon Graphics / 280 pages / 239 x 319 mm / Hardcover / €49.90 / ISBN 978-90-77174-34-0 / April 2011

Design for Trade Fair StandsGrand Stand 3 encompasses 145 remarkable trade-fair environments from around the world, ranging from small booths to multi-level structures. Featured stands include those by Atelier Markgraph, D’art Design, nendo, Patricia Urquiola, Stefan Zwicky and UNStudio, and presented brands like Audi, Diesel, HSBC, Nike, Mercedes-Benz, Reebok, Samsung and Sony. Each stand is presented by a description of the design, project credits, photography and a designer profile. Floor plans, sections, sketches, detail drawings, renderings and construction photos explain the design processes from concept to execution. Completing the book is an index that provides contact details of architects, design studios, brand agencies and stand builders.

Editor Frame / Graphic design Frame / 512 pages / 240 x 320 mm / Flexi cover with transparent PVC sleeve / €69.00 / ISBN 978-90-77174-25-8 / March 2011

Building on Water to Combat Urban Congestion and Climate ChangeThe majority of world cities are situated on the water and have too little space where it’s most needed: in the city centre. Building on water allows inner-city areas to expand. Floating buildings have many advantages. They are both flexible and mobile. A buoyant structure can be moved to make space for a new building, decreasing the need for the demolition of development that still has a productive economic future. Floating buildings outwit changing water levels by rising and falling with the tide and, in doing so, promote a more responsible water management. They leave no scars on their sites, permitting planners to actively meet the demands of the moment. It’s up to the architects of the climate-change generation to respond to the world’s spatial needs with smart, sustainable proposals. Float! will help them do just that.

Authors Koen Olthuis and David Keuning / Graphic design Frame / 304 pages / 170 x 240 mm / Hardcover with dust jacket / €49.90 / ISBN 978-90-77174-29-6 / October 2010

Material World 3

Intentionallies

Grand Stand 3

Float!

26 27BacklistBacklist

Exhibition Design ExploredCreating a good exhibition is about telling a multi-dimensional and interactive story with a balanced and broad array of media. When executed effectively, engaging spaces can educate, excite and entertain, providing the visitors with an experience to remember. Highlighted in this book are 30 narrative spaces orchestrated by renowned Dutch exhibition architecture office Kossmann.dejong. Featured environments range from permanent presentations in museums and visitor centres to temporary exhibitions, among them the Urbanian Pavilion at the World Expo 2010 in Shanghai. Full-page photos accompanied by detailed explanations offer insight into how these narrative spaces are composed. Sketches, plans and sections make the designs fully comprehensible. A separate chapter explains a dozen key concepts – interaction, abstraction, media mix, routing and more – that inform most narrative environments.

Author Kossmann.dejong / Contributing authors Suzanne Mulder and Frank den Oudsten / Graphic design Kossmann.dejong / 408 pages / 240 x 320 mm / Soft cover / €34.95 / ISBN 978-90-77174-40-1 / September 2010

Hospitality DesignNight Fever 2 offers readers an experience of entertainment pleasure in a trio of volumes featuring restaurants (EAT), bars and clubs (DRINK) and hotels (SLEEP). Each project is accompanied by an explanatory text, project credits, a floor plan, a company profile of the design firm and a wealth of photos. Address and contact details of architects, designers and venues are included. Whether the interior designer used vintage furniture, wall graphics, advanced modelling techniques or sustainability as an anchor point for the hospitality concept in question, all 175 spaces selected for this book have a story to tell. Included are fairy-tale interiors – like Marcel Wanders’ Mondrian Hotel, Neri & Hu’s White Rabbit restaurant and Make Creative’s Aviary bar – to spaces with a living-room ambience, such as the Home Delicate Restaurant by Logica:architettura and High tension Low-Bolt by Line-Inc.

Editor Frame / Graphic design Frame / 608 pages / 230 x 297 mm / Hardcover, three volumes in a slipcase / €79.00 / ISBN 978-90-77174-24-1 / June 2010

The Creative Industry's Guide To Materials And TechnologiesA book intended for all creative professionals who rely on materials and technologies, from students to experienced practitioners, Materiology is written in a style that conveys a wealth of information in a language that’s easy to understand. The books comprehensive exploration of materials is divided into four sections:1. Categories of materials: various types of wood, plastic, glass, metal, lighting, etc.2. Catalogue of materials: 110 catalogue cards that identify various materials, from the most basic substance to the latest cutting edge innovation.3. Processes: major methods of processing materials (e.g. injection moulding, extrusion).4. Thinking out of the box: issue of relevance to any study of materials and technologies, such as ecology and virtual issues.

