Milan 2015 | The Viaduct Review

‘Our review this year is a little different. Rather than survey the main new releases, we have chosen instead to focus solely on the products we

feel are most worthy of your note and attention.’

Hello again,

Almost every review of Salone Del Mobile begins with a statement about it’s sheer scale and the immense number of products launched. This is undoubtedly true, and the idea of what Disegno recently termed ‘brute proliferation of the new’ becomes increasingly unpalatable for many, us included.

The colossal size of the fair combined with the marketing approach of many companies leaves little time and scope for genuine reflection. Complex installations, garish gimmicks (and often garish products) tend to scream loudest - demanding attention and their moment of coverage, then instantly forgotten.

As a company, we feel Viaduct has always championed the exact opposite of this approach. We believe passionately that furniture is not fashion, it is not disposable and that it should be designed in dialogue with modern living, not just as commodity.

The release of Hella Jongerius’ manifesto this year chimed with us, as with many others in the industry. We believe as an industry we can and should do better to address, economic, environmental and social concerns. We must be honest too, we are of course a commercial showroom, but we have enjoyed success over 25 years with careful curation, appreciation of good design and a commitment to bringing those qualities to the market.

Bearing in mind all the above, our review this year is a little different. Rather than survey all the main new releases, we have chosen instead to focus solely on the products we feel are most worthy of your note and attention. We have selected the products that did not scream loudest but instead shone through based on merit, quality and thoughtfulness of design.

We believe each and every product included in this review can stand and justify it’s existence, be it through innovation, adaptation, or more simply the quality of the craftsmanship and the timeless nature of it’s design. In fact, the very best of the products we’ve selected embody all of these traits.

As usual the Salone Del Mobile courts controversy and criticism, a lot of it warranted, but we believe that if you look closely and beyond the hype there was plenty to champion. And you’ll find it all in the following pages.

Best wishes and we hope you enjoy the review,

From all of us at Viaduct.

‘The pressure to shock and awe had clearly become too much for some companies.’

It was an interesting year in terms of furniture releases. The past five or so years has seen a shift back from production ready launches to a more cautious showcasing of prototypes, using the fair and its visitors as a testing ground.

Frustrating as it can be to see brilliant new pieces that won’t be available until the end of the year (or in some cases 2016!), it is also very much a positive, minimising risk for companies and environmental waste. It also means that some of truly genuine turkeys will never make it into production - no bad thing.

This cautious approach remained present this year, but what we also saw was a heavy reliance on ‘heritage’ especially from major Italian brands, many of whom had stands that looked more like museums. Of course this offers a chance to reflect on great designs of the past - and we feel that the rediscovery and appreciation of an existing piece is just as important to us as hunting out the new.

However there was a lingering sense in some cases that perhaps many companies didn’t have as necessarily a fantastic heritage as they claimed, and even more sadly in some cases, this approach only further highlighted a confusion or weakness in their current product range and development. A lot can be learned here (sorry Italy) from the Scandinavian approach, whilst many of the big Scandi brands were notably absent this year, those who did show, like Carl Hansen, had articulate displays nodding to heritage but very much focused on how they sit well with contemporary living.

Elsewhere the pressure to shock and awe had clearly become too much for some, companies such as Kartell and Edra had stands so glistening, they made you dizzy if you stayed longer than ten seconds. And the Moroso stand was so cramped with newness it was almost impossible to make sense of. We should probably add here that the Moroso showroom was the complete opposite of this, focusing solely on their pieces by Jörg Schellmann, juxtaposed with work by artists such as LeWitt, Gillick and Judd. This simplicity of message worked both aesthetically and intellectually and was for us one of the better sights in the city.

But now for the positive. There really were some fantastic new products launched this year. Certain designers like Jasper Morrison and the Bouroullecs appear several times in this review; and that’s no accident. We felt they had worked closely with design teams across several major brands and delivered products that were not just aesthetically pleasing, but original, offering new approaches to design problems posed by their brief, be it sustainability, aesthetic, transportation or cost.

