THE HUMAN TOUCH

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THE HUMAN TOUCH
Path by Nendo - Photo courtesy of Kenichi Sonehara.

Resembling a delicate wave frozen in time, Nendo’s “PATH” collection of low tables juxtaposes curved and linear elements. The base, a vertical curve rendered in glass, supports the linear form of the precise glass top. Further highlighting the undulating nature of the tables, the top edges of the curved glass panels are printed black, resembling a path. When numerous tables are positioned side-by-side, the path extends indefinitely.

THE HUMAN TOUCH
Ando Time designed by Tadao Ando / Courtesy of Venini

Unique piece “ Ando Time,” 2015 Murano glass, sand.21 1/4 x 5 3/8 in. (54 x 13.7 cm)

Produced and donated by Venini (Murano)

“The real importance of architecture is its ability to move people’s hearts deeply. I am always trying to establish spaces where people can gather and interact with one another."

Architecture is defined through space and time. Perhaps, metaphorically, an hourglass can denote architecture. “Ando Time,” a unique piece designed by prolific Japanese architect Tadao Ando for Venini, is formed of two pieces: a revolved glass prism with a triangular base (external) and a glass cylinder comprising two parts in different colors (internal).The sculptural object’s parts are connected by a titanium component that lets the sand pass through. Appearing simple in design, the precise form features sharp edges and planes curved in torsion. This work contains the sense of passing time but also of interchangeability between top and bottom, as the hourglass works by being turned upside down again and again.

THE HUMAN TOUCH
Born Broken Vase designed by Jakub Berdych / Courtesy of Lasvit

Prototype "Born Broken," 2016 Hand-blown glass.13 x 23/8 in. (33 x 6 cm)
Produced and donated by Lasvit (Czech Republic)

"I wanted to break my glass away from the boring everyday process of glass making, when one can tell easily how the final product will look... I wanted to experiment, to make something new and different. I wanted my glass art to surprise me."

In "Born Broken," Jakub Berdych employs an error as a design concept. Inspired by the craft itself, this prototype reminds us of the otherwise unseen aspect of glass production—its errors. What would normally be considered an irreparable mistake caused by a clumsy glassblower purposefully becomes the center of attention and a technical challenge. Each hand-blown shape is broken into several segments, and their edges are additionally hammered to create a pattern visually akin to cutting. The individual pieces are reheated and joined into one unit, creating a safe and compact surface but retaining their intriguing random patterns.

THE HUMAN TOUCH
Blossom designed by Tord Boontje / Courtesy of Swarovski

"Blossom," originally designed in 2002, produced 2008–10
Powder coated steel, clear crystal, crystal AB coating. 39 3/8 x 31 3/8x 13 in. (100 x 79.7 x 33 cm)
Produced by Swarovski. Donated by Nadja Swarovski.

"Looking at crystal I recognize the floral shapes within the material. I like the idea of bringing more emotional qualities to the crystal. I thought of blossom branches for my chandelier design, and the crystal evokes these very well."

Tord Boontje is renowned for taking inspiration from handicrafts and folk traditions and combining them with technology. "Blossom," designed by Boontje for Swarovski Crystal Palace, is a delicate chandelier of twisted, bejeweled blossom branches, a unique and captivating interpretation of nature. Working with his distinctive signature of fluid forms, Boontje presents a piece inspired by frozen cherry blossom, which fizzes with luminescent flowers, petals, buds, and starbursts. Swarovski Crystal Palace began in 2002 as a mission to recreate the chandelier for the twenty-first century, and the exquisite "Blossom" was part of the inaugural collection. It was later produced in several variations, including this version, restored in 2016, which is designed to be spot-lit.

THE HUMAN TOUCH
Candy Collection Sphere Chandelier 2016 designed by the Campana Brothers / Courtesy of Lasvit

Hand-blown glass, polished brass. 421/2 in. (108 cm) diameter, Produced and donated by Lasvit (Czech Republic)

"We are happy to be part of the Kassamalis' Love series again, as we are very enthusiastic about being part of enterprises that aim at helping people when we have the possibility. It has become a political statement of the studio and also ours as designers."

Building on the colorful universe of the Campana Brothers' "Sushi series", Sphere Chandelier was inspired by the multi-hued candies found in Brazilian markets. Made using traditional glass-blowing techniques at Lasvit's production facility in Lindava, streaks of color are formed within the milky white translucent shades, which are gathered into a dramatic spherical chandelier. The flair, color, and sheer inventiveness of Brazilian design is embodied in the work of the Campana Brothers, whose designs are imbued with a zest for life.

THE HUMAN TOUCH
Layers B-Cold Colors designed by Nendo / Courtesy of Glas Italia

Prototype “Layers B-Cold Colors”, 2015 Glass. 48 1/2 x 55 1/4 x 19 3/4 in. (123.2 x 140.3 x 50.2 cm)
Produced and donated by Glas Italia (Milan)

"I'm trying to think about things that are in between things. It’s like when you’re looking at the stars, everybody is looking at the stars, and they think: "That's so beautiful." But what I'm trying to see is the darkness, the sky that is making the stars look nice, so I'm trying to design the sky itself, the darkness. And then by looking into what is in between, I’m able to find something that is slightly different; new ideas, very small ideas, but something very interesting. I have been working with Glas Italia for the past three years, and it was about experimenting using sheet glass. I noticed that the company had a lot of interesting techniques, and we started mixing those different techniques and trying to experiment with what I could do through sheet glass. So I ended up with nine different collections for Nendo Works 2014–2015." —Oki Sato

Nendo was established in 2002 out of the desire to experiment without constraint with new techniques and forms. The studio has received international acclaim for its compelling work in architecture, interiors, furniture, products, events, and graphics.