Authors Daniel Kula and Elodie Ternaux / Graphic design Atelier MAJi / 344 pages / 200 x 295 mm / Hardcover / €79.90 / ISBN 978-3-7643-8424-1 (English), 978-3-7643-8423-4 (German), 978-90-77174-21-0 (Dutch), French version sold out / December 2008

Masamichi Katayama Projects N˚2Spaces and objects created by Japanese design firm Wonderwall, led by Masamichi Katayama, surprise, delight and entertain, while also conveying one persuasive message after another. This publication introduces over 40 projects by Japan’s hottest retail designer with an extraordinary selection of interior designs for boutiques and retail outlets from high-end luxury spaces to mega stores in Japan, Great Britain, France, the United States and Hong Kong. More than an insight into the work of a talented designer, this monograph is sure to inspire future trends in design. Contributions by a.o.: Thom Browne, Tyler Brûlé, Pierre Hermé, Alejandro Gonzalez Iñarritu, John C Jay, Rei Kawakubo, Nobuhiko Kitamura, Takashi Murakami, NIGO®, Keigo Oyamada, Kashiwa Sato, Claus Sendlinger, François Simon, Takashi Sugimoto, Jean Touitou and Pharrell Williams.

Author Wonderwall / Editor Satoko Suzuki / Graphic design Groovisions / 256 pages / 240 x 320 mm / Hardcover / €49.90 / ISBN 978-3-89955-304-8 / December 2008

Engaging Spaces

Night Fever 2

Materiology

Wonderwall

Limited Stock

Limited Stock

28 29BacklistBacklist

Transdisciplinary Approaches to Design3deluxe is a German interdisciplinary design collective of communications, interiors and product designers and architects. This book presents how the group skilfully interplays different disciplines to create powerful spatial situations. Their projects for fashion, music and sports, exhibitions and fair stands, spatial productions and architecture illustrate a sensitive intellectual balance and sensual receptive approach. The multi-media theme world Cyberhelvetia, the interior design and corporate design for the infamous CocoonClub in Frankfurt, events and exhibitions for the 2006 FIFA World Cup as well as the corporate architecture for the glass manufacturer Leonardo are only but a few of the multitude of projects featured in this luxurious volume. Essays by renowned authors complement the descriptions of projects, sparking lively debate on current trends in design and architecture.

Author 3deluxe / Graphic design 3deluxe / 368 pages / 220 x 280 mm / Hardcover with laser-cut dust jacket / €49.90 / ISBN 978-3-89955-306-2 / October 2008

Design for Trade Fair StandsDesigners play an essential role in lending shape to brand identity through the creation of captivating presentations. Grand Stand 2 contains nearly 200 scores of strikingly successful results discovered worldwide. The stands are categorised according to theme – interior and architectural products, automotive, electronics, services, food, fashion and beauty, and retail – and are divided over two volumes: Volume 1 focuses on small-scale stands – no larger than 500 m² – and presents examples of unusually atmospheric design solutions that transcend spatial limitations. Volume 2 concentrates on large-scale stands – over 500 m² – and features amazing temporary structures crafted to highlight the products and services of major international brands. Projects are accompanied by stunning images, in-depth descriptions, company profiles, and blocks of information that include names, locations, materials and other relevant details.

Editor Frame / Contributing authors Shonquis Moreno and Cathelijne Nuijsink / Graphic design Alvin Chan / 568 pages / 240 x 320 mm / Hardcover, two volumes in a slipcase / €99.00 / ISBN 978-3-89955-302-5 / September 2008

Interior Design and Architecture at the SeasideOceans, seas, vast lakes and rivers are seemingly endless spaces that convey a sense of timelessness and generate universal feelings of freedom and adventure. The unique atmosphere of the seaside has been captured by designers, architects and artists worldwide. Compiled in this book are 115 creative concepts, from beach clubs, hotels and oceanfront homes to sea baths, urban beaches and art installations. Page after page, Beachlife offers examples of design, architecture and art that enhance the recreational and residential functions of waterfront sites across the globe. It touches on the subject of rising water levels and shows how architects, artists and designers are responding to climate change.

Editor Frame / Graphic design Matte / 280 pages / 240 x 280 mm / Hardcover with linen / €44.00 / ISBN 978-3-89955-305-4 / July 2008

Architectural Illumination and Light InstallationsBright details and explores 38 exterior lighting designs from top-level designers, manufacturers and artists around the world. Each project is shown on eight pages through photography, plans, lighting schemes and an explanatory text. Besides showing the glitter and glamour of a variety of cutting-edge ‘illuminating’ architecture, Bright attempts to capture the feeling of elevations which light and projections can bring to a building, a bridge or even a whole city. The book shows how lighting design invites passers-by to interact with architecture; how it triggers discussions, sets a mood or translates the values and data of a brand into sensitive and meaningful design. A separate chapter is dedicated to sharing basic knowledge on lighting design.

Editor Frame / Graphic design LAVA / 352 pages / 230 x 297 mm / Hardcover / €49.90 / ISBN 978-3-89955-301-7 / May 2008

3deluxe

Grand Stand 2

Beachlife

Bright

30 31BacklistBacklist

The Shape of Things to ComeThe atmosphere is a useful and meaningful metaphor for the artistic climate that fills our lives and responds to our senses. Within this publication, seven atmospheric layers that not only exist simultaneously but – owing to their fleeting nature – merge to form new combinations, over and over again, are explored to provide an inexhaustible source of inspiration. Generating an atmosphere all of its own, each page of this beautifully crafted book is lavishly illustrated with the recent work of top designers, architects and artists. From handicrafts to biometrics, colour, form and eclectic assemblages, Atmosphere presents designers methods of dealing with the chill perfection of computer-aided design and how they counter a period of baroque extravagance. A forecast of things to come, here’s hoping the oxygen in Atmosphere will be pumped into future projects – including yours.

