Posts Tagged ‘art’

A custom-cut collaboration with Studio Griffiths at their Mainridge 2 Residence

studio griffiths

Eschewing the typically rough-hewn or sea-faring styles adopted for many coastal/country homes, Studio Griffiths took a refined and elegant approach when designing Main Ridge 2, located in the inland rolling hills of Victoria’s Mornington Peninsula.

Despite its nod to barn-style architecture, the striking deep grey weatherboard and colourbond structure sits smartly within its manicured landscape, with opposing central doors and windows creating a clear link between the interior and its lush surrounds.

studio griffiths

studio griffithsThe hallmarks of Studio Griffiths’ projects are attention to detail and a clever mix of materials, often used in unexpected combinations, or with a new spin on their application.

With an overall colour palette of black, blanched oak and white, with just a hint of colour (from only the murky end of the spectrum) the selection of Fibonacci Steel for the bathroom and laundry lent another level of urbane sophistication to the wet areas.

studio griffiths

studio griffithsHowever, it’s the design of a feature wall of custom cut terrazzo stone, laid in a striking diamond pattern, that sets this room apart.  Fibonacci Stone worked closely with Studio Griffiths in the custom cutting of the stone (with the help of our partner AMS Surfaces), to create what we think is another brilliant take on mixing tradition with modernity.

studio griffiths

studio griffiths

studio griffithsIt’s what we love best here at Fibonacci Stone – working with clever designers to create new ways of using this product with such a rich history.  Congratulations to Studio Griffiths on another wonderful project.

Photography by Sharyn Cairns

Vasa Sculptures by Vasa Mihich

Internationally renowned painter and sculptor Vasa Mihich is living proof that some things get better with age. The octogenarian has been brightening up the world since the 1960s and his artworks just keep impressing.

Originally from the former Yugoslavia, Vasa arrived in Los Angeles in 1960 and worked primarily as a painter before discovering sculpture as an alternate art form.

His bold and multi-coloured sculptures are made from laminated cast acrylic and have seen him firmly placed in the canon of American art.

Vasa first made the switch from painting by abandoning traditional techniques and materials in favour of a more industrial bent. This captured the attention of art critics and collectors alike.

“I came to the United States because of Abstract Expressionism,” the artist wrote in his 2007 monograph. “Instead, I found Minimalism, and more. It took me four years to adapt to and appreciate this important new art.”

Vasa’s artistic process is labour-intensive, time-consuming and at times fast-paced.

“Often, I sandwich clear acrylic with transparent, coloured sheets of the same material. After stirring together the adhesive’s components, I have only 20 minutes to pour the glue between cast acrylic parts before the polymerization of the adhesive is complete,” Vasa has explained of his process. “I make the sculpture parts separately, but put them together before machining and polishing.”

His works are in the form of parallelograms, hexagonal columns, spheres and rectangular columns that burst with colour and life – much like Vasa himself.

We look forward to more bright years ahead for this 83-year-old artist.

Studio Ossidiana’s ‘Petrified Carpets’

Traditional Persian rugs have been given a solid edge by architecture and design practice Studio Ossidiana. Their ‘Petrified Carpets’ series was exhibited at the last Dutch Design Week and shows how concrete can take on the tactile qualities of a classic woven rug.

Studio Ossidiana was formed in 2015 by Alessandra Covini and Tomas Dirrix and is based in Rotterdam and Milan. The practice does not limit its work to architecture and explores various fields of design. Its name references the volcanic obsidian stone, which was used to make pottery and tools in ancient times.

The Petrified Carpets exhibition was inspired by the two-dimensional patterns found on traditional Persian rugs, including medallions, grids and frames. Covini and Dirrix saw these motifs as representing architectural elements found in Persian gardens, such as surrounding walls, central fountains and doorways. They used concrete to turn these motifs into tactile 3D objects.

The duo has described the exhibition as “a material study on the carpet as an architectural space, as a place embodying narratives, rituals and craftsmanship”.