They like the others chosen gave us a reason to smile and appreciate, and you’ll see why in the following pages.

FURNITURE

Faylandby David Chipperfield for e15

David Chipperfield’s first collaboration with e15 has resulted in a family of products inspired by a table design originally conceived for a home in the English countryside. Fayland is a solid wood table available in both walnut and oak

Click here for more information.

Fawleyby David Chipperfield for e15

A solid wood bench designed to work as both standalone or alongside the Fayland table. We like the simplicity and timelessness of it’s form that marries the best of e15 with Chipperfield’s vision.

Click here for more information.

Langleyby David Chipperfield for e15

Suitable for use as either a stool or side table. Langley works as a complement to Fayland and Fawley but also works beautifully on its own. We see it as a linear alternative to the Backenzahn.

Click here for more information.

Malta Steelby Naoto Fukasawa for Maruni

Until now, Maruni has focused solely on creating wooden furniture, but for the first time steel has been introduced to the collection.

Malta Steel has a slender profile with a pared-down, sharp image. The black lacquered steel provides an attractive contrast with the pure wood tabletop, which will grow richer as time passes.

Click here for more information.

Botanby Jasper Morrison for Maruni

Shown here in the cedar wood version which is suitable for both indoor and outdoor use, this new backless version of the Botan is a nice addition to this simple range, used by Morrison himself in his garden.

Click here for more information.

Kinesit by Lievore, Altherr, Molina for Arper

Technically launched in Cologne, but now in production, it is so ingenious it had to be included in our review. Why so good? The answer is that all the mechanisms have been hidden internally allowing it to have a sleek silhouette whilst retaining the functionality and support of a traditional task chair.

Click here for more information.

Alfi chair + Stoolby Jasper Morrison for Emeco

Emeco are a company who continue to please. They kept their stand simple this year focusing on one clear message; the Alfi family.

Recognisably Morrison in aesthetic, and incredibly comfortable. The real genius is in the use of materials. The shell is made from 100% reclaimed post-industrial waste (92.5% polypropylene combined with 7.5% wood fiber). A beautiful, humble design paired with sustainable materials, All round win.

We hear that the material still needs approval for sale in the UK, but Emeco are working on it. We’ll keep you posted.

Pilotby Barber and Osgerby for Knoll

Pilot is an innovative look at the lounge chair, distinctive because of it’s cast aluminium t-bar frame (shown in their sketch below) that creates strength and flexibility whilst also creating a floating effect in it’s silhouette. The chair is also flat pack for ease of transportation. It’s really rather clever, we like it a lot and it sits perfectly alongide Knoll’s existing classics.

Click here for more information.

Yard by Stefan Diez for Emu

This year was good for outdoor furniture generally, but Yard, now extended into a family caught our eye because of it’s patented special construction that holds the webbing in place to the frame in a discreet and natural way.

It’s yet another clever little detail by designer Stefan Diez, whose work with e15, Wilkhahn and Hay we really admire. It’s aluminium frame means it is also incredibly light and thus easy to store.

Click here for more information.

Officina Chair and Stool by Ronan & Erwan Bouroullec for Magis

New additions to the Officina range from the Bouroullecs. If we are totally hones this chair is slightly remisiscent of their Uncino chair for Mattiazzi in form, but uses the Officina’s characteristically iron forged leg detailing.

We like the way that the range explores working with an ancient process such as iron forging to create a new contemporary product. Each piece is also slightly unique whilst still being mass produced.

Click here for more information.

Kelly familyby Claesson Koivisto Rune for Tacchini

Tacchini seem to be coming into their own more and more of late. The Kelly has had an update so is now available in a brass frame finish. It has a delicateness that is rare to see in a Lounge Chair. The new table to accompany the range takes the language of Kelly through it’s frame.