Authors Hanneke Kamphuis, Miegiel Loeff en and Hedwig van Onna / Graphic design Roosje Klap / 240 pages / 230 x 297 mm / Hardcover / €59.90 / ISBN 978-90-77174-09-8 / 2007

Design for Cafes and Bars Shaken and then stirred, this book presents a cocktail of bars, cafés and clubs. Introduced by an accompanying text, each of the 40 featured projects is presented over seven pages illustrated with high quality photographs and floor plans, with an additional page dedicated to the designers. From on the rocks in Malta with Chris Briffa’s TwoTwentyTwo bar and restaurant; a boat-like structure marooned in Valetta’s St.Andrews Bastion, to Patrick Jouin’s Gilt bar; a multifaceted structure installed within New York’s Villard mansion, Behind Bars offers an intoxicating blend of stylish, atmospheric and technologically advanced interiors, bound to inspire even teetotallers!

Editor Frame / Contributing authors Anneke Bokern, Joeri Bruyninckx, Andrea Eschbach, Martijn Goedegebuure, Tim Groen, Kanae Hasegawa, Clare Lowther, Cornelius Mangold, Tim McKeough, Sarah Martín Pearson, Chris Scott, David Sokol, Masaaki Takahashi, Jeanne Tan, Carolien van Tilburg, Andrew Yang and Monica Zerboni / Graphic design ...,staat / 344 pages / 170 x 240 mm / Hardcover / €44.00 / ISBN 978-3-89955-300-0 / 2007

Design for EventsHappening presents 29 happenings – in the broadest sense of the word. From car shows to fashion events, from exhibitions to festivals, from sparkling to robust. Instead of telling you how to organize an event, Happening focuses on the design, and shows you how the designers translated the brief into an experience. The extensive photography allows you to enjoy these innovative events to the fullest. With today’s communication overload, marketeers have to come up with new ways to get and keep people’s attention. In Happening designers explain how they translated the essence of a brand into an event, creating an experience that fascinates a global audience.

Editor Frame / Contributing authors Anneke Bokern, Joeri Bruyninckx, Andrea Eschbach, Tim Groen, Cornelius Mangold, Sarah Martín Pearson, Edwin van Onna, Stephan Ott, Chris Scott and Masaaki Takahashi / Graphic design The Stone Twins / 240 pages / 240 x 320 mm / Hardcover / €59.90 / ISBN 978-90-77174-22-7 / 2007

Atmosphere

Behind BarsHappening

Restaurant DesignBon Appétit presents 35 projects from around the globe: page after page of the very latest restaurant settings produced by the world’s most influential design firms – from Karim Rashid and Marcel Wanders to Stefan Zwicky and HawkinsBrown. The recipe for restaurant magic features a provocative mix of dining environments to satisfy every taste and mood. The list of ingredients swings from a dash of fast food (McDonald’s, Milan) to a spoonful of minimalism (Nuba, Barcelona). Each project is accompanied by a profusion of photographs and an essay that describes the work and reveals the thoughts of the designers. This book will satisfy your craving for fresh inspiration. Bon appétit!

Editor Frame / Contributing authors Shonquis Moreno, Anneke Bokern, Sarah Martín Pearson, Edwin van Onna, Chris Scott, Masaaki Takahashi, Carolien van Tilburg and Monica Zerboni / Graphic design Alvin Chan / 374 pages / 180 x 260 mm / Hardcover / €49.90 / ISBN 978-90-77174-18-0 / 2006

Bon Appétit

32 33BacklistBacklist

Interior Design for Fashion ShopsFuelled by the success of Powershop: New Japanese Retail Design, this book is devoted to the design of exclusive clothing shops and boutiques. Dress Code presents a selection of 50 innovative and exciting retail interiors from the fashionable cities across the globe, from renowned hotbeds of design like Paris, Milan and New York to rising stars such as Tokyo and Antwerp. Between the covers of this book are cutting-edge shops, showrooms, boutiques and flagship stores crafted by the world’s most distinctive and influential designers. Each shop featured is accompanied by an in-depth commentary, a wealth of images and, in many cases, floor plans.

Editor Frame / Contributing authors Joeri Bruyninckx, Sarah Martín Pearson, Brigitte van Mechelen, Shonquis Moreno, Edwin van Onna, Chris Scott, Matthew Stewart and Masaaki Takahashi / Graphic design Lesley Moore / 320 pages / 240 x 320 mm / Hardcover / €65.00 / ISBN 978-90-77174-07-4 / 2006

The Essential Guide to Frame’s First 50 IssuesIn a remarkable review of the first 50 issues of Frame, The Back Issue highlights the best article in each of the magazines. The pieces appear in chronological order, but an easy-reference index allows the reader to look them up by category as well. Designers comments on the publication of their work, the impact that publication has had on their lives, and news about their latest activities are included as well. Interspersed with these 50 features are interviews with Frame’s graphic designers and with the founders of Frame, a brief history of the magazine, and a sampling of reactions from readers.

