https://www.liaforslund.com Lia Forslund Tue, 29 May 2018 09:51:51 +0000 https://www.liaforslund.com en http://www.liaforslund.com/Halle-Henning-Larsen Tue, 29 May 2018 09:51:51 +0000 Lia Forslund 272711 +Halle: Workspace FurnitureMüllertz is leaning forward, cross-legged, tucked in a soft blue High Pacific sofa in an open atrium in the middle of the Henning Larsen office. She looks comfortable and focused at the same time. The sofa is facing an Easy Nest chair, creating a small intimate enclosure, flooded with natural light—a place where a conversation is casual but sincere. ‘We might today feel something similar to the Bürolandschaft when it comes to individual value; the difference is that we speak to each other all the time, within Skype, or using our smartphones, what we need today is perhaps more closed off social time.’ Part of the investigatory test team at Henning Larsen is PhD student Drew Thilmany. His research project goes under the title Designing the Common: Tools for Creating Shared Space, a project where he will study new behaviours associated with shared spatial environments and explore how these can be addressed through architectural design. And one might be tempted to wonder what is lies at the core of the common spaces? ‘It is not about placing furniture; it is about people existing in communities where they feel good, where they interact and where they can perform their best. In order to know what works you need to listen carefully to what people say about their work.’ Müllertz explains. Large tables, lounges, kitchen configurations, meeting areas, are all up for question. ‘We need to look at different workflows and we need to support different functions. This for you to tailor your own flow that supports your process throughout the day, in the best possible way.’ Henning Larsen has a diverse and creative workforce, which are in-tune with what is going on in the furniture market. Müllertz explains: ‘It's a high maintenance audience, which is why it's important to try out different things. We have a tough jury examining what is working and what is not working.’ Martin Halle continues: ‘On the basis of that, we must assume that the +Halle furniture that remains can be seen as vehicles for a performance-driven landscape. But we must also assume that the pieces that are refused are not, for the company to act, iterate and come up with new solutions.’ ‘I think +Halle is experimenting with furniture that supports this new way of working in a more agile way than other furniture companies. They are a little braver than other companies. They are open to suggestions, open to our response and that is really interesting,’ Müllertz concludes. In fact, it is a dialogue, between the furniture manufacturers, the designers and the architects, sometimes baring critical thoughts or evidence to the contrary. We should not doubt that we could collectively learn more from the individual response to furniture installed in an office. And we should never be afraid to test constellations of private and social moments throughout the day, to create human, democratic, better working environments.The collaboration between Henning Larsen and +Halle began over a year ago, driven by a dual interest to install furniture that supports the way the employees in any environment interact. ‘All companies are different, and so are their work routines. Common, generic placing of furniture in an office environment is not going to reflect the way individuals are going about their day,’ says Martin Halle from +Halle. He sits next to Müllertz on the High Pacific sofa and together they form an intriguing brain trust, debating on how to best apply furniture as a tool for the architects that surrounds them. At the core of Henning Larsen's architecture practice lies a systematic attempt to examine the senses embedded in a workflow, a user involvement study is applied at the beginning of every project. It is a qualitative method where the architects interview all office workers about their work process and habits, on the back of that, new functions in the office space are introduced. ‘Now, the architecture firm has decided to taste a spoon of their own medicine, in an office workflow test where furniture is tested in relation to different needs that came up in the user involvement process, providing indicators of what furniture people actually need’, Müllertz says. ‘Even in an era where almost everything is monitored, it is hard to give an exact account of every step of the day, we all sometimes find ourselves asking—did I really spend that long on that?’ In and around the desks of the Henning Larsen office, small clusters of High Nest chairs are places around High Nest tables. Carefully installed as informal breaks, tucked in between teams, for check-ins and short meetings. At the time of the visit, all the tables are full. ‘It can come down to how furniture is placed in the office, it can be where, for whom and what project team sits near bye, so these are things we look at as well,’ Müllertz says. ‘What surprised me was that people were more conservative than I thought, for instance, people were attached to their desks to a larger extent than anticipated,’ she admits. ‘Typically, we look at furniture that better performance throughout entire workday, what is needed in the morning is significantly different from what is needed in the afternoon. Why would you sit in the same chair all day? A workspace today, should support a change in routines, and thus, so should furniture,’ Halle explains. In fact, it is a dialogue, between the furniture manufacturers, the designers and the architects, sometimes baring critical thoughts or evidence to the contrary. We should not doubt that we could collectively learn more from the individual response to furniture installed in an office. And we should never be afraid to test constellations of private and social moments throughout the day, to create human, democratic, better working environments. <img width="1179" height="1766" width_o="1179" height_o="1766" src_o="https://cortex.persona.co/t/original/i/8efe9991d82739aa13173fea1bb3ae9e6351a65d86a683703b5323ca22f3f0e3/dsc_0792.jpg" data-mid="456672" border="0" /> <img width="1200" height="650" width_o="1200" height_o="650" src_o="https://cortex.persona.co/t/original/i/903942182440d76e3114903555c9c0d44ceaea156fe6c853fa5ef247fc08deb6/halle-hla-06.jpg" data-mid="456675" border="0" /> <img width="1200" height="650" width_o="1200" height_o="650" src_o="https://cortex.persona.co/t/original/i/ced47d72b978be520d7732617e25d4e11c39c2dece7ce874e7ef5f9836d2ca93/halle-hla-03.jpg" data-mid="456674" border="0" /> <img width="600" height="895" width_o="600" height_o="895" src_o="https://cortex.persona.co/t/original/i/b4cacf645c8cc8cba947c815abc40b7d9f58fb536e7f15f3f57e296a6daffa87/halle-hla-07.jpg" data-mid="456677" border="0" /> +Halle: Workspace FurnitureMüllertz is leaning forward, cross-legged, tucked in a soft blue High Pacific sofa in an open atrium in the middle of the Henning Larsen... http://www.liaforslund.com/FUWL-Champagne Fri, 16 Feb 2018 14:19:52 +0000 Lia Forslund 252439 Form Us With Love: Champagne ExhibitionThe grid presents a distinct overview of the content on display, in order for both experts and amateur enthusiasts, to always have an array of opportunity to learn about Champagne. Pictured as a lit curatorial landscape, you can comfortably enjoy editorial stories by jumping between scientific and cultural anecdotes. ‘In theory, our mission was to convey a patterned knowledge exchange, both detailed and obscure in its fashion; On the one hand, you read about the effect of chalk on a southern facing hill in Champagne and the other, you learn about the cultural signifiers of pouring champagne on the ground. It is this clash that we have based this grid upon,” says Löfgren. The rectangular architecture of the museum space is utilised and emphasised through the spectrum of folded walls with a grid of plinths placed in between them—mimicking a back and forth movement—of producing great champagne and stereotypical subcultural provocations. “The most difficult challenge was to create a mental overview of the vast amount of content, in order for you to individually decide how to experience the exhibition in a non-linear way. VR technology is new, but we specifically used it here, to get a feel for the distances and measuring how overwhelming or comprehensible the architecture becomes from certain angels, its all about the relation, sizes and recognition,” Löfgren adds. The architecture allows for clarity and a well thought through flow, providing space for in-depth reading, even when the exhibition hall is full. To split the curation into a multidimensional grid gives the audience the opportunity to learn about champagne in a serendipitous yet structured way. “Its sometimes more effective to paint with a smaller paint brush, as we say in Swedish when we want to achieve a certain subtlety. Even though we used both renders and VR, the neutral effect of the timber and the pendant lights is something that you will never realise until you see it in full size,” Löfgren concludes. In 2015, Form Us With Love designed Spritmuseum’s successful Beer exhibition. This year, Spritmuseum celebrates 50 years, collaborating with Form Us With Love on Champagne, yet another