"Layers A-Cold Colors" and "Layers B-Cold Colors" push the limits of technical manipulation of color, cut, and adhesion in glass. Featuring multiple hanging glass panels in the front, middle, and back, the layering of the translucent material produces a constantly changing chromatic experience. The technique to produce the panels consists of inserting colored film between two sheets of glass and applying heat to bond them together. While a wide range of hues can be expressed through layering several color films, the process involved much trial and error as the heat and sequence of layering changes the color tones.

THE HUMAN TOUCH
Unique "Vase" designed by Marcel Wanders / Courtesy of Marcel Wanders

Glass and gold leaf.14 x 43/4 in. (35.6 x 12.1 cm) Donated by Marcel Wanders.

"It was a wonderful idea to create a technology for enhancing the surface of a simple glass or crystal vase in such an extraordinary way. After seeing the results, we decided to do another test, and another, and another. Ultimately, and maybe a bit randomly...we chose to follow another path in agreement with the client. They say projects get killed this way. But I can assure you that if you listen to this vase, you will hear that she is not dead. By listening with an imaginative spirit, you will feel a sensation that she is in her early pregnancy phase."

An early prototype of a simple idea, Marcel Wanders' vase with flowers in gold leaf captures the Dutch designer's playful sense of storytelling through design. The genesis for this product was the goal of printing real silver or gold on glass. After multiple tests and development to create a technology for enhancing the surface of a simple glass or crystal vase with an extraordinary material, the project was abandoned. Characteristic of Wanders' unique emphasis on the design process, the designer compared the results with other design proposals and ultimately chose to go in a different direction for the client. Although the vase was never realized in production, this highly collectable object gives a peek into the designer's process and radiates a sense of imaginative spirit.

THE HUMAN TOUCH
Prism Partitions grouped designed by Tokujin Yoshioka / Courtesy of Glas Italia

Prototype “Prism Partition 1", 2016 Glass. 47 x 71 x 16 in. (119.4 x 180.3 x 40.6 cm)
Prototype “Prism Partition 2", 2016 Glass.53 x 173/4 x 59 in. (134.6 x 45.1 x 149.9 cm)
Produced by Glas Italia (Milan). Donated by Luminaire

"The architecture of the future will be founded in an 'experience' born out of heightened human sensation and time."

Undulating vertical surfaces of high-transparency mirror glass refract light to create startling expressions and reflections in Tokujin Yoshioka's "Prism Partition 1" and "Prism Partition 2". Transforming the surrounding space into a distorted mirage, the partition is especially stunning in a natural setting where plants and greenery are reflected upward to create a harmonious gradient between land and sky. Making its debut in Milan in 2016, the design plays on more than just the objects' reflective properties; the individual's conscious perception of space is also a factor. The work of the Japanese designer is characterized by an extraordinary attentiveness to detail and the development of an exploratory process unique to him. Yoshioka has gained wide recognition throughout the world for his installations that create ethereal experiences with the viewer. His original use of materials and methodology have resulted in exceptional forms and several iconic designs, such as the "Honey-pop" chair, a chair made of honeycomb paper, precursor to the "Tokyo-pop" series in polypropylene.

luminaire

REDESIGNING THE COURSE OF CANCER

ACCLAIMED INTERNATIONAL DESIGNERS AND MANUFACTURERS DONATE GLASS OBJECTS FOR LUMINAIRE’S FOURTH “LOVE” AUCTION TO BENEFIT THE BRAMAN FAMILY BREAST CANCER INSTITUTE AT SYLVESTER COMPREHENSIVE CANCER CENTER IN MIAMI

“Glass is characterized by the duality of its strong yet fragile nature. Poetically and metaphorically, glass reflects the spirit of those battling cancer, and therefore, it is the material of choice for the fourth edition of Luminaire’s “Love” fundraising auctions to benefit cancer research. Driven by their desire to give back and help find a cure, Luminaire founders Nasir and Nargis Kassamali are hosting GlasLove. This year’s design auction coincides with Breast Cancer Awareness Month and reinforces the multiple roles design can play as a problem-solving endeavor. Phillips, the international auction house, has partnered with Luminaire to sponsor and conduct the online auctions, with one-of-a-kind, limited edition and prototype works.

Cancer is a disease that touches almost every family. It can destroy, yet ironically, it also can also serve as a new lens onto the world. The illness tests the strength, resilience, and character of both patients and their families. Helping find a cure for this tragic disease is what propelled the company to spearhead successful fundraising series.”

As a vanguard to bringing exclusive European contemporary design to the United States, Luminaire’s testament to humane design is the tireless commitment in helping transform lives. The impact of the company’s mission has led to the outreach of luminaries throughout the art, fashion and design community.

SUPPORT the initiative – SHARE the love – SPREAD the word
Bid your way to the SOLUTION

100 percent of the proceeds from the auctions benefit the Braman Family Breast Cancer Institute at Sylvester.
To register for the online auction and preview beautiful works, visit: www.phillips.com/glaslove
Don’t miss out, running through October 11, 2016

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