Editor Frame / Graphic design Robin Uleman / 592 pages / 176 x 224 mm / Softcover / €49.90 / ISBN 978-90-77174-50-0 / 2006

The Culture of Shop Window DesignA pane of glass, not more than 1.5 centimetres thick, divides the shop from the pavement. On one side, the climate-controlled interior welcomes those who can buy; on the other, the intemperate street is where those who cannot buy may look without paying. The editors of Frame magazine invited ten couturiers and shops to participate in Forefront, an overview of the shop window culture. Featured are more than 200 bold and lyrical window displays by the likes of Barneys, Bergdorf Goodman, Harvey Nichols, Hermès Japan, Moschino, Selfridges and Louis Vuitton. Also included are interviews with the designers.

Authors Remi Abbas, Kanae Hasegawa, David Littlefield, Sarah Martín Pearson, Shonquis Moreno, Chris Scott and Charlotte Vaudrey / Graphic design Thomas Buxó / 216 pages / 230 x 297 mm / Hardcover / €43.00 / ISBN 978-90-77174-08-7 / 2005

Dress Code

The Back Issue

Forefront

Creative Workplace DesignFull of images, ideas and inspiration, this publication looks at international trends in creative workplace design. At the heart of the book are case studies of 34 design projects drawn from practices all over the world, each extensively illustrated with plans and photographs. Featured projects include ad agencies, media outfits and law firms, as well as a police station and the headquarters of a political party. An essay examines trends in office design.

Author Matthew Stewart / Graphic design The Stone Twins / 240 pages / 230 x 297 mm / Hardcover / €43.00 / ISBN 978-90-77174-02-9 / 2004

The Other Office

34 35BacklistBacklist

Design Academy Eindhoven

Authors Louise Schouwenberg and Gert Staal / Contributing authors Martijn Goedegebuure, Ed van Hinte, Hedwig Saam and Renson van Tilborg / Graphic design Joost Grootens / 320 pages / 170 x 240 mm / Hardcover / ISBN 978-90-77174-17-3 / 2008

Interior architecture

Publishers Boekschap & Frame Publishers / Editors Marlies Hummelen, Conny Lanza, Rutger van Oldenbeek, Harm Tilman and Hans Maréchal / 544 pages / 190 x 190 mm / Hardcover / ISBN 978-90-77174-44-9 / 2010

New Retail Design

Editor Frame / Graphic design Alvin Chan / 640 pages / 240 x 320 mm / Hardcover / Two volumes in slipcase / ISBN 978-3-89955-307-9 / 2009

Design for Trade Fair Stands and ExhibitionsEditor Matthew Stewart / Graphic design Lava / 528 pages / 240 x 330 mm / Hardcover / ISBN 978-90-77174-03-6 / 2003

Innovative Materials for Architecture and Design

Editor matériO / Graphic design Thomas Buxó with Sarah Infanger/ 400 pages / 170 x 230 mm / Soft cover / ISBN 978-90-77174-00-5 / 2006

Innovative Structures and Finishes for InteriorsEditor Edwin van Onna / Graphic design De Designpolitie / 272 pages / 230 x 297 mm / Hardcover / ISBN 978-90-806445-6-4 / 2003

Interior Design for Bars and Clubs

Editor Matthew Stewart / Graphic design …,staat / 312 pages / 235 x 300 mm / Hardcover / ISBN 90-77174-04-4 / 2005

New Japanese Retail Design

Editor Carolien van Tilburg / Graphic design Roelof Mulder / 224 pages / 230 x 297 mm / Hardcover / ISBN 978-90-806445-3-3/ 2002

Masamichi Katayama Projects

Editor Shigekazu Ohno / Graphic design groovisions / 256 pages / 230 x 297 mm / Hardcover / ISBN 978-90-806445-0-2 / 2002

House of Concepts

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Material World 2

Material World

Night Fever

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Back and front: the opposing façades of a house in Belgium allude to its process-driven interior.

Ghent-based practice ADVVT realizes a raw and radical dwelling.

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HouseWords Dieter Van Den StormPhotos Filip Dujardin

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What readers find in each issue of Frame:Visions From the Drawing BoardInterior designs for the future, including projects that may or may not be realised.

Stills Portfolio of Places Concise reports on newly completed interiors worldwide, from Tokyo hair salons to the latest bars in London and New York.

Features Projects in Perspective In-depth articles on recently created interiors and their designers.

Goods Material Matters A section completely dedicated to the latest in product design, from furniture and lamps to display systems and cutting-edge fabrics.

Words Chris Scott Photos Les Arts Décoratifs / Luc Boegly

Two very di� erent men, from widely diverging times, with one thing in common: luxury label Louis Vuitton. Both of them – founder Louis Vuitton and the brand’s present artistic director, Marc Jacobs – are celebrated as creators, innovators and significant contributors to the world of fashion in an exhibition at Musée des Arts Décoratifs in Paris. The show, designed by Samantha Gainsbury and Joseph Bennett and curated by Pamela Golbin with Katie Grand as creative consultant, is staged on two floors and beautifully illustrates the history and continuing development of one of the world’s most prestigious brands. The first floor is dedicated to Louis Vuitton, who in 1854 laid the foundations of the company. He promoted himself as a ‘packer

Fashion and PassionA show in Paris celebrates Louis Vuitton’s leading men.