well-received museum experience. <img width="2000" height="2667" width_o="2000" height_o="2667" src_o="https://cortex.persona.co/t/original/i/7ad1aac6d6f3cdbf96a73f91e98f3325a3f78057dbb4b6e5c0b78ab28e415b58/Form_us_with_love_champagne_forslund.jpg" data-mid="372136" border="0" /> Form Us With Love: Champagne ExhibitionThe grid presents a distinct overview of the content on display, in order for both experts and amateur enthusiasts, to always... http://www.liaforslund.com/Bolon-Projects-We-Love Fri, 16 Feb 2018 13:39:35 +0000 Lia Forslund 252431 Bolon: Projects We Love“The Triannial Review is an act of creative curation: an opportunity to add to Bolon’s collection, but also to remove, reshape and reformulate exisitng products, and to expend the design process thrughout a product’s lifespan. For 2018, several collections have been revatilised with a new set of rich , cofident colours.”&nbsp; <img width="2595" height="1730" width_o="2595" height_o="1730" src_o="https://cortex.persona.co/t/original/i/d209bd322c05843f6f903a5b5811654c551a1bd18f59d351f7cfb4faaf1e260c/Lia-Bolon.png" data-mid="372127" border="0" /><img width="2595" height="1730" width_o="2595" height_o="1730" src_o="https://cortex.persona.co/t/original/i/38c3ba63085d96f94f1e63b56cb89aab3aa5cd8fa8dc0a88cd0736d1237960da/Lia-Bolon-1.png" data-mid="372129" border="0" /><img width="2595" height="1730" width_o="2595" height_o="1730" src_o="https://cortex.persona.co/t/original/i/210a33c485b4872c8730f43554eb375613acbba8ef38fd073fe05fbca292ae7d/Lia-Bolon-2.png" data-mid="372128" border="0" /><img width="2595" height="1730" width_o="2595" height_o="1730" src_o="https://cortex.persona.co/t/original/i/2ccfd84f40ede6cba6da150e8dacdd2868cbdd9a8f0da244a84e424be02d9604/Lia-Bolon-3.png" data-mid="372131" border="0" /> Bolon: Projects We Love“The Triannial Review is an act of creative curation: an opportunity to add to Bolon’s collection, but also to remove, reshape and... http://www.liaforslund.com/Halle-Creating-Human-Spaces Fri, 28 Apr 2017 12:39:02 +0000 Lia Forslund 169416 Lia Forslund +Halle: Creating Human SpacesThe key to proceedings in our work is a shared vision of enjoyable and dynamic public landscapes with a clear sense of purpose. We are knowledge driven, open and collaborative, this, to find new withstanding elements for both social time and private space. With advances in multidisciplinary research and collaborative design projects, we offer well-thought trough human settings, resulting in qualitative and functional improvements to any commercial or institutional space. Made in Denmark Our furniture is exclusively made in Denmark. Each piece of furniture is assembled, upholstered and quality controlled by Hans Skipper Møbler, our manufacturer—delivering unparalleled quality—for more than 40 years. All +Halle products are made according to the highest Danish environmental standards. The wood is grown with respect for the land, and the metal is made from 99% recyclable steel. All foam and fabrics are developed and tested with compliance to Scandinavian standards. Our factories also take great pride in following the Danish working environment act, reassuring all artisans being happy and safe at all times.Design Philosophy Resourcefulness matters to us. Which is why, we have a shared commitment to designing better public environments in every way. However, resources to us are not only about being rational. We improve the public realm by designing for humans, developing narrative tools, as opposed to static sedentary installations. Our methods are immersive and include teams of researchers, experts and designers, who build scenarios, sets and urban fictions. Our furniture is made as configurations of public habits, continuously pushing the boundaries of what a piece of furniture—if seen as a consequential resource—could possibly deliver. <img width="800" height="500" width_o="800" height_o="500" src_o="https://cortex.persona.co/t/original/i/754e059144c896a567e91ee50cb6314a0a9a79008e50d082e3dc7493fbd9cfab/dsc_5992.jpg" data-mid="210657" border="0" /><img width="3840" height="2461" width_o="3840" height_o="2461" src_o="https://cortex.persona.co/t/original/i/1d2e5ccce35c00579b4e7ac014562b8e5f31003fb2a9d565823437e49ec7935c/161080-image-01-A4.jpg" data-mid="210658" border="0" /> Lia Forslund +Halle: Creating Human SpacesThe key to proceedings in our work is a shared vision of enjoyable and dynamic public landscapes with a clear sense of... http://www.liaforslund.com/Prototypa-Milan Fri, 28 Apr 2017 12:21:45 +0000 Lia Forslund 169406 Lia Forslund Prototypa: Milan First out was a conversation with Kristofer Hansén, Chief Designer at Scania, discussing how the