Posts Tagged ‘design’

Let’s turn up the Neues.

Here at Fibonacci Stone we take our inspiration from many things – art, architecture, travel, fashion, history, nature and, of course, Australia’s thriving design scene.  It’s our design intent to be responsive to the current market trends, but to also lead the way with more directional offerings, all backed up by Fibonacci Stone’s unparalleled quality in materials and manufacturing, and also importantly, availability.

Recently we’ve taken time to edit our range – we’ve refreshed a few of our classic designs, and added some stunning new ones (and, there’s more to come).  Fibonacci Stone, now more than ever, is committed to presenting a constantly evolving, fully curated mix of unique Australian designs.

Today, we’re introducing you to one of our most popular new ranges – meet the Fibonacci Stone Neues range.

Neues is where architecture and nature collide to create a distinctly robust, unapologetic homage to the hard-edged beauty of Brutalist forms.  Intense but never overpowering, the Neues range plays on light on shade, each with a faint warmth to be found within its base.   Fibonacci Stone’s founder and creative director Michael Karakolis, describes the Neues range as having been “developed with the driving intent to create the perfect hard surface stone for main floor areas.  We’ve found that it creates an incredibly versatile base palette for lighter or more moody schemes, as the subtle colouring of greys set within a contrasting warm base provide a light appearance overall, but it also provide the best performance characteristics of a darker floor.”

“We’ve designed the Neues range with variations in the aggregate size, from a traditional terrazzo look right down to very refined superfine blend, so the designer may control the impact of the tile in the overall design – and the floor texture can be scaled up or down, according to the project,” says Michael. “They can also be used together  – it’s not incredibly noticeable when viewed en masse, but on closer inspection a beautiful new layer of interest will emerge.”

Please take a look below at the five Neues family members. Oh, and in case your German is a little rusty… or you might have had a bit too much fun in between the museum visits in Berlin…it’s pronounced ‘Noyss’ (as in, different, unusual!)

Fibonacci Neues Grey

Fibonacci Neues

Neues Grey

Inspired by mid C19th Brutalist forms, Neues Grey is raw in its aesthetic, with large, increasingly rugged chips of marble and rock set within a neutral grey concrete base.  Its robust appearance still exhibits a very high-level uniformity and consistency en masse.

 

Fibonacci Neues Grey Fine

Neues Grey – Fine

Inspired by mid C19th Brutalist forms, Neues Grey (Fine) is a striking terrazzo that at first glance appears to be quite monochromatic.

Closer inspection reveals a refined blend of marble and rock within a warm concrete base that presents a high level of uniformity and consistency.

 

Fibonacci Hardware

Fibonacci Hardware

Hardware

Intense, splintered shards form a complex, uncompromising and unconventional terrazzo, inspired by the hard edges and shadows of Brutalist architecture. Gunmetal to mid-strength greys are peppered with occasional amber and olive rock chips, tempering its appearance with a faint warmth.

 

Fibonacci Khaki Jam

Fibonacci Khaki Jam

Khaki Jam

Khaki Jam

A homage to natural landscapes of muted greens, browns, rusts and greys, Khaki Jam, in its versatility, has the ability to mimic the act of camouflage. Brilliant for blending into a subtle room scheme, it can also appear with strength as a stand-alone feature.

Set within an earthy bone-hued cement base, the mixture of mostly warm shards and stones are given freshness by cool khakis, pale olive and laurel.

 

Fibonacci Eventide

Fibonacci Eventide

Eventide

Like the moments between day and night, when the light ebbs and flows, Eventide has the ability to appear either warm or cool. Almost fossil-like in appearance, mixed amongst the small grey shapes and base are handsome flecks of warm orange, amber and olive green.

Eventide combines the strength of appearance of a bluestone, with the complexity of a stunning terrazzo.

 

Photography by Haydn Cattach

Styling and Art Direction by Bek Sheppard

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.

Fernando Mastrangelo’s Drift Collection

Brooklyn-based artist Fernando Mastrangelo has unveiled the next additions to his ‘Drift’ collection with a range of glaciers and natural earth formations masquerading as furniture.

