Press – 2019/01 – De Morgen Magazine (NL)
Author: Caroline Notté
Press – 2019/01 – Pollen Magazine (FR)
Sammode x Pierre Guariche
Sammode réédite une sélection de luminaires imaginés dans les années 1950 par l’un des créateurs–phares français : Pierre Guariche. S’il est un domaine dans lequel il excellait, c’est bien le luminaire. Le designer et architecte d’intérieur Pierre Guariche en est un des créateurs les plus féconds des années 1950. Il a conçu une gamme complète de luminaires ou, plus exactement, des « familles » — lampe de bureau, lampadaire, applique, suspension…—, qui comblent tous les besoins identifiés de chaque espace.
Ses luminaires offrent un grand confort d’utilisation — aucune source lumineuse n’est apparente — et une qualité de lumière idoine : éclairage général ou de circulation, d’ambiance ou ponctuel, doux ou puissant, voire diffusé par réflexion. Que Sammode choisisse aujourd’hui de rééditer certains de ces modèles est tout sauf un hasard. Depuis nombre d’années en effet, notre quête esthétique et technologique n’est pas sans évoquer celle prônée, jadis, par Guariche. Les affinités sont légion. Elles ont en particulier un nom : l’innovation. Fidèles au dessin originel et intégrant des technologies contemporaines, les modèles siglés Sammode — Pierre Guariche bénéficient, à l’instar de l’ensemble des luminaires Sammode, d’une qualité de réalisation exceptionnelle et d’une fabrication française.
Sammode reissues a selection of lighting designed in the 1950s by one of France’s leading designers: Pierre Guariche. If there is one area in which he excelled, it is the luminaire. The designer and interior designer Pierre Guariche is one of the most fertile creators of the 1950s. He has designed a complete range of luminaires or, more precisely, “families” – desk lamps, floor lamps, wall lamps, suspension lamps, etc. – that meet all the identified needs of each space.
Its luminaires offer great comfort of use – no light source is visible – and an appropriate quality of light: general or traffic, ambient or spot lighting, soft or powerful, even diffused by reflection. It is no coincidence that Sammode has chosen to reissue some of these models today. For many years now, our aesthetic and technological quest has been reminiscent of the one once advocated by Guariche. There are many affinities. In particular, they have a name: innovation. Faithful to the original design and incorporating contemporary technologies, the Sammode – Pierre Guariche models, like all Sammode luminaires, benefit from exceptional quality workmanship and French manufacture.
See more about it here
ArE YoU KiNfOlK?
I S T I M E T O S L O W L I V I N G !
I Love slowlife and kinfolk.
A nomadic style, at the crossroads of bohemian, folk, industrial and ethnic trends that seduces an entire generation in search of sincerity. Its codes: raw materials, craftsmanship and friendliness. A bohemian and multicultural spirit that promotes craftsmanship, know-how and handmade.
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David Umemoto, the juncture of sculpture and architecture.
ARTISTIC APPROACH
The concrete works of David Umemoto stand as studies about volume. At the juncture of sculpture and architecture, these miniature pieces evoke temporary buildings or monuments standing on far-away lands. The images conveyed in the mind by these works are numerous. They refer to the archaic and the ephemeral, despite the solidity and the modernity of the medium. Appearing before our eyes are pre-Columbian rock dwellings, god statues from the Andes or Easter Island, steles deteriorated by rain, remnants of modern cities having survived a cataclysm, fragments of Babylonian cities, colonial settlements brought down to their foundations, cenotaphs abandoned in the jungle…
The production of David Umemoto’s works follows a process of slow and silent transformation. The creative process seeks to imitate the cycles of nature, which are cycles of erosion and re-creation. Lines shift, change and are in a state of perpetual mutation due to the influence of time and weather. The natural architectures of geological strata and crystals stand as models: They inspire the design of the moulds in which the concrete is cast. The ductile and infinitely adaptive nature of the material enables the production of objects that are both similar and different. The development of the works is thoughtful and iterative yet it makes room for improvisation, adaptation, and spontaneous inspiration. The shapes created by Umemoto line up in sequences of combinatorial variations. Each work offers a different face but these faces all belong to the same lineage. This kinship gives a strong unity to Umemoto’s production and allows for the exploration of the theme of transformation through time and tradition.