latest series of trucks were prototyped, a process that took over ten years to complete. This followed by a Wednesday morning with Sara Sjöbäck and Tina Eklund, Alumni students at Beckman’s School of Design covering how material can inform both expressive and sound design. Thursday, offered a dialogue between Helena Toresson and Jonas Edblad from Wingårdh architects on the significance of consensus, prototyping with context at core. And last but not least, a Friday morning with designer Clara von Zweigbergk, who generously shared her poetic prototyping methods, using carefully selected paper, hand folding and tape. ‘New technologies and old crafts are simultaneously characterising design today,’ says Jonas Pettersson CEO of Form Us With Love, ‘this series is providing a context for prototypes as means of exchange—an articulation of where we believe design is heading.’ <img width="1500" height="1000" width_o="1500" height_o="1000" src_o="https://cortex.persona.co/t/original/i/a58cea9923e84f1cc527c957b9ddfa4dd95383f88a1b136dc9324a2b8b8ab29b/VISITSWEDEN-18.jpg" data-mid="210651" border="0" /><img width="3165" height="2110" width_o="3165" height_o="2110" src_o="https://cortex.persona.co/t/original/i/548e024cde065754ed643f43f1e215abfa37216a5aafdf7e3a2e1bf43f7b2c6a/ws_18.jpg" data-mid="210655" border="0" /><img width="3650" height="2433" width_o="3650" height_o="2433" src_o="https://cortex.persona.co/t/original/i/b8a36bc44220d24788232a9b9f9fd14149fcf694f3acf8095189f712b9562346/6-aprile-2017_10.jpg" data-mid="210656" border="0" /><img width="3861" height="2574" width_o="3861" height_o="2574" src_o="https://cortex.persona.co/t/original/i/2d9b2df9ae698d3e77f6548465f2f8cc3e77d4caaf25db780ec01f7404278d41/IMG_3059.jpg" data-mid="210650" border="0" /> Lia Forslund Prototypa: Milan First out was a conversation with Kristofer Hansén, Chief Designer at Scania, discussing how the latest series of trucks were... http://www.liaforslund.com/Emeco-Parrish-Chair Thu, 09 Mar 2017 17:21:08 +0000 Lia Forslund 153914 Lia Forslund Emeco Parrish ChairBased on local materials from local manufacturers, Konstantin Grcic matches recycled aluminum and retrieved timber with the bare building, both as fixed and mobile furniture for the Parrish Art Museum. The interior installation includes tables and chairs created in collaboration with American manufacturer Emeco. “The collaboration with Emeco was always an important part of the project, something I had in mind as an obvious choice for the kind of furniture we needed. It is simply the only company I could think of who could bring a nice mix for this interior concept, specialists in aluminum, delivering another kind of material appearance, environmentally sound, perfect for the both indoor and outdoor and being such a truly American company - it was a perfect match“, Grcic continues. “When Konstantin asked me if Emeco would be interested in collaborating with him on the Parrish Art Museum I was thrilled. Konstantin is one of the most innovative and original industrial designers of today”, says Emeco’s CEO Gregg Buchbinder. “Konstantin’s degree of perfection combined with his analytical rigor made the product development process deliberate and thoughtful. He managed to leverage our heritage and at the same time push Emeco into the future.The Parrish Chair reminds me of something Le Corbusier might have designed in the 1920’s; yet at the same time, it looks fresh, modern, and original – it’s a real artifact of our current culture, a future classic”, Buchbinder continues.“I have always had a fascination and admiration of the hard physical labor of the production of the Emeco’s iconic Navy chair. My ambition for the collaboration was, therefore, to do something that uses the same aluminum work but make the process more effective, less physically challenging. I think the design of the Parrish chair comes from a close understanding of what Emeco really can do”, says Konstantin.“Developing the mobile interiors for the Parrish museum brings us to the peculiar psychology around chairs used in public spaces – exploring the idea of comfort and non-comfort. The best you can give someone in a public space is a chair that really feels like a chair. Considering the public self-awareness in a museum seat, the Parrish chair was given a round tube, forming a belt that defines the space around you - a space where you can feel protected. The chair is also spacious, achieved using very little material. Put together the pine on the aluminum chair looks almost like tractor seat, which has something old fashioned and genuine about it. At the final installation the Parrish chairs are strong individuals, yet the