Louis Vuitton - Marc Jacobs bathes its subjects in the pop sensibility that the brand’s current artistic director does so well.

specializing in fashion’, which led eventually to the global growth of the monogrammed luggage label. The second floor is devoted to Jacobs, who arrived – together with Vuitton’s ready-to-wear – in 1998. An amusing and impressive display of his stylish creations unfolds, revealing their craftsmanship and quality in the form of a funfair cavalcade of animated mannequins (quirky creations by Desi Santiago), interactive elements, moving images and music. It’s an imaginative way of demonstrating both his work and his sources of inspiration. The exhibition reflects how successfully Jacobs has taken things forward, giving Vuitton a cool and contemporary edge while retaining the label’s classic, refined style. But, as he modestly adds, ‘Louis Vuitton . . . will exist after me.’Until 16 September 2012.lesartsdécoratifs.fr

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The latest Dover Street Market in Ginza continues its creator’s ban on brand names – forcing labels to do the unexpected.Words Kanae HasegawaPhotos Billy Poh

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Godspeed’s Joy van Erven is shaping a rough-and-ready, site-specific design vernacular for Tel Aviv, using the city’s flotsam.Words Yael MintzPhoto Roni Cnaani

Trash

Transformer

The two designers behind the quirky output of Godspeed, Joy van Erven (from the Netherlands) and Finn Ahlgren (from

Sweden), met in Florentine, a carpenters’ neighbourhood in south Tel Aviv. Inspired by the rough-and-ready locale, they started building furniture with scrap materials they picked up on the street. The partnership is still going strong, although the two no longer live in the same city – or even the same country.How was Godspeed born? Joy van Erven: I had a bar in Florentine, where I met Finn. We found we shared similar backgrounds and creative energy. I’m an artist and Finn is a carpenter and designer, so we balance each other. We started Godspeed in 2008. Finn moved back to Stockholm a year later, but we meet and collaborate as often as we can.What’s behind your chaotic aesthetic? Materials and construction define the outcome in many cases. It’s a live sketching process. The concept started in Florentine, where we were shocked by the neighbourhood’s rough side. The decay inspired us to collect leftover scraps of wood from the street. You can’t do that in Stockholm; it’s too clean. I think we could only have done it here. How’s the design scene in Tel Aviv? Tel Aviv is European in its cultural aspect and liveliness, among other things. Yet the design scene is different. In Holland, every other person is a designer or an artist. The government supports their efforts, so it’s relatively easy – but I think it makes it difficult at the same time. Tel Aviv is small, and getting to know the people that matter is easier here. It’s reflected in the design scene, which is very specific, very small and niche. However, it hasn’t formed its own language yet. I hope it stays different. There’s no point in having another Europe.How does the city inspire you? I really enjoy my freedom here, which affects the way I operate. Our line of work is very minimal. We use local materials, and our studio consists of a screwdriver and a handsaw, so we can take it anywhere. It’s something that I learned here – I got rid of the materialistic luggage because it was weighing on me. This is how people live and work in Tel Aviv, and I think it’s beautiful that Finn managed to take it with him to Stockholm. _weareonlyinitforthemoney.com

‘The design scene hasn’t formed its own language yet’

5 FavouritesHangout Yoezer Wine Bar in Jaffa (I just designed it)Building The central bus station (a structure you don’t see elsewhere)Souvenir The milk crate (those green and blue plastic boxes you see everywhere) Best area The White City (I like Bauhaus)Tel Aviv in 3 words Conservative, safe, experimental

Scrap meets classicism in Rococo Armchair.

Godspeed celebrates decay with its Trash Cabinet (right) and rickety chairs.

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The two designers behind the quirky output of Godspeed, Joy van Erven (from the Netherlands) and Finn Ahlgren (from

Sweden), met in Florentine, a carpenters’ neighbourhood in south Tel Aviv. Inspired by the rough-and-ready locale, they started building furniture with scrap materials they picked up on the street. The partnership is still going strong, although the two no longer live in the same city – or even the same country.How was Godspeed born?where I met Finn. We found we shared similar backgrounds and creative energy. I’m an artist and Finn is a carpenter and designer, so we balance each other. We started Godspeed in 2008. Finn moved back to Stockholm a year later, but we meet and collaborate as often as we can.What’s behind your chaotic aesthetic?define the outcome in many cases. It’s a live sketching process. The concept started in Florentine, where we were shocked by the neighbourhood’s rough side. The decay inspired us to collect leftover scraps of wood from the street. You can’t do that in Stockholm; it’s too clean. I think we could only have done it here. How’s the design scene in Tel Aviv?cultural aspect and liveliness, among other things. Yet the design scene is different. In Holland, every other person is a designer or an artist. The government supports their efforts, so it’s relatively easy – but I think it makes it difficult at the same time. Tel Aviv is small, and getting to know the people that matter is easier here. It’s reflected in the design scene, which is very specific, very small and niche. However, it hasn’t formed its own language yet. I hope it stays different. There’s no point in having another Europe.How does the city inspire you?affects the way I operate. Our line of work is very minimal. We use local materials, and our studio consists of a screwdriver and a handsaw, so we can take it anywhere. It’s something that I learned here – I got rid of the materialistic luggage because it was weighing on me. This is how people live and work in Tel Aviv, and I think it’s beautiful that Finn managed to take it with him to Stockholm. weareonlyinitforthemoney.com

