ELLE Decoration (UK) - - Feature -

The nat­u­ral pat­terns of rock have been el­e­vated into Wood’s bril­liantly bold, eye-catch­ing rugs

For the past nine years, mul­ti­dis­ci­plinary de­signer Bethan Laura Wood has been work­ing on her on­go­ing ‘Su­per Fake’ se­ries. There were the ‘Moon Rock’ ta­bles, in­spired by the so­lar sys­tem, which used mar­quetry to cel­e­brate lam­i­nates; ‘Par­ti­cle’, a range of fur­ni­ture in which faux wood cre­ates sur­face pat­terns; and the ‘Hot Rock’ cabi­net, which added bolder tones to her dis­tinc­tive pale palette. In 2018, for the first time, she trans­lated this rock mo­tif into a se­ries of hand-knot­ted rugs for Cc-tapis, made by Ti­betan crafts­peo­ple. ‘Cc-tapis fell in love with my rock draw­ings, and they were so ex­cited about bring­ing them into the lan­guage of knot and weave,’ says Wood, who made dig­i­tal ver­sions for the weavers to work from. ‘The ar­ti­sans broke down the dif­fer­ent lam­i­nate lay­ers and re­built them with lay­ers of yarn.’ Hi­malayan wool, pure silk, linen and re­cy­cled silk from In­dian saris were used in var­i­ous thick­nesses: some lay­ers were trans­lated with su­per-del­i­cate yarns, oth­ers with thicker fi­bres. Wood is par­tic­u­larly ex­cited about re­ceiv­ing this ELLE Dec­o­ra­tion Bri­tish De­sign Award: ‘It’s my first col­lab­o­ra­tion with Cc-tapis and I loved it so much.’ Look­ing ahead, she has pro­duced an im­mer­sive sculp­ture in col­lab­o­ra­tion with Mai­son Per­rier-jouët for De­sign Mi­ami and teamed up with porce­lain brand Rosen­thal on a project for next year based around the Bauhaus move­ment. bethanlau­ra­;

Linley’s bound­ary-push­ing kitchen de­sign gives clas­si­cal mar­quetry a highly con­tem­po­rary spin

Time-hon­oured cabi­net-mak­ing tech­niques have been a Linley trade­mark since the com­pany’s be­gin­nings 33 years ago. So, when founder David Linley tasked the de­sign team with rein­vent­ing an English oak kitchen for the re­fur­bished show­room in Lon­don’s Bel­gravia in 2016, they de­cided to ex­plore how mar­quetry could be de­vel­oped us­ing technology to cre­ate a 3D rip­pled ef­fect – a first for cab­i­netry. ‘ We’ve been play­ing with th­ese ideas for years, try­ing to com­bine tra­di­tional crafts­man­ship with 21st-cen­tury ideas,’ says Linley, whose team took in­spi­ra­tion from ‘The Quan­tum Screen’ they had de­signed for the Mas­ter­piece Lon­don art fair a few years ear­lier. The out­come is ‘The Quan­tum Kitchen’ (‘The James Bond ref­er­ence is some­one’s joke about my life­style,’ he says). The up­per cab­i­netry has light oak ve­neers, based on clas­si­cal par­quetry and an­gled at 45 de­grees, while the lower sec­tion show­cases 3D quilted cab­i­netry. The kitchen also fea­tures ‘The Quan­tum Bar’, which has a char­coal oak and cop­per ex­te­rior and mir­rored in­te­rior to re­flect crys­tal­ware. Linley, whose key cri­te­ria in a kitchen are ‘sim­plic­ity, ele­gance and so­phis­ti­ca­tion,’ says it is ‘rather ex­tra­or­di­nary’ to have won an ELLE Dec­o­ra­tion Bri­tish De­sign Award. ‘A kitchen has to be com­fort­able and not too com­pli­cated. It needs to be a place you can feel at home and re­laxed, but also some­where a chef can use with great plea­sure.’ davidlin­