collection, I must say, looks even greater in multiplication. A density of tube forms composed in a very nice subtle way, an astonishing view in numbers“, Konstantin concludes.Press Includes: New York Times, Paris at the Parrish, by Arlene HirstFast Company, Outdoor Furniture Designed For More Comfort, Less WasteAbitare, Grcic | Emeco @ Bar BassoDesigno, Konstantin Grcic on the Parrish CollectionDesignboom, Konstantin Grcic: parrish collection for emecoDezeen, Parrish by Konstantin Grcic for EmecoDomus, Konstantin Grcic / Emeco <img width="2200" height="1650" width_o="2200" height_o="1650" src_o="https://cortex.persona.co/t/original/i/72cd4d8a52cc3cc531f7b5ad40c3342c77d323222b1e3895d69addc49bc88339/original-021-emeco-parrish-prototypes_5943.jpg" data-mid="183116" border="0" /><img width="670" height="445" width_o="670" height_o="445" src_o="https://cortex.persona.co/t/original/i/c18774fea3f52e4b27ef4114f5a3418f2b718c5434e5a8620ccdd33e85ee709f/Lia_Forslund_Konstantin_Grcic_Emeco_0093_670.jpg" data-mid="183115" border="0" /><img width="670" height="448" width_o="670" height_o="448" src_o="https://cortex.persona.co/t/original/i/55f1e1f7b04bcd1f7feb8b7231c1c1718b565a2d2d6f8387972395d30e61c396/Lia_Forslund_Konstantin_Grcic_Emeco_0095_670_1.jpg" data-mid="183114" border="0" /> Lia Forslund Emeco Parrish ChairBased on local materials from local manufacturers, Konstantin Grcic matches recycled aluminum and retrieved timber with the bare... http://www.liaforslund.com/Essay-Of-and-For-Turner-Contemporary Thu, 09 Mar 2017 17:13:21 +0000 Lia Forslund 153912 Lia Forslund Essay: Of and For Turner Contemporary She wrapped her steel film, thermo sensitive jacket a little tighter and walked out into the storm. It seemed to her that even though life prolonged, the balance was forever gone. Her wrist had been telling her to eat for the past two hours, and she knew she would soon be sent notifications from the scanning board. With quick steps, she walked across the street to the Entomo joint, "A Beetle burger and a flip side cabbage juice," she said. "That's fifty pounds madam," the man behind the counter replied with a big smile. Bill was a hundred and twenty, and even though he was functioning, he had lost his ability to analyse or conclude. He was a synthetic biology sample from the factory in Westwood. They renewed the data in his cells every year, but something seemed to have gone missing. In the ‘20s, the creative classes moved to Margate for the art scene and the low cost of the land. The average price of a flat in London had reached twenty million, and most people took the bid. With the new building generators, half a million pounds gave you a printed townhouse as long as you owned a piece of land. The coastlines of England quickly became sought-after. Most of the synthetic biotech companies placed their campuses along the rim of the North Sea, and soon more than 50,000 job opportunities arose. Like a giant integrated circuit, hundreds of thousands of printed townhouses were built. By investing in the Gallery, Margate had attracted the creative classes, and the area had risen like a phoenix, from a town in crisis to the heartland of the new biosynthetic design revolution. In the winter of 2064, the waves exceeded The Turner Contemporary Museum, and the water surge caused the south-facing wall of the museum to cave in, which then led to the zinc roof collapsing in just a few hours. The water seized and shook the building more than anyone could have anticipated. The etched glass skin was gone, and all that was left were the steel beams, poking out from the metal decking. The museum intendant stood on the beach staring with sober eyes at the battered skin of the museum. Before her were the ruins of Margate’s iconic landmark. The sight was so beautiful she had to download it and store it over and over again. People stopped and stared at the building with wide eyes, fascinated by the decay. Soon the beachfront was filled with people, with their eyelids opening and closing, storing views of the battered museum. “Nature’s aim for anything includes destruction and decay; scattered acid glass around the beach is just another sequence,” she thought and walked up to the back entrance with a few pieces of the façade in her hands. From the south side, the ruin presented itself to her, naked without its padding: the concrete frame revealed itself in all its beauty. The space that the water had created highlighted the building’s robust fundamentals. Once the storm had blown over, the concrete frames had survived, the six galleries and the north facing wall structure stood tall, like an essence of the past. Turner Contemporary Museum