‘The design scene hasn’t formed its own language yet’

5 FavouritesHangout Yoezer Wine Bar in Jaffa (I just designed it)Building The central bus station (a structure you don’t see elsewhere)Souvenir The milk crate (those green and blue plastic boxes you see everywhere) Best area The White City (I like Bauhaus)Tel Aviv in 3 words Conservative, safe, experimental

Scrap meets classicism in Rococo Armchair.

Godspeed celebrates decay with its Trash Cabinet (right) and rickety chairs.

The Great IndoorsFrame: The Great Indoors is a bi-monthly international trade journal devoted to the design of interiors and products. Frame offers a stunning selection of interior designs created for shops, offices, exhibitions, residences and hospitality venues. The magazine has the look, feel and heft of a book. Frame packs the most interesting work from around the globe into six tactile issues a year. Visually focused, the magazine offers well-written articles illustrated with many photos, drawings and sketches. A great deal of energy goes into finding, analysing and presenting the story behind each design published – and into communicating the message in everyday, easy-to-understand English. Loaded with only the best in contemporary design, Frame is an indispensable reference for professional interior designers, as well as for those involved in other creative pursuits.

Publication schedule Bimonthly / Print run 36,000 / Binding Trade Paper / Price EUR 19.95 / Price USD 19.95 / Price GBP 14.00

Frame

40 41Magazines Frame Frame Magazines40

Text Cathelijne NuijsinkPhotos Kentaro Kurihara Round

Studio Velocity designed a cylindrical house with two floors connected by no fewer than four staircases.

Merry Go

0 7 0 p e r s p e c t i v e 0 7 1 S T u d i o V e l o C i T yo K a z a K i /J a P a NH o u S e 0 7 1 o K a z a K i /J a P

What readers find in each issue of Mark:Notice BoardPinned to Mark’s Notice Board are eye-grabbing images and memos sighted on architects' drawing boards worldwide.

Cross SectionCutting-edge articles whisk readers to the outer reaches of architecture and beyond.

PerspectiveA theme section discussing the state of architecture in a specifi c city, region, or country.

Long SectionHere the reader fi nds articles on new buildings, portraits of architecture practices, and reports on fascinating phenomena from cosmic architecture to treetop living. ToolsConcluding the magazine are reports from manufacturers and information about new building products.

Rather than resting on a plinth, Casa X cantilevers out of the hillside.

1 6 6 l o n g S e c t i o n P o R t R a i t C a d a v a l & S o l à - M o R a l e SM e X i C o / B a R C e l o n a

yoshi

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01 Entrance02 Interior garden03 Kitchen04 Storage05 Bathroom06 Dining area07 Living area08 Master bedroom09 Bedroom

First floor.

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The location of the house, next to a busy railway line, demanded the use of radical sound-isolation measures.

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Renzo Piano’s Shard is a 310-m-high workplace for 8,000 people atop a public-transit interchange. and a source of controversy.Text Michael WebbPhotos Michel Denancé

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Another ArchitectureMark: Another Architecture is a bi-monthly international trade journal featuring exceptional architecture projects. Launched seven years ago by the makers of Frame, Mark takes a radical and international approach to architecture, showcasing the best new work from every corner of the world. Viewing the magazine as a visual medium, Mark attempts to avoid jargon and academicism, opting instead for direct communication. Ever curious, Mark wants to uncover architects’ motivations and use them to inspire. We dare you to try and find an international architecture journal that fills more of its pages with interviews than Mark. Mark shines its spotlight on starchitects and new talent alike. Mark explores the boundaries of architecture and anticipates what's heating up around the next corner.

Publication schedule Bimonthly / Print run 21.000 / Binding Trade Paper / Price EUR 19.95 / Price USD 19.95 / Price GBP 14.00

Mark

42 43Magazines Mark Mark Magazines42

What readers find in each issue of Elephant:Meetings This section focuses on ideas, personalities and cultures.

ResearchShines a light on forecasts, movements and styles. ‘Studio Visits’ includes chats in ateliers, garages, and back gardens.

EconomiesLooks at how people started their businesses, from initial ideas to actual plans and bank loans.

CitiesHighlights creative cities around the globe, sharing images, characters and special stories.

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BarcelonaVasava

Vasava has been the studio to look for in Barcelona for the last fifteen years. Working with international brands like Adobe, Nike and Diesel, they have managed to create a name for themselves well outside the Spanish borders. Ana Ibarra sits down with the director, Bruno Sellés, to talk about the running of this vital Barcelona studio.