This col­lab­o­ra­tion turns heads with its pared-back aes­thetic and so­phis­ti­cated crafts­man­ship

Two years ago, ar­chi­tec­ture and de­sign stu­dio Fos­ter + Part­ners teamed up with fur­ni­ture maker Bench­mark to pro­duce a be­spoke oval kitchen ta­ble as part of a project for the Mag­gie’s Manch­ester cancer cen­tre. ‘It was im­me­di­ately ap­par­ent that ev­ery­one loved the ta­ble; no-one could walk past it with­out reach­ing out to stroke it,’ re­calls Bench­mark founder Sean Sut­cliffe (above, far left). ‘ We dis­cussed with Fos­ter + Part­ners whether we could de­velop the essence of this ta­ble into a range of prod­ucts.’ The defin­ing qual­ity of that ini­tial de­sign – namely the gen­tly rounded sur­faces – is ap­par­ent in ‘Ovo’, a range that in­cludes sev­eral ta­bles, a bench, a stool, shelv­ing and a pair of side­boards. ‘ We wanted to cre­ate fur­ni­ture that has tac­tile, soft and vis­i­bly crafted sur­faces,’ agrees Mike Hol­land (above, sec­ond from right), head of in­dus­trial de­sign at Fos­ter + Part­ners. ‘ Work­ing with Bench­mark, who are highly skilled crafts­men, we were able to re­fine the de­sign into some­thing very sim­ple, but which peo­ple are drawn to.’ More ‘Ovo’ prod­ucts are in the pipe­line (‘ Vari­ants of the stool, pos­si­bly a chair – it’s all in the early stages,’ says Sut­cliffe) but, for now, both are de­lighted that the range has won recog­ni­tion. Sut­cliffe con­cludes: ‘Many awards feel com­mer­cial, but the ELLE Dec­o­ra­tion Bri­tish De­sign Award is truly authen­tic.’ bench­mark­fur­ni­; fos­terand­part­

Broom’s ce­les­tial lights – in­spired by a night of stargaz­ing – are stel­lar in both senses of the word

Prod­uct de­signer Lee Broom has re­turned to his roots with his first light­ing col­lec­tion for two years. ‘Light­ing is how I started and it’s the thing I al­ways go back to,’ he con­firms. The new ‘Observatory’ col­lec­tion – which in­cludes the ‘Orion’, ‘Aurora’, ‘Tidal’, ‘Lens Flair’ and ‘Eclipse’ ranges – be­gan with pro­to­types of spher­i­cal sil­hou­ettes, be­fore an evening spent stargaz­ing with a friend in the Cotswolds prompted a more fo­cused look at ha­los of light and the idea of cre­at­ing con­stel­la­tions that could be con­nected. ‘Eclipse’ con­sists of a ring of LEDS hid­den within the cir­cum­fer­ence of an acrylic disc, which emits the light in a halo ef­fect, much like the moon. The cir­cles of light (the num­ber de­pends on whether the light takes the form of a pen­dant, chan­de­lier, ta­ble lamp or sur­face light) in­ter­act and dis­sect with a pol­ished stain­less-steel disc. ‘As you walk around the piece, the pol­ished metal acts as a mir­ror. There is a re­flec­tion of the whole cir­cum­fer­ence of the light be­fore it dis­ap­pears, ha­los and ap­pears again. It’s a very con­tem­po­rary yet quite play­ful de­sign: ini­tially, you’re not sure if you’re look­ing at clear glass, so there is an op­ti­cal il­lu­sion to it,’ ex­plains Broom, who will be re­veal­ing new col­lab­o­ra­tions next year, one of which will be an­other light­ing range. ‘Th­ese pieces are chal­leng­ing to pro­duce, so win­ning the ELLE Dec­o­ra­tion Bri­tish De­sign Award is an hon­our for the team, who all work re­ally hard. It’s great to get a seal of ap­proval.’ lee­b­

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