was built during the digital revolution when most of the Creative Generation was born. After the building printers had been introduced, the government continued to underestimate the public's emotional attachment to architecture. Conversations between architects and the public were historically poor, but it was now nonexistent. Over the years the museum had become part of Margate’s legacy, nurturing old ideologies of the 2.0’s, a symbol of post-millennial customization and social engagement. The rhetoric behind the building was a creative frame, a hackable system; six galleries with enough flexibility for the activities to determine its existence much like the early days of the Ajax platforms. The biosynthesis revolution had made the world into a projection, presenting an affordable copy of anything at anytime. Gone were the days of the user-generated. Most things could be found and downloaded easily, from any given year: one could remake memory, body parts or old museums. The retrievals servers had every surface of The Turner Contemporary Museum, every dot, every line, stored in computer simulation ready to be reproduced at any time. After the waves hit the museum, the robots quickly used retrospectives to download the building, but at this point, perfect architecture was the least important aspect. The people of Margate knew that biosynthesis was a matter of recreating time; the robobuilders were rational and not programmed for emotional reactions. A cloned ghost building of Turner Contemporary, lacking the physicality of the past, would be raised within a month. Protests were raised. Margate did not want the robos to rebuild their iconic fort. No replica was needed, not in such a way that they could confuse the original with the new. A petition was made to restore the building using fragments of the damaged skin. Scattered along the beach, the fragments of The Turner Contemporary Museum did not mean much but put back into its context they meant everything. As a ruin, the gallery was loaded, full of the physical evidence of destruction and real-time proof of what the sea had done to Margate and the community. Possessed by the idea of applying now to the present locals began to view the museum as part of nature, away from the reproduced. Surviving beyond its time, The Turner Contemporary Museum would find its natural position. Debates in Margate were loud and finally the decision to restore the ruins of The Turner Contemporary Museum was made. Special proteins were developed as neutral material fillers to fit the damaged parts of the building together, like magma. The glue held the fragments while making sure that the building was breathing. The concrete frames were left bare, and soft transparent cellophane skin plates were wrapped around the edges, maintaining the rooms exactly as the sea left them. The Turner Contemporary Museum was built during the millennial crisis. In the filthy age, people came to Margate because of its lack of pretension. The building became a creative legacy and brought a new generation of people to Margate. However, fifty years later, new design methods and synthetic technology had changed the balance of creativity. Nothing was left undone or uncontrolled; renewed data, new downloads and prints made the slightest touch of nature and time redundant. Decay had become a rare find in Margate. The Turner Contemporary Museum had fought the sea for decades before the waves finally won. When the sea hit the museum, it also seemed to hit the people of Margate, awakening them from their slumber. For the second time, The Turner Contemporary Museum became a symbol of renewal, with its unwritten rules and empty frames. In the time of synthesis, the decision to keep the building unperfected became the beginning of a new era, reuniting people through what it once stood for. As the world projected itself as flawless, the people of Margate began to realise that something had gone missing. As she walked down the beach, she smelled the air of loss and gazed at the sight of the unthinkable. The ruins of The Turner Contemporary Museum greeted her with inspiration. She knew that it was good for a building to take form and bad for it to burst, but in this case, the cracks meant something different. <img width="1200" height="800" width_o="1200" height_o="800" src_o="https://cortex.persona.co/t/original/i/c301db8dbd283d735af16e1f8c8087cbfc5cb05a7ddc6b35dbb60ba6ae6dcd7e/turner-contemporary-14.jpg" data-mid="183112" border="0" /><img width="1000" height="713" width_o="1000" height_o="713" src_o="https://cortex.persona.co/t/original/i/3df62632d648c51e36779f5fa18216dfeebf071814294a5c636c722e94975dba/metalocus_turner_contemporay_chipperfield_08_1280.jpg" data-mid="183110" border="0" /><img