This month’s issue is devoted to ‘Airports’, from Studio Fuksas’s vast terminal in Shenzhen, to Pereira & Luckman, inventors of jet-age modernism and designers of LAX. We also look at how Hella Jongerius and FutureBrand, among others, have created national identities at 30,000ft up in the air. Plus the latest products and furniture from Scandinavia in this month's design report.
|Vitra, Hella Jongerius|
A tiny fluorescent notch attracts us to Hella Jongerius’ Rotterdam Chair. But far from decorative, the notch fills a cut in the plywood seat that stops the chair from splitting during the moulding process – when the seat is bent in several different directions simultaneously. The back and rear legs are solid wood, and the gliders are fluorescent, but the chair has a simple aesthetic despite the curious patchwork of materials.
|Classicon, Konstantin Grcic|
It might look as clean and simple as a Helvetica “e”, but as with most of Grcic’s work, there is a complicated story to his two-piece Kanu chair. Due to the number of bends and contours inflicted on the plywood – needed to make the chair as comfortable as it is – two moulds were made; one for the seat, and one for the semi-circular back.
|Cappellini, Adam Goodrum|
Cappellini had a better show this year than the last two, presenting new pieces by Nendo, Barber Osgerby and Stephen Burks. Our favourite piece was by Sydney-based designer Adam Goodrum – obscure on this side of the world but known in Australia for a mass-produced peg. The technicolour Stitch chair is made of hinged aluminium, and folds down to a flat sheet. We love the zebra-like hinges.
|More chairs tomorrow...|