Mastrangelo uses materials such as salt, coffee, sand, glass and cement to cast strikingly sculptural objects. His Drift collection began with a not-so-humble bench made of sand and cement, which was exhibited during New York Design week and Collective Design Fair last year.

Now, further inspired by trips to Patagonia and the Grand Canyon, the collection has grown to include a sofa that is both ravishing and rugged in appearance. Like the Drift bench, it is made from sand and cement but is upholstered in luxurious velvet. It is joined by a coffee table also cast from sand and cement and ‘petra’ side tables in blue and pink. There is also a series of mirrors featuring a combination of stratified sand and steely glass.

The Patagonian landscape has inspired the subtle colour palette and Mastrangelo uses hand-dyed sand to reflect its ice-blue glaciers. The artist combines refined and polished elements with an unpredictable rugged surface to represent natural elements. The works are intriguingly contradictory – both raw and refined, durable and delicate, formal and functional.

The influence of the Grand Canyon is seen in the sand, which is cast in layers to create a delicate ombre effect. It recalls layers of earth and strata as the colours gradually blend from one hue to the next.

All designs in the Drift collection is handcrafted by Mastrangelo in his Brooklyn studio and are produced in very limited quantities. Each one represents an earthy inspiration.

Coexist Collection by Slash Objects

Marble, brass, concrete and industrial rubber form unexpected yet perfect combinations in the designs of Brooklyn-based studio Slash O­­­bjects. Motivated by a belief that there is harmony in difference, the studio mixes materials to create a bold sense of balance.

Slash Objects was launched in 2016 by multidisciplinary design firm Slash Projects, which works across architecture, product design, digital, web, and apps. The spin-off brand provides an opportunity for founder Arielle Assouline-Lichten to explore materials and form and Slash Objects was listed among Sight Unseen’s 2016 American Design Hotlist.

Its Coexist collection of furniture and object mixes brass, marble, concrete, ceramic and industrial rubber to create striking geometric forms. It includes a coffee table made from a slab of white venato marble that appears to balance on two brass cubes. The Askew side table features a cube of green marble that cantilevers off a brass cube base and the Slash standing mirror is a full-length design framed in brass that slots into a marble prism base.

“I love playing with materials and pushing their material boundaries,” Assouline-Lichten has said. “I also think that you can achieve a sense of harmony with a balance of difference – that you need a bit of foreignness in order to create something imperfectly whole.”

Slash Objects’ Coexist collection was recently shown at NYCxDesign. Assouline-Lichten also presented other designs during the event, such as a series of cylindrical stools made of concrete and brass and homeware designs, including coasters and placemats.

The studio will also be will be exhibiting at this year’s London Design Fair from 14-21 September. It’s sure to achieve a perfect sense of balance.

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.

Usable Sculptures by Anna Karlin

­­New York-based multidisciplinary designer Anna Karlin describes her furniture and lighting creations as ‘usable sculptures’.

Karlin worked as an art director in London before moving to New York in 2010. Her talents stretch from cosmetics packaging to jewellery and set design, but it’s her furniture and lighting that has captured the greatest attention.

Karlin’s sculptural designs share a simple material palette of wood, brass, glass and ceramic. Her output includes sculptural pendant lights, such as the Trio Spear Pendant Light, which features three lights balanced by a satin black cone light source at one end and a hand-blown white glass orb on the other.

Her Curved Chaise design is made from solid steel that carefully bent into a perfect reclining angle with elegant bolsters for cushioning. Karlin’s Chess Piece stools and armchairs, made from wood and brass, are sculptural designs shaped just as their name suggests.

“I want my work to act as sculptures in a room,” Karlin has said. “They don’t seek to dominate but should be a pleasant surprise or an unexpected element in an eclectic tableau, however clean or complex that might be.”

Karlin’s ability to work across so many mediums presents endless design possibilities.

“The studio has become this amazing bubble where we can produce what we want when we want,” Karlin has said. “There’s not one thing we don’t know how to make or get made.”