width="1115" height="858" width_o="1115" height_o="858" src_o="https://cortex.persona.co/t/original/i/09d42838d2f1ea91df93cdf106721e01d0b5209d8550b919e8f04a2448924478/789_10_sm_110504_n6.jpg" data-mid="183111" border="0" /> Lia Forslund Essay: Of and For Turner Contemporary She wrapped her steel film, thermo sensitive jacket a little tighter and walked out into the storm. It seemed to... http://www.liaforslund.com/Emeco-Broom Thu, 09 Mar 2017 16:51:01 +0000 Lia Forslund 153901 Lia Forslund Emeco Broom It is time to stop and think. ‘The elegance of the minimum comes from the intelligence of the nothing,’ says Philippe Starck. ‘Mies Van der Rohe said “Less is more”, but with the Broom chair we can say “less and more”. Because we choose to make less – less “style”, less “design”, less material, less energy– finally we have more.’Broom introduces an entirely new chair material composite, combining reclaimed polypropylene and discarded wood fiber. Made from a compound of industry waste from lumber factories and industrial plastic plants,this material has a three-fold environmental impact. Less energy, less waste and less carbon. In most manufacturing there is waste. Ends and pieces of plastic and wood are discarded and thrown away. Imagine a new material that sweeps up this waste, combines it, and makes something strong and smart and beautiful. The result is the Broom chair. It has a past life as industrial waste and a future as a chair in your life. ‘Imagine,’ says Philippe Starck, ‘there is a humble guy who takes a humble broom and startsto clean the workshop and with this dust of nothing, with this he makes new magic.That's why we call it Broom.’‘Philippe Starck and I have always agreed that it is not about recycling, but about restructuring production,’ says Emeco CEO Gregg Buchbinder. ‘Our aim is to prevent waste from being manufactured in the first place. Instead we use discarded materials to make things that last.’Emeco has always been a pioneer of repurposed materials such as recycled aluminum and recycled PET. By exploiting the unique characteristics of the new wood-fiber polypropylene in the Broom chair, Emeco is experimenting with the product’s life-cycle again. Emeco has continuously led the way towards manufacturing with a conscience, delivering restrained products that have a minimal impact on the environment. Gregg Buchbinder says, ‘Emeco has used recycled materials in all our manufacturing since the 1940s. The Broom chair is a piece of that evolution. With each challenging innovation in material reuse we inspire people everywhere to join us in our cause for zero waste.’ <img width="670" height="444" width_o="670" height_o="444" src_o="https://cortex.persona.co/t/original/i/3724f1c657db674e46e9e2fd5be035e005b7c9ab5ff3ea6e9c25c2e98e9271df/Emeco-Broom-1_670.jpeg" data-mid="183083" border="0" /> <img width="670" height="894" width_o="670" height_o="894" src_o="https://cortex.persona.co/t/original/i/b0bf55b8465dbb698286601283fd57a483f7b271dd91ddd2fece82a70d9667a4/Lia_Forslund_Philippe_Starck_Emeco_0100_670.jpg" data-mid="183081" border="0" /><img width="670" height="872" width_o="670" height_o="872" src_o="https://cortex.persona.co/t/original/i/749691fa7e40b4ab80a7575e1780ca05f7291936a220783bc380fc61875ab4c5/Lia_Forslund_Philippe_Starck_Emeco_0101_670.jpg" data-mid="183080" border="0" /><img width="670" height="947" width_o="670" height_o="947" src_o="https://cortex.persona.co/t/original/i/5f9f9be6a12edc1d386614e6c48cbe2fad211d684e233d16507e1f7556425f41/Lia_Forslund_Clo_Floriat_emeco_670.jpg" data-mid="183082" border="0" /> Lia Forslund Emeco Broom It is time to stop and think. ‘The elegance of the minimum comes from the intelligence of the nothing,’ says Philippe Starck. ‘Mies... http://www.liaforslund.com/Hyperstore Thu, 09 Mar 2017 16:34:30 +0000 Lia Forslund 153899 Lia Forslund Hyperstore An ongoing series of exhibitions, consisting of a series of visuals, animation, music, illustration and critical writing, Hyperstore visually simulate fragments of online corporations. Leading the viewer through the slick online interface, an inside is unveiled, shedding light on the ‘everything stores’ where a workforce of pickers and packers are the only witnesses to events going on behind the anonymity of the intangible digital shop front. Brought together in 2014 while taking part in the interdisciplinary Book Test Unit at the Royal College of Art, Hyperstore are: Stine Deja, Lia Forslund, Roxanne Gatt, Robert Hetherington, Elizabeth Holdsworth, Charlotte-Maëva Perret, Charles Rickleton, Kevin Smeeing, Franciszek Wardynski and Xueling Wang.