Retro style + futuristic touch
Dzmitry Samal
Contemporary designer Dzmitry Samal creates designs which combine a retro style along with a futuristic touch; what he calls the “New Retro-Futurism” as it bears elements from both. Firmly believing that the future for design is a combination of past experience and heritage which is carefully combined with today’s advanced technology. Samal is a visionary who is a “keeper of traditional creative approaches but with the very contemporary way of thinking and usage of technology.”
Pettersen & Hein’s
Latest Design Works Are More Facetious Than Ever
Pettersen & Hein
IMAGES Anders Sune Berg
WORDS Steph Wade
Design or art?
What happens when design is no longer comprised by function, but longs for the aesthetic and ethical freedom of art? American artist Richard Artschwager once said, “If you sit on it, it’s a chair. If you walk around it and look at it, it’s a sculpture”. Some objects invite for different ways of living and using a space by paying homage to materials, color and form rather than functional use, thereby taking on a clear unique, bold position, the end-result often being intriguing and extraordinary. When boundaries between design and art are effaced potential for magic occurs.
Key word：
Personified furniture piece；facetiously
Materials：
stacked concrete blocks and bent aluminium,
The color is beautiful I also want to know how to make this.
Stéphane Mouflette
Lampes à Jouer collection employs crane-like wooden structures to suspend light bulbs. Bulky wooden blocks exaggerate joints while bright greens and yellows accentuate exposed wires – somehow resembling mousetraps. Each lamp has its own complexity of tubes, painted wood and extruded latches. The cabinetmaker’s first foray into product design blurs the line between model making and finished pieces.
The collection is inspired by lab-based devices, such as microscopes, that direct light in defined paths. Projecting rays of light on different backgrounds, Mouflette studied its behaviour and explored different modular arrangements. Ten initial models were developed simultaneously in his workshop – Mouflette tinkered with materials first before drawing. The three final lamps reflect the carpenter turned designer’s spontaneous, almost anarchist, approach.
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