We look forward to seeing what’s next.

SET Collection by Ania Jaworska

­­Everyday furniture items take on a surreal edge in the latest collection from Chicago-based architect Ania Jaworska.

Exhibited at Chicago’s Volume Gal­­­­lery, the SET collection features eight items that resemble each other in colour, texture and scale but their form is exaggerated beyond normal domestic proportions.

Jaworska grew up in Poland and studied architecture at the Cracow University of Technology. She is currently a clinical assistant professor at the University of Illinois’ School of Architecture. Her designs explore the connection between art and architecture and her work has been widely exhibited.

Made from materials such as wooden pegs, plywood tubes and molded fiberglass, the bulbous shape and overstated form of each item in the SET collection challenges the typical use of furniture.

The dining table has exaggerated legs and is thinner than average, which forces diners to sit more closely together. The coffee table is topped with cylindrical posts that resemble its own legs, but it remains functional for resting drinks or books.

Fabrication of each piece in the SET collection was a labour of love. “While I fabricated most of the pieces myself with the help of my student assistants, the lacquer was done by a small refinishing shop outside of Chicago,” explains Jaworska.

“Because of the cylindrical parts and the nature of the forms, all of the pieces were lacquered prior to assembly. In addition, all of the connections/hardware are not visible, which required a great deal of planning and engineering.”

Jaworska’s SET collection of furniture is larger than life and presents a bold re-imagining of everyday domestic items.

Terrazzo Furniture by Carly Jo Morgan

Terrazzo takes on a spiritual edge in the latest Terrazzo Furniture designs from LA-based artist Carly Jo Morgan.

This ambitious new collection of terrazzo furniture and lighting reflects Morgan’s interest in human evolution, growth and transition. It also highlights the unlimited potential of this timeless material.

Morgan’s list of talents includes jewellery and wallpaper design and she regularly collaborates with her husband, Matthew, on their furniture design label, Made by the Morgans.

Her latest collection of sculptural terrazzo furniture was exhibited earlier this year as part of her first solo show, Transmutation, at Not So General gallery and showroom in Hollywood.

The artist’s choice of terrazzo is based on the way this beautiful material is created. Marble chips are combined with concrete to form terrazzo, which is ground down and polished to create an elegant and timeless material. Morgan describes the process as a transformation.

Morgan’s designs are inlaid with brass and resin symbols such as hands, moons and snakes. “I like to be reminded of snake medicine as much as possible,” Morgan has said, “because it emphasizes that we can transmute all poisons and shed the skins of the past.”

The Transmutation collection of terrazzo designs includes the Yin Yang Tables, which feature twin surfaces in pink and black with a brass inlay, the pink Serpentine Heart Song lamp and the Cozy Club Chair, which is available with a soft sheepskin cushion.

Terrazzo is given new life in the hands of Carly Jo Morgan and her Transmutation collection shows how this timeless material continues to evolve.

 

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.

   

Corvi Wine and Champagne Coolers

Glasses are being raised around the globe in celebration of a sophisticated wine cooler that sees modern art matched with functionality.

The Corvi Wine and Champagne Coolers are a striking range of handcrafted concrete vessels that use an advanced casting method to maximise the strength and mass of concrete in a contemporary and slender form.

Designed by Argentinian-based Francisco Corvi for IntoConcrete, the concrete coolers are surprisingly lightweight. They are available in a range of colours, such as Arctic White and Graphite grey, and can be stacked on top of each other so you can create your own modern masterpiece in the form of a wine rack. This makes it hard to stop at just one.

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The inspiration for the stackable nature came at an early age for the designer, who says, “Every toy I had as a child was disassembled and assembled again using other things. This curiosity was my first design influence.”

After being placed in the freezer, the coolers remain chilled for many hours due to their mass and add a sleek elegance to any social gathering. Clean, sharp planes give them a jewel-like quality and their smooth surface is minimalist and edgy.

The rule of thumb is to serve white wine at 7-12˚C and concrete is the ideal material for maintaining the ideal temperate. We’ll drink to that!

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