— Why do clients come to Vasava? Graphic de-sign is our base, but we do many things: illus-tration, typography, and a great deal of things for the fashion industry. We also do interactive projects, websites, applications and things in motion, which is not our strength but we pro-vide a complete service. We have always been known for doing a number of things, regard-less of what is commercial work and what is not. We have made fonts, books. For five years the entrance to the studio was a gallery, where we scheduled 35 exhibitions, shows with de-signers and illustrators from around the world; people who had never exhibited here before. We were sponsored by HP and therefore had the best printer, and that made things easy. We closed it in September because we are trying to re-formulate the idea a bit and we were also a bit tired. Almost five years of programming, organizing, making catalogues and all the ev-eryday tasks of our work was too absorbing and left us short of time. We are planning to

reopen it as it’s a nice thing to have outside your day-to-day work.

— What other activities do you do outside com-mercial work? We had this exhibition in Korea at the Seoul Design Festival. We developed this concept of ‘addiction’. We are very much into airbrushing and the eighties aesthetic – it is something that we love and use whenever we have the opportunity. It was all a story about addiction, not necessarily drugs (though we included them too), but addictions of all kinds: chocolate, chewing gum, caffeine, snuff, the pacifier. We summarized how the mind of the addict thinks, how they think they need some, how they cannot control themselves. And then we did these pictures that were on a stand, forming a maze, three feet high. And we cre-ated an ‘addictionary’, a dictionary of addic-tions to go with it.

— How did Vasava start? We started in the year ’97, my father and I. He was a graphic designer for many years and an art director at an ad-vertising agency and I lived in Madrid. I came here when I was 19 years old and worked first in an agency. My father had had a studio but had closed it because of problems with his partner and at some point we were both

working at home, doing our own things, and decided to start Vasava. We had a computer next to the kitchen and my father worked dur-ing the day and I worked at night. Soon we began to get more work and hired someone else – that was 14 years ago. As we grew we moved a larger studio and then came here. Now we are 18 people. About five years ago we decided we were not going to grow any-more, because growing also means you have to work on things you don’t like, and lose all the freshness, your trademark, and that’s not our intention.

— Is design still very important in Barcelona? I think less and less, because before Barcelona was where the best design in Spain was, but now there are people in Madrid and elsewhere that are also very good, in Galicia, Valencia.

Barcelona used to have better institutional support than Madrid. Madrid has more busi-ness, but not so much design culture.

— How would you define your style? We have a very diverse style. I think the style is more in the way we do things and not in what you see, just an ideology and not so much a for-mal style. We never wanted to be a signature studio as there are some designers with an unmistakable style. We always wanted to have a style that was fluid, to be able to adapt and learn new things because we are very good at getting bored. When doing something once you have fun and learn a lot doing it; the sec-ond time is also very good because you have the experience, but when you do something for the third time you get bored, and when you do it for the fourth time... We do not want to stay within a comfort zone, doing what we know.

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working at home, doing our own things, and decided to start Vasava. We had a computer next to the kitchen and my father worked dur-ing the day and I worked at night. Soon we began to get more work and hired someone else – that was 14 years ago. As we grew we moved a larger studio and then came here. Now we are 18 people. About five years ago we decided we were not going to grow any-more, because growing also means you have to work on things you don’t like, and lose all the freshness, your trademark, and that’s not our intention.

— Is design still very important in Barcelona? I — Is design still very important in Barcelona? I — Is design still very important in Barcelona?think less and less, because before Barcelona was where the best design in Spain was, but now there are people in Madrid and elsewhere that are also very good, in Galicia, Valencia.

Barcelona used to have better institutional support than Madrid. Madrid has more business, but not so much design culture.

— How would you define your style?a very diverse style. I think the style is more in the way we do things and not in what you see, just an ideology and not so much a formal style. We never wanted to be a signature studio as there are some designers with an unmistakable style. We always wanted to have a style that was fluid, to be able to adapt and learn new things because we are very good at getting bored. When doing something once you have fun and learn a lot doing it; the second time is also very good because you have the experience, but when you do something for the third time you get bored, and when you do it for the fourth time... We do not want to stay within a comfort zone, doing what we know.

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Although based in Auckland, the philosophy of multi-disciplinary design studio Alt grew out of its founders’ time in London during the mid-nineties, when the YBAs were shaking up the art world and artists were ‘trying stuff out, from opening restaurants to dancing in shopping malls’. Astrid Stavro talks to creative director Dean Poole about how they have kept the ideas coming ever since.

When Dean Poole turned 40, his wife Krista asked him what he wanted for his birthday. ‘I don’t want to do the washing,’ he replied, to which she countered, ‘Neither do I.’ So Poole purchased 365 black T-shirts and printed different dates on each so that he would have one for each day of an entire year. ‘I was a human calendar, living out my midlife crisis in public. Best year of my life.’ He adds: ‘Everywhere I went people asked me how I got today’s date on my tee, and I said it was my birthday and they bought me a beer. Stand-ing at Tate Modern, people looked at me as if I was part of the exhibition or a performance artist.’ He now keeps the T-shirts in an archive called Taking In One Day at a Time. Meanwhile, his studio, Alt, has been pushing the bound-aries of what one might expect from a design studio for more than 11 years. Poole is a forward-thinking designer with a knack for infusing everyday objects with poetry and humour. The fact that Poole is an admirer of the British art scene probably accounts for something here. ‘I am an artist without a gallery’ is how he jokingly defines himself.

