Satellite shows and exhibitions overall were smaller for NYCxDesign 2023. Speaking with some independent show organizers, their responses echoed a similar issue. Just finding a space in NYC to stage is really hard. The real estate industry and landlords seem quite proud of all the empty storefronts they’ve been able to create and maintain across the city.
Here’s an assembled a collection of favorite visits I made during the week. These include an exhibition of commissioned knockoffs at Colony, a technology showcase from Sony and Stellar Works, and an exhibition of antique and contemporary ad-hoc furniture in a former Chinatown medical building.
Isle – Zoë Mowat at Lambert & Fils
NYC-based designer Zoë Mowat debuted the Isle Collection, a modular pendant lighting line for Lambert & Fils. Isle is a suspended light bar supported by a mix of metal and stone blocks. When viewed from a distance, the fixtures appear to magically float in the air. Zoë also snuck a prototype floor speaker in to the show. The adjustable design has a rounded bottom to the cabinet that fits in a metal stand.
Umbra Mirror Installation
Might Delete – American Design Club
Canal Street Market hosted American Design Club’s group show, Might Delete. Designers, artists and makers exhibited reflective pieces with the aim of encouraging visitors to take a self portrait. The title of the show proposes a grading system based on photos that get shared or those that might get deleted. The work in the show ran the gamut from mirrors incorporating hand-made textiles to up-cycled styrofoam packing.
Chrome Manifold I (after Terje Ekstrom) Erickson Aesthetics 31.5"W × 33.5"D x 34.5"I Sewer pipe, Chrome Mirror Enamel Created as a parody of the neotenic FAT furniture trend, Chrome Manifold I (after Terje Ekstrøm) is a ‘luxury piece’ constructed from sewer pipe and finished in chrome mirror enamel. Erickson Aesthetics references the iconic Ekstremchair, designed in 1984 by Norwegian designer Terje Ekstrøm, which challenged the ideals of Scandinavian design at the time and is still in production today.
Chrome Manifold I (after Terje Ekstrom) Erickson Aesthetics 31.5"W × 33.5"D x 34.5"I Sewer pipe, Chrome mirror enamel Created as a parody of the neotenic FAT furniture trend, Chrome Manifold I (after Terje Ekstrøm) is a ‘luxury piece’ constructed from sewer pipe and finished in chrome mirror enamel. Erickson Aesthetics references the iconic Ekstremchair, designed in 1984 by Norwegian designer Terje Ekstrøm, which challenged the ideals of Scandinavian design at the time and is still in production today.
Chrome Manifold I (after Terje Ekstrom) Erickson Aesthetics 31.5"W × 33.5"D x 34.5"I Sewer pipe, Chrome mirror enamel Created as a parody of the neotenic FAT furniture trend, Chrome Manifold I (after Terje Ekstrøm) is a ‘luxury piece’ constructed from sewer pipe and finished in chrome mirror enamel. Erickson Aesthetics references the iconic Ekstremchair, designed in 1984 by Norwegian designer Terje Ekstrøm, which challenged the ideals of Scandinavian design at the time and is still in production today.
Chrome Manifold I (after Terje Ekstrom) Erickson Aesthetics 31.5"W × 33.5"D x 34.5"I Sewer pipe, Chrome mirror enamel Created as a parody of the neotenic FAT furniture trend, Chrome Manifold I (after Terje Ekstrøm) is a ‘luxury piece’ constructed from sewer pipe and finished in chrome mirror enamel. Erickson Aesthetics references the iconic Ekstremchair, designed in 1984 by Norwegian designer Terje Ekstrøm, which challenged the ideals of Scandinavian design at the time and is still in production today.
Slanted Armchair No.1, A Space 41"L x 30"W x 27"H Indian Onyx, fabricated by Edco Stone Inspired by the minimalist aesthetic of Donald Judd and the angular, interlocking planes of Hérve Baley’s architectural furniture, Slanted Armchair No. 1 is a study in simplicity and materiality. Cut from a single sheet of Indian onyx, the chair’s sharp angles accentuate the beauty of the natural material and its cool tones of gray and green. Though straightforward at first glance, the architectural form plays with asymmetry to give the chair a slightly off-kilter effect. In some instances, the subtle asymmetries create new ways of interacting with and using the chair.
Slanted Armchair No.1, A Space 41"L x 30"W x 27"H Indian Onyx, fabricated by Edco Stone Inspired by the minimalist aesthetic of Donald Judd and the angular, interlocking planes of Hérve Baley’s architectural furniture, Slanted Armchair No. 1 is a study in simplicity and materiality. Cut from a single sheet of Indian onyx, the chair’s sharp angles accentuate the beauty of the natural material and its cool tones of gray and green. Though straightforward at first glance, the architectural form plays with asymmetry to give the chair a slightly off-kilter effect. In some instances, the subtle asymmetries create new ways of interacting with and using the chair.