Each object in the exhibition is crafted from concrete mixed with pigments, stone, sand and cement. The contours of Persian rugs are subtly referenced and the designs elevate this utilitarian material into vibrant pieces of art.

Studio Ossidiana collaborated with prefabricated concrete manufacturer Hurks for the installation and they experimented with different casting techniques to achieve the final result.

‘Petrified Carpets’ explores the possibilities of concrete in both an artistic and architectural context and brings a whole new dimension to the classic Persian rug.

Collin Townsend Velkof’s Monoliitti.

Multidisciplinary artist and designer Collin Townsend Velkof has drawn inspiration from ancient monoliths, primitive cultures, and iconography for his latest collection, Monoliitti. The result is a unique range of vessels with spiritual undertones and an intriguing connection to religious aesthetics.

Based in Helsinki, where he is completing a Masters of Applied Arts and Furniture design, Townsend Velkof honed his skills at the Pratt Institute in Brooklyn and started out designing theatrical productions and sets on Broadway.

Monoliitti, the Finnish word for ‘monolith’, is a collection of blackened oak and hand-blown glass vessels that are unique in their form – they are also a long way from the bright lights of Broadway.

While the process is inspired by the iconography of multiple religious artefacts, there is a distinct absence of the rhetoric of any one religion. “These vessels convey spiritual undertones by exploring how aesthetics can influence perception,” explains Townsend Velkof.

Townsend Velkof says a crucial component of the design process is working with his hands and each piece in the Monoliitti collection is distinct from the other.

“The glass vessels are hand blown. They are coloured and textured with glass powder during the blowing process, providing an organic and subtle surface to each piece,” he explains.

The vessels are designed in a range of shapes and sizes, with the oak lids ranging from blocks of wood with carved holes, rounded crosses, and chalice-shaped semi-circles. The oak lids are also crafted to suit each individual vessel, so no two are the same.

This sense of uniqueness is a trademark of Townsend Velkof. It’s an impressive range that offers a one-of-a-kind picture of what’s to come from this talented artist.

Perspective sculptures by Dutch design studio OS ∆ OOS

If you’re ready for a new perspective on art and design, look no further than the Perspective sculptures by Dutch design studio OS ∆ OOS.

A collaboration between Design Academy Eindhoven graduates Oskar Peet and Sophie Mensen, OS ∆ OOS strives to find the balance between material and form and how these two elements relate to the surroundings and the user.

Perspective No. 1 and Perspective No. 2 aim to push the boundaries of light-filtering materials. Composed of foil, brass and polarized glass sheets, the sculptures morph in appearance depending on the angle of your view or the way in which moveable elements rotate.

“The two pieces play with each other to create an infinite number of possibilities,” explains Peet.

The Perspectives sculptures take cues from OS ∆ OOS’s syzygy lamps, which are inspired by the phases of a solar eclipse – light is adjusted by a subtle rotation of three light-filtering discs in front of the light source, which is mounted on a concrete base.

The studio’s Bipolar tables are also a source of inspiration. They are made of transparent geometric glass sheets that filter light. Each sheet appears darker or more transparent depending on which angle you’re looking from.

OS ∆ OOS’s objects invite a new perspective on the power of light and show that there are many different ways to look at a design.


Pettersen & Hein invite you HOME

A home has many functions – a physical shelter, a place of personal expression and a refuge from daily life outside. But what if a home’s function could be stripped away and its contents – such as chairs, tables and lights – became works of art rather than objects with a practical purpose?

This question has been posed by Danish design duo Pettersen & Hein in their latest exhibition, Home, at Etage Projects gallery in Copenhagen. Lea Hein and Magnus Pettersen are renowned for transforming everyday objects into beautiful sculptures and their Home exhibition plays with notions of what we call furniture.

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The exhibition features a floor of striking multi-coloured concrete tiles and a series of sculptural abstract forms. There are rough-cut concrete vases, conceptual side tables and polished steel chairs that reflect both the tiled floor and the other objects in the exhibition. “The floor becomes alive and the surrounding furniture becomes like people in your ‘home’,” the design duo explains of the mirrored pieces.