Bellevilleby Ronan & Erwan Bouroullec for Vitra

This is a sort of ‘Bouroullecs do Monoblock’ chair. The polyamide frame curves and supports the shell which is available in variety of finishes.

Click here for more information.

Stampaby Ronan & Erwan Bouroullec for Kettal

The Bouroullecs say of this outdoor chair: “Our first idea was to make an aluminium chair that was both sturdy and delicate at same time. A chair that could assume the passage of time.”

It’s lightweight aluminium frame is made using several industrial techniques including injection moulding and hydroforming.

Illumby Marc Merckx and Pieter Maes for Tribu

The Illum family is deisgned by Merckx and Maes who met whilst designing furniture at Vincent Van Duysen Architects. It references classical scandinavian shapes but using double powder coated aluminium to make it suitable for use outdoors.

Click here for more information.

Icaro 15 by Caronni-Bonanomi for Desalto

You might wonder what is so remarkable about a minimal slim white table, but what we loved about this piece by Caronni-Bonanomi is the discreet drawer storage that goes deep into the underside of the table and sits perfectly flush when closed.

Clayby Marc Krusin for Desalto

Clay’s minimal geometric form is the result of an experiment into using the smallest possible surface area for the top of the table base without compromising on stability. It was only possible through use of a specially designed connector that is used in this piece.

3˚Regalby Aero Architekten for Zeitraum

This solid wood shelving is characterised by it’s distinctive curvy edges that lock the horizontal panels into place without using glue or screws.

Click here for more information.

Scribbleby Front for Moooi Carpets

Moooi have launched a sister company Moooi Carpets, which can create photo-realistic rugs and even full width carpet using the latest print technology.

For the initial collection they have enlisted the likes of Front to create a series of bold prints like the Scribble range seen to the left here. Whilst it is in its early stages, it is an interesting process that offers many possibilities.

Coppélia Light and Shift Lounge Chair All by Moooi

Moooi had a characteristally extravagant set up in Milan this year. For us the gem amongst their new releases was the Coppélia light by Arihiro Miyake, it’s delicate frame mimicking the traditional chandelier but with a distinctly contemporary LED twist.

We also loved the Shift Lounge Chair by Jonas Forsman. What makes this chair so clever is it’s foldability, making it easy to transport and store. Once opened however it’s stretched upholstery and full seat give it all the comfort of a traditional lounge chair.

Nolita, Intrigo and Nemeaall by Pedrali

Three new releases by Pedrali caught our eye this year. The Italian company had a clear vision for their sizable stand, allowing you to properly focus and judge the new pieces.

Pedrali’s strength lies in their pricing, making it an affordable option especially for large projects where contract performance is needed at the right price point. Nolita by Simone Mandelli and Antonio Pagliarulo is a delicate update of the metal garden chair archetype. Intrigo by Marco Pocci and Claudio Dondoli has a surprisingly fluid and organic form made from lightweight die cast aluminium that is well proportioned and comfortable. Nemea by Michele Cazzaniga and Simone Mandelli combines die cast aluminium and plywood to great effect with this simple gently curved design.

‘The industry is finally coming to grips with LED tech and where featured it is increasingly mature and refined.’

2015 is a Euroluce year. This biannual lighting fair tends to dominate the fiera landscape when in town. But this year was a bit of an anomaly, perhaps due to many of the notable Scandinavian brands choosing to release products earlier in the year during Stockholm Design Week, the halls felt much quieter than previous years.

We also found that much like in the furniture halls, some of the bigger Italian brands had gone big on ‘heritage’, building immense and in some cases confusing stands that gave you little to linger over.

Beyond the behemoths however were some fantastically beautiful pieces on display. As with furniture the same designers crop up again and again, Daniel Rybakken for one. Michael Anastassiades too remains for us one of the most talented lighting designers working today; his pieces for both Flos and his own eponymously named company were some of our favourite pieces of the week. Best in show however goes to Jasper Morrison (again! I know, we’re sorry!) whose Superloon floor light became our most coveted product of the entire fair.