All of Umemoto’s pieces are handmade, in order to respect an economy of means. The pressure of modernity imposes on man the obligation to evolve constantly, which leads him into an endless race towards technological improvement. As an artist, Umemoto chooses to react by taking a step backwards. His manual activities result from a desire to simplify artistic practice. Aesthetics and formalism are thus combined with a commitment to plainness. Opting for a low-tech stance, the artist wants to resist the demands of progress. He creates structured and modular pieces but these never perfectly fit together, a result of their willingly imperfect mode of production.
Umemoto’s art is rooted in Americanness: His varied creations take their impetus from a desire to start settlements and to colonize wild lands, where nature is always on the verge of resuming its rights. When one sees Umemoto’s architecture sculptures, one thinks of the modernist complex of Brasilia by Niemeyer, lost in the Amazonian jungle, or of the complex of Chandigarh by Le Corbusier, in the heart of India. The walls rising towards nowhere, the curves running into ceilings, and the staircases leading into the void are reminiscent of the mysterious Prisons of Piranesi. One way or another, these are always works where imagination joins forces with a contemplative discipline.
I LOVE SLOWLIFE AND KINFOLK – OUR SELECTION OF JANUARY 2019
I love slowlife and kinfolk a nomadic style, at the crossroads of bohemian, folk, industrial and ethnic tendencies that seduce a generation in search of sincerity.
Its codes: raw materials, craftsmanship and friendliness. A bohemian and multicultural spirit that advocates craftsmanship, know-how and handmade.
Our selection of January presents passionate artists and craftsmen who work the essence of the material and privilege a return to the sources.
Ole Wansher, Bocci, Miles et Claire, Atelier Vierkant, Clothilde Ancarani, Catherine François, Valesco Vitalli, Isabelle de Borgchrave, Johana, Vasconcellos, Kaspar Hamacher, Nathalie du Pasquier, Xavier Lenormand, Ado Chale, Ibal Studio, Le Corbusier, Caroline Notté
Le Boudoir de Madame – Collectible exhibition
SAVE THE DATE « LE BOUDOIR DE MADAME » 12.12.2018
Collectible exhibition
Caroline Notté présente dans son collectors cabinet une sélection pointue de sculptures, tableaux, céramiques, mobilier vintage, ….
Caroline Notté presents in her collectors cabinet a cutting-edge selection of painting, ceramics, sculpture, vintage furniture…
Sculptures courtesy of LKFF gallery
Destroyers rebuilt the house!
Destroyers / Builders
Inspired by architectural shapes, the furniture pieces highlight the field between industry and human, through diverse materials. The interventions and finish by hand, give these objects a tactile aspect. The contrast in materials, the touchabilty, and the human traces that are still visible in the object, explain the method of Destroyers/Builders. Both contemporary and classical fragments are the base of the visual language. The Bolder Chair and Bolder Seat are inspired by columns, a diversity in white tones that can often be seen in old columns. Cross Vault is an ode to cross vaults, originally built up in brick. Archetype Daybed is inspired by old carving techniques.
Destroyers/Builders is a Brussels based design studio. With a focus on materiality the studio strives for sensory relevance and cultural value in detail and bigger scale. Their works have a sculptural and architectural character, but are always on the edge of contemporary material use and traditional crafts. The studio takes on projects that range from commissions to self-initiated projects, and extends across the realms of both product and interior design.
Memphis touch. Nathalie du Pasquier is in the house !
She was a founder member of Memphis for which she designed many textiles, carpets, furniture and objects. When the group broke up in 87, painting became her main activity.
Now she present vases and cups in an explosion of colors. All combined elements that form a set of combined cones and cylinders. The design process of the pieces started on paper; the concept was then transformed into wooden constructions and eventually finalised in ceramics, where it came out as geometric compositions of different elements and colours.
CN IN THE VILLAS – SEPTEMBER 2018 (FR)