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Hein is a furniture designer and maker and Pettersen is an artist and a graduate from Royal Danish Academy of Fine Arts in Copenhagen who is recognised for his concrete sculptures. Despite their different backgrounds, their collaborations have garnered attention around the world. “When boundaries between design and art are effaced, potential for magic occurs,” they’ve said. “When working in the space between art and design you are free from restrictions, there are no rules. Having fewer limitations allows you to work experimentally.”

HOME pays homage to material, colour and form rather than functional use and presents a different perspective on the objects that reside between our four walls.

All Photography by  David Stjerneholm

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Alberto Bellamoli’s Collecta series

Italian industrial designer Alberto Bellamoli has fond memories of playing on the terrazzo floor of his grandparent’s house as a child. Now that he’s all grown up, he’s playing with this beautiful material in a whole new way.

Bellamoli grew up in a small village in the north of Italy where terrazzo has been produced for centuries. He has been based in Denmark since moving there to study at Kolding Design School but returned to his home village to experiment with terrazzo composition and design.

The result is his new Collecta series of furniture and objects, which he launched at this year’s IMM Cologne Furniture Fair.

Fibonacci Stone_Alberto Bellamoli's Collecta series_03

Featuring candleholders, bowls and coffee tables in two sizes, Collecta is characterised by large pieces of inlaid marble, which resemble polka dots. The series features two colour combinations – a white base with green marble spots and a dark grey with speckled with beige.

To produce the collection, Bellamoli worked alongside a terrazzo production team in Italy. He also produced a series of images with photographer Stefano Bellamoli to show the people behind the material and to highlight their skills. Another photographic project focuses on the terrazzo production process.

Bellamoli’s love of this beautiful, durable material shines through in his Collecta series. It’s another example of how terrazzo’s appeal is extending beyond flooring applications in new and striking ways.

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Aratani Fay

Detroit has been experiencing a design renaissance in recent years. The city that gave us General Motors and the Motown sound is now home to a rapidly growing design population, including the collaborative design studio Aratani Fay.

Formed by designer/makers Ayako Aratani and Evan Fay, the studio is known for its experimentation with expressive and irregular forms and materials.

Fibonacci Stone_Aratani Fay_05Aratani was born and raised in Japan while Fay is from Michigan. Two of their designs that have captured attention at recent design festivals include Aratani’s Click Clock series of wall clocks and Fay’s sculptural Lawless Chair.

The Click Clock wall clocks are crafted from porcelain. While their faces don’t have any digits, soft folds in the pastel-hued porcelain give a subtle hint of the time.

Fibonacci Stone_Aratani Fay_010Aratani, who holds a bachelor of engineering in product design and a master of fine arts in 3D design, has explained that her intention for the design was to “dissolve time-related worries by offering some room in time with this soft form and color.”

Fay’s Lawless Chair features a dark blue seat of intertwined foam ribbons, which are supported by an angular black metal frame. He describes the chair’s design as “a celebration of irregularity within a system, pursuing a more artful form that responds to the chaotic landscape within our structured society.”

Fibonacci Stone_Aratani Fay_07Another example of Aratani Fay’s experimental designs is the Button Up chair, which Arantani describes as “a big lovable monster in the room that can protect you from the outside busy world”. The chair’s outer shell is made of one thick piece of felt that unbuttons to reveal a soft, textural seat.

Fibonacci Stone_Aratani Fay_02We look forward to seeing what this experimental duo comes up with next. With Arantani Fay, it’s best to expect the unexpected.


Miami is known as the Magic City and this month proved even more enchanting as Design Miami/Art Basel brought together the most influential collectors, gallerists, designers, curators and critics from around the world.

Now in its 12th year, Design Miami is one of the most anticipated design events. Occurring alongside the Art Basel, exhibiting galleries present collectible designs – from 20th and 21st century furniture to lighting and design objects. The event also features collaborations with designers and design institutions, as well as panel discussions and lectures from some of the most influential talents in design, architecture, art and fashion.