Flos also offered perhaps the best microcosm of the week itself, managing to be at once the best and potentially worst thing at Euroluce. On the one hand it’s slick Ron Gilad designed stand offered undoubtedly some of the best pieces in the halls, more on which later. But, and this is a big but, it also had a gimmicky, misogynistic marketing video to launch Philippe Starck’s disappointing offering. As a quick aside, designers and companies please take note: If you need to resort to the (in this instance very literal) objectification of women to flog your product, you should probably bin the idea at napkin stage.

Other notable offerings came from across several stands, Davide Groppi, has added even more poetic minimalism to the collection, Ingo Maurer had some clever updates and we were interested to see new Copenhagen based brand Karakter - we suspect you’ll be hearing more from them over the coming year.

Overall we felt the industry is finally coming to grips with LED tech and where featured it is increasingly mature and refined. If there were any general aesthetic trends in particular, for us at least it was all about circles, spheres within spheres and fine lines. Pared down, graphic forms dominated our final selection as you will see in the following pages.

LIGHTING

Superloonby Jasper Morrison for Flos

Our favourite new piece of the week, this light ticks almost every box for us. With it’s reference to classics like the Fortuny, as well as the moon, the simplicity of form makes it truly elegant. Function wise the LED ring gives great quality of light and is adjustable in both intensity and warmth. The light also swivels 360˚ within the frame.

It is poetic, visually stunning and showcases the absolute best of Jasper Morrison’s ‘supernormal’ design approach. We can’t wait for it to go into production, although we hear this won’t be till 2016!

Click here for more information.

Serenaby Patricia Urquiola for Flos

We’ll let Urquiola explain this one for you as she has done it so well: “Serena is a light that wants to fit in. Neither brash nor imposing, it is domestic by nature. It is lightweight and plays with the diffusers, reflecting or allowing the light to pass through. It is pure, calm, dry, light and flexible. It is inspired by the natural world, by leaves of different shapes and colours, in floor-standing, table, applique and even branch-like suspension versions”. Patricia Urquiola

Click here for more information.

Counterbalance Floorby Daniel Rybakken for Luceplan

This floor light addition to the Counterbalance range caught our eye on the Luceplan stand. The die cast zinc-alloy base keeps the stem vertical and works in perfect proportion to the body and shade. The head can be locked into place at any point along the stem for ease of use.

Click here for more information.

Stochasticby Daniel Rybakken for Luceplan

“Classic chandeliers are often constructed with a strict symmetrical repetition of a detailed object, like a cut crystal prism. With the Stochastic project the object that is repeated is simplified, but by hanging in a seemingly random orientation in space, a new complexity is created.” - Daniel Rybakken

The spheres contain an LED light source which is then ‘bounced’ around inside the metalized or opal borosilicate glass casings. When hung in multiples this creates a complex interplay of light.

Click here for more information.

Masaiby Maurizio Mancini for Davide Groppi

Masai is a tribute to Alberto Giacometti and the adjustable light source almost floats delicately in space. Supremely elegant, we liked this piece a lot.

Cathodeby Omar Carraglia for Davide Groppi

The Cathode suspension light evokes the shape of a classic obselete bulb which has been reborn with use of LED technology. It looked truly beautiful on the stand. Again it was a good example of companies getting the quality of LED light exactly right.

Picnicby Omar Carraglia for Davide Groppi

Picnic is re-visitation of the classic Japanese lantern. There were quite a few lights similar in form to this in the Euroluce halls, but this was our favourite example. Battery powered it is, hand-held, transportable and can be used indoors and outdoors.

Max Kugler LEDby Ingo Maurer and Team for Ingo Maurer

Max Floor is an adaption of the Max Kugler table lamp and the design has been