Boe Bebop Lounge Studio Paolo Ferrari x Hiroko Takeda 36"W × 36"H White washed white oak, Cotton The Boe Bebop Lounge, Studio Paolo Ferrari’s newest collaboration with textile artist Hiroko Takeda, is an extension of the duo’s creative journey as collaborators. Studio Paolo Ferrari takes inspiration from the collaborations between architect Pierre Chareau and textile artist Jean Lucrat and the resulting body of unexpectedly lyrical and beautifully eccentric work that blurs the lines between functionalism and artistry. In early discussions between Ferrari and Takeda, the designers considered expressing textile as structure, with their concept evolving into an exploration of the painterly, inspired by the work of Milton Avery.
Boe Bebop Lounge Studio Paolo Ferrari x Hiroko Takeda 36"W × 36"H White washed white oak, Cotton The Boe Bebop Lounge, Studio Paolo Ferrari’s newest collaboration with textile artist Hiroko Takeda, is an extension of the duo’s creative journey as collaborators. Studio Paolo Ferrari takes inspiration from the collaborations between architect Pierre Chareau and textile artist Jean Lucrat and the resulting body of unexpectedly lyrical and beautifully eccentric work that blurs the lines between functionalism and artistry. In early discussions between Ferrari and Takeda, the designers considered expressing textile as structure, with their concept evolving into an exploration of the painterly, inspired by the work of Milton Avery.
Bend/Arc Desk KWH Furniture 60"L × 27"W × 30"H White oak, Brass, Leather The Bend/Arc Desk by KWH Furniture finds inspiration in an unlikely source, a trash can. Kai-wei Hsu came upon this particular trash can, made by Bottega Ghianda and designed by Emanuela Frattini Magnussion, back in 2016. Made up of multiple bent laminate verticals joined together at the corners for strength, each spoke of the Bend/Arc Desk is a singular component in its complex form.
Bend/Arc Desk KWH Furniture 60"L × 27"W × 30"H White oak, Brass, Leather The Bend/Arc Desk by KWH Furniture finds inspiration in an unlikely source, a trash can. Kai-wei Hsu came upon this particular trash can, made by Bottega Ghianda and designed by Emanuela Frattini Magnussion, back in 2016. Made up of multiple bent laminate verticals joined together at the corners for strength, each spoke of the Bend/Arc Desk is a singular component in its complex form.
River, Hiroko Takeda (2) 49"L x 25.5"W x 2.25"D Cotton, Linen, Monofilament, Mohair Hiroko Takeda drew inspiration from the Japanese technique of boro, a practice of reworking and repairing textiles through piercing, patching and stitching for her diptych River. For this new work, Takeda improvised with various weave structures to create rhythm, movement and depth. A fine plaid pattern and line drawing in the textile’s ground morphs into irregular organic-shaped motifs of various dimensions and textures. Showing alongside River is the piece’s inspiration source, a collection of textiles gifted by Takeda’s friend Stephen Szczepanek at Sri Threads, a textile showroom specializing in antique Japanese folk textiles.
River, Hiroko Takeda (2) 49"L x 25.5"W x 2.25"D Cotton, Linen, Monofilament, Mohair Hiroko Takeda drew inspiration from the Japanese technique of boro, a practice of reworking and repairing textiles through piercing, patching and stitching for her diptych River. For this new work, Takeda improvised with various weave structures to create rhythm, movement and depth. A fine plaid pattern and line drawing in the textile’s ground morphs into irregular organic-shaped motifs of various dimensions and textures. Showing alongside River is the piece’s inspiration source, a collection of textiles gifted by Takeda’s friend Stephen Szczepanek at Sri Threads, a textile showroom specializing in antique Japanese folk textiles.
Quilted Mirrors, Scheibe Design (2) 36"W x 36"H Vintage quilts, Ash, Mirror The final form of Scheibe Design’s Quilted Mirrors was informed by multiple points of seemingly disparate inspiration. Both Donald Judd’s use of simple shapes and color combinations influenced the mirror’s composition as Judd remains a foundational inspiration for Nate Scheibe. It was Sanford Bigger’s exhibition “Codeswitch,” where the artist added layers of code to 1800’s quilts through mark-making, painting, cutting, collaging and reconstruction, where Scheibe was inspired by the medium of vintage quilts, a textile with roots in his own familial history.
To Disappear into the Trees, Sarah Sherman Samuel 6"W x 6"H per piece Plaster, Oak, Pine Sarah Sherman Samuel’s sculpture, To Disappear into the Trees, draws from Charlotte Perriand’s CP1 sconces. Inspired both by the modularity of these sconces and by how Perriand’s lighting is used as an architectural element in an interior space, Samuel worked with plaster and wood to address these themes in her own work of art. Each piece can be viewed singularly but is shown grouped together as a larger installation. Similar to a CP1 sconce disappearing into the hard architectural lines of its surrounding, Samuel’s pieces are meant to do the same, but with the backdrop being that of the natural world rather than Perriand’s industrial settings.