Some of our favourite exhibitions from this year’s event include:


fibonacci-stone_design-miami-2016_fendi_02-copyFendi’s Happy Room

Anyone visiting Fendi’s exhibition this month were instantly filled with joy. Designed by Milan-based architect Cristina Celestino, Fendi’s ‘Happy Room’ referenced iconic mid-century silhouettes and colours. Materials such as brass, fur, velvet, marble and glass came together in unexpected ways and this roving VIP lounge succeeded boosting the spirits of everyone who entered.


fibonacci-stone_bespoke-loop-collection_michael-anastassiades_design-miami-2016_01-copyBespoke Loop collection from Michael Anastassiades

Launching his studio in 1994, the London-based designer creates objects that are minimal, utilitarian and full of vitality. His latest lighting collection, Bespoke Loop, was launched at this year’s Design Miami and is a series of pale green looping lamps. It’s also the first time Anastassiades has introduced colour to his lighting designs. His latest hoop-shaped brass lights maintain his minimalist aesthetic and feature a delicate frame with a spherical blub attached to the inner surface.

fibonacci-stone_design-miami-2016_victor-hunt-designart-dealer-and-kwangho-lee_02-copyVictor Hunt Designart Dealer and Kwangho Lee

The booth from Brussels-based Victor Hunt Designart Dealer was a showcase for the work of Seoul-based Korean designer, Kwangho Lee, who is celebrating the 10th anniversary of his design studio. Known for his furniture and lighting woven from garden hoses and electrical cables, Lee’s work has been exhibited at Paris’ Musée des Arts décoratifs and Bayerisches National Museum in Munich. The designs exhibited at Design Miami included his Skin Series, which incorporates cooked enameled copper, and his Moment of Eclipse series of marble stools and benches.

fibonacci-stone_design-miami-2016_gaetano-pesces-speaking-cabinets_01-copyGaetano Pesce’s speaking cabinets

New York gallery Salon 94 presented works by legendary Italian architect and designer Gaetano Pesce, titled ‘The Speaking Cabinets’, at the Setai Miami Beach hotel. It included new works, such as Pesce’s vivid tree vases, and large-scale cabinets made from wood and papier-mâché. The opening event attracted design luminaries such as architect Jean Nouvel and artist Chuck Close.



A series of scent-inspired sculptures by artist Zuza Mengham were like a breath of fresh air at this year’s London Design Festival.

Mengham was commissioned by London-based perfume-makers Laboratory Perfumes to represent five of their scents in physical form. The result is a sensory awakening in the form of sculpture, with five fascinating pieces in an exhibition called Sculpting Scent.

fibonacci-stone_laboratory-perfumes-zuza-mengham-design_002Boundaries are blurred through layers of resin in Mengham designs. She uses colour, angles and visual effects to present her interpretation of the composition of fragrances.

Working with Laboratory Perfume’s five scents — atlas, amber, gorse, samphire and tonka – Mengham resisted reading any descriptions of the fragrances, instead drawing her visual inspiration from their olfactory elements alone.

The result is seen so clearly in the finished designs: gorse is a yellow/orange creation that screams citrus. Atlas, with its notes of pipe tobacco, rum, vanilla and hay, is a rich vision with swirls of smoke floating through a deep orange and murky pink crystal.

fibonacci-stone_laboratory-perfumes-zuza-mengham-design_005Tonka looks good enough to eat, with a creamy white base peppered with black. It rises to a multi-coloured peak that could almost belong in an ice cream cone with its carefully constructed layers.

“After I matched them up with their descriptions, I made a series of drawings with watercolour overlays, building up the colours and patterns until I was happy they translated in a way that felt appropriate,” Mengham explains.



The Amber fragrance is a good example, with its fresh and grassy top notes moving into a rich woodiness. Mengham says she used a clear green tint with chalky marbling at the top for the lighter leafy notes before moving down to a richer green, then burnt red to highlight the deeper notes.

Just like Laboratory Perfume’s fragrances, Mengham’s sculptures are sure to leave a lasting impression.

Photography by Ilka & Franz