— How, when and why did Alt come together? Alt started as a conversation with friends. It was at the time in the nineties when Brit Art had shaken up the whole art world and all sorts of things were being done that hadn’t been done before. Art was crossing over to other media out-side the gallery. Damien Hirst was opening restaurants, Gil-lian Wearing was dancing in shopping malls, Sarah Lucas and Tracey Emin set up store and started selling T-shirts emblazed with ‘Fucking Useless’, and Tomato was using art strategies within the design context. The YBAs had a start-up mentality, it was like the Silicon Valley of the art world. It was in a language you could understand, full of tricks, empty gestures and subversive humour. They turned their back on tradition, saying, ‘Bugger it, we have nothing to lose.’ It gave us the courage to set up shop. Our real inter-est was art, but what really drives art are ideas – ideas are the guts of any kind of communication. Our interest was in taking our art training and thinking outside of the white box, putting it within a commercial context. The idea was to start

a company that sells ideas. We had a recording studio, a workshop for building physical things along with a graph-ics studio. I suppose it was just a natural extension of the things we were exploring at art school. After a while people became interested in our approach, and we became like an experiment in a Petri dish at the bottom end of the world.

— I am curious to know what triggered your shift from art to design.I was about to apply to the sculpture department at the Roy-al College, but came back to New Zealand for the summer to earn some money. Ben Corban, now my business part-ner, had just finished his MA at Goldsmiths. We returned home. I met my wife, and we set up studio and started pro-ducing work. At the time we didn’t know if there was a real difference between art and design, or were even conscious of what we were doing. It wasn’t a leap across disciplines, but more of a natural occurrence. One thing that did inter-est us was ideas that operated out in the wild rather than in the controlled and curated experience of an art gallery. I suppose artists have always been intrigued by this. The only difference is that in a commercial context there is a second order of effect in which the idea that you produce can be added to and furthered by others.

— I read that on Alt’s first day Ben Corban and yourself were sitting in an office waiting for the phone to ring. We sat round smoking cigarettes and drinking lots of cof-fee, a sculptor, a painter, a musician, a filmmaker and a jeweller. I think our first job was Ben’s mother’s business card and the first major commission was the launch of the IMAX theatre in New Zealand. The film was Everest. We got the Tibetan community to make thousands of yak butter candles to create a large pictogram of an eye in the town square, and managed to have Sir Edmund Hillary open the event. In the early days the phone never rang, it was like Waiting for Godot. We had to learn the art of cold calling. I now understand why people call it ‘cold’ – there is not much warmth on the other end.

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Dean PooleDean Poole

The Arts & Visual Culture MagzineElephant is a quarterly magazine about contemporary art and visual culture. Featuring up-to-the-minute visual material, fresh faces and original voices, the magazine covers and uncovers new trends and talent. The current art world is divided between the traditionally ‘proper’ realm and what is known as applied and commercial art. The most interesting work seems to be happening in the middle of the two: when photographers, architects, designers and creatives manage to transcend their initial brief and start thinking like artists. Elephant documents when and how artists wander outside the confines of the museum and gallery environment, becoming aware of trends and thinking like designers. Direct, sincere and multi-disciplinary, Elephant aims to have more depth and breadth than any other visual art magazine. It visits art and design studios, steps on graffiti artists’ toes, rides fixed-gear bikes, plays with new computer games, disturbs rehearsals and interrupts takes. The Elephant is always in the room. Publication schedule Quarterly / Print run 15,000 / Binding / Trade Paper / Price EUR 19.95 / Price GBP 14.99 / Price USD 19.99

Elephant

44 45Magazines Elephant Elephant Magazines44

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BelgiumExhibitions InternationalKol. Begaultlaan 173012 LeuvenBelgiumT: +32 16 296 900www.exhibitionsinternational.org

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Lebanon & Middle EastAA StudioSaifi Charles Debbas St.Debbas 164 Building, 3rd FloorBeirutLebanonT: +961 1 990199www.aastudio.me

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Rest of WorldFrame PublishersBenjamin Verheijdenbenjamin@frameweb.com

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Contact Details & CreditsFrame PublishersLaan der Hesperiden 681076 DX Amsterdamthe NetherlandsT: +31 20 4233 717F: +31 20 4280 653www.frameweb.com

Production Sarah de Boer-Schultz Carmel McNamara Marlous van Rossum-Willems

Graphic designMariëlle van Genderen

Prepress Edward de Nijs

PrintingTuijtel, the Netherlands

© 2012 Frame Publishers, Amsterdam

All rights reserved. No part of this catalogue may be reproduced in any manner. Prices, dates, visuals and descriptions are subject to change without prior notice.

Whilst every effort has been made to ensure accuracy, Frame Publishers does not under any circumstances accept responsibility for errors or omissions.

EditorialBooks: books@frameweb.comFrame magazine: frame@frameweb.comMark magazine: mark@frameweb.comElephant magazine: elephant@frameweb.com

Distributionbenjamin@frameweb.com

Pressbooks@frameweb.com

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48 Contact Details & Credits