Lindsey Adams, Bec Brittain 69"L x 46"W x 56"H Oil rubbed bronze, Hand-painted ivory globes Lindsey Adams takes inspiration from Lindsey Adelman’s Branching Bubble, a ubiquitous design that has a personal link for Bec Brittain who left Adelman’s studio to form her solo practice twelve years ago. Named after Lindsey’s maiden name “Adams”, the piece exhibited is just as much a knockoff as it is an homage to Brittain’s past and early career in the lighting industry. Alongside Branching Bubble, Brittain also drew from a project she began back in 2013, where she created freeform shapes with lines of SHY bulbs.
Lindsey Adams, Bec Brittain 69"L x 46"W x 56"H Oil rubbed bronze, Hand-painted ivory globes Lindsey Adams takes inspiration from Lindsey Adelman’s Branching Bubble, a ubiquitous design that has a personal link for Bec Brittain who left Adelman’s studio to form her solo practice twelve years ago. Named after Lindsey’s maiden name “Adams”, the piece exhibited is just as much a knockoff as it is an homage to Brittain’s past and early career in the lighting industry. Alongside Branching Bubble, Brittain also drew from a project she began back in 2013, where she created freeform shapes with lines of SHY bulbs.
Off-Grid Credenza, Grain 72"L x 20.5"W x 30"H FSC certified solid American ash Grain’s Off Grid Credenza takes inspiration from the distinctive checkerboard pattern and functional pivot hinge of a Door for an Inner Room made in the late 19th century by an unnamed Baule artist in what is now the Ivory Coast. Found within the pages of African Art in the Barnes Foundation, it was not the beautifully carved bird, crocodile and mask motifs on the front of the door that drew designers Chelsea and James Minola in, but instead the tactility of the imperfect check pattern on the door’s rear. With the check pattern originating as far back as 10,000 BC as a by-product of the textile weaving process, the Off-Grid Credenza shows reverence for its rich history and inspiration while still creating a functional piece of furniture for contemporary interiors.
Off-Grid Credenza, Grain 72"L x 20.5"W x 30"H FSC certified solid American ash Grain’s Off Grid Credenza takes inspiration from the distinctive checkerboard pattern and functional pivot hinge of a Door for an Inner Room made in the late 19th century by an unnamed Baule artist in what is now the Ivory Coast. Found within the pages of African Art in the Barnes Foundation, it was not the beautifully carved bird, crocodile and mask motifs on the front of the door that drew designers Chelsea and James Minola in, but instead the tactility of the imperfect check pattern on the door’s rear. With the check pattern originating as far back as 10,000 BC as a by-product of the textile weaving process, the Off-Grid Credenza shows reverence for its rich history and inspiration while still creating a functional piece of furniture for contemporary interiors.
The Knockoff Show – Colony
The Knockoff Show at Colony is a response to the work of independent designers being replicated by large manufacturers, retailers and the hospitality industry without permission or compensation. Participating designer were tasked with creating pieces that referenced a well known historical design object. Chrome Manifold I (after Terje Ekstrom) Erickson Aesthetics is the most blatant replication of the show, reinterpreting the Ekstremchair designed in 1984 as a copy made of painted plastic drain pipe. Applause to Colony for dedicating showroom space to focus on this issue in a creative way. It’s certainly relevant considering the growing tension between AI and creator rights adding another facet to the complexity of protecting design originality.
Heller
Heller staged a unique event to launch several new products at their gallery space in Chelsea. Inside the space were a series of mirrored monoliths with the chairs displayed in-between. Standing just to the side offered an infinity view of the pieces. A simple yet pretty cool visual presentation. The new USA-made seating includes Bluff chair by Hlynur Atlason, it’s made of a recycled plastic polyethylene blend but has a fired clay appearance. The Limbo chair, also by Atlason is a three legged lounger with a wrap-around back. Finally the newest is the multi-functional wall rack Swell by Anna Dawson who exhibited the prototype at WantedDesign Manhattan in 2022.
Stay Dream – Stellar Works + Sony
Japanese brands Stellar Works and Sony teamed up to create the most forward looking and sensory exhibition of NYCxDesign. Stay Dream featured seven different combinations of furniture design and technology that previews potential ways living spaces might change in the future. Each of the areas demonstrated new ways we might interact with sound and light.
Beyond Wallpaper used digital projection to augment a Calico wall covering with two landscape schemes. The display could be changed by flipping an hourglass and elements like the moon could be moved with the wave of a coffee mug.
Table and chair settings on the ground floor and downstairs included pendant lighting and sound that reacted to movement. The Feast of Light dining area played a generated piano score as you walked around the table.
Dreamscape featured the BYOBU Bed designed by Sony that consisted several undulating panels partially enclosing the bed. The panel at the foot of the bed served as a projection screen. Speakers inside the upholstered panels delivered an intimate listening experience. Sensors positioned above the bed detected movement and would alter the projected content and sound. To encourage sleep, one clip displayed a swaying field of grass and subtle sounds of sheep would begin if movement on the bed was detected.
Overall it was a very cool exhibition showing creative directions home technology could move beyond the giant flat screen tv and home automation systems.