‘This performance/installation will be a comment on the mysterious processes of e-commerce. Hyperstore promises to combine the glossy structure of an online store with the murky and chaotic systems of warehouses to make surprising connections between objects and experiences that we might encounter on the traditional high street.’—David Blamey, artist and professor at the RCA explains. <img width="670" height="502" width_o="670" height_o="502" src_o="https://cortex.persona.co/t/original/i/cbfe4bf3360b6946064cd52e1a25fa56b7d9ce7835d28126ce8f3d9b452d551f/Lia_Forslund_Franek_Wardynski_Hyperstore_002_5_670.jpg" data-mid="183070" border="0" /><img width="1000" height="666" width_o="1000" height_o="666" src_o="https://cortex.persona.co/t/original/i/9f015f953d7b2c955bb7211acad3cdc292c415d8934a0130fc01df5e3fcb7108/Shutterstock-Selfie_1000.jpg" data-mid="183072" border="0" /><img width="1200" height="675" width_o="1200" height_o="675" src_o="https://cortex.persona.co/t/original/i/d1e92ae61b4d46898fc9af66703fe321f5feeecfe71f118b18b57cd18d50d07a/boooost_7_1200_1200.jpg" data-mid="183073" border="0" /><img width="670" height="446" width_o="670" height_o="446" src_o="https://cortex.persona.co/t/original/i/adb3ccb53601ec3abcf8937b4ff4b7814768efac9fa47f73d52666eff1b45b4f/IMG_7508_670.JPG" data-mid="183071" border="0" /> Lia Forslund Hyperstore An ongoing series of exhibitions, consisting of a series of visuals, animation, music, illustration and critical writing, Hyperstore... http://www.liaforslund.com/Form-Us-With-Love-Beer-Exhibition Thu, 09 Mar 2017 15:53:43 +0000 Lia Forslund 153883 Lia Forslund Form Us With Love: Beer ExhibitionIn a country where the numbers of breweries have doubled year-on-year, differentiation is key. It is precisely why a little guidance into what goes into beer making might be needed. “We invite the public to learn more about what it takes to makes one beer unique to another. By creating an educative environment, we encourage people to be curious - smelling, feeling and distinguishing ingredients and methods that formulate the many recipes on display,“ says Anna-Karin Svanberg, producer at Spritmuseum.To help the audience navigate through the unique collection of Swedish beers, Form Us With Love has created a dramatic aesthetic, engaging both initiated malt lovers and first time barley inspectors to enter the world of beer science. Made using industrial tiles, the interiors reflect a laboratory married with a museum, in a grid of glass podiums accompanied by low hanging pendant lamps. “We wanted to illustrate dimensions of observation and experimentation by combining clinical materials and theatrical lights. Inspired by labs and ateliers, the intention is to make the audience investigative and engage with the process of how to find formulas for beer success,” says Form Us With Love.From commodities to artisan styles, the beer exhibition will bring you the history, culture and tradition of Swedish beer making. With the emphasis on elements and formulas, a variety of characters, properties and stories will unfold. In collaboration with experts such as Nadja Karlsson from Spritmuseum and the celebrated sommelier and journalist, Alf Tumble, the exhibition is also filled with practical advice on how to best pair your favorite beer with a meal. “During the exhibition we will host beer tasting seminars, where you get the chance to try oddities such as sour-beer and the world’s strongest beer,” says Nadja Karlsson, beer expert at Spritmuseum.Press Includes: Domus, Form Us With Love: BeerLiving Corriere, Una Birra allo SpritmuseumDezeen, Form Us With Love hops onto craft beer trendwith laboratory-inspired exhibition Fast Company, A Museum Where You Can Go To Drink BeerLSN Global, Exhibtion Takes a Sceintific Look at Craft Beer Brewing <img width="670" height="887" width_o="670" height_o="887" src_o="https://cortex.persona.co/t/original/i/4a95e1c179ac865734b99acffc4d6f084d42c5d17ccf810790bc5843455e144c/Spritmuseum-FUWL-4_670.jpg" data-mid="183051" border="0" /><img width="670" height="502" width_o="670" height_o="502" src_o="https://cortex.persona.co/t/original/i/7ed87c1304034414e1df41b8f6286c7ef869f95b9ad8c8e5e82a079e9126862d/151011-image-04-v2-1200x900_670.jpg" data-mid="183048" border="0" /><img width="670" height="502" width_o="670" height_o="502" src_o="https://cortex.persona.co/t/original/i/2ca8bf892d37a98fdd30dda64832733e3a5353a4543935f916db6edbd7828270/Spritmuseum-FUWL-6_670.jpg" data-mid="183049" border="0" /> Lia Forslund Form Us With Love: Beer ExhibitionIn a country where the numbers of breweries have doubled year-on-year, differentiation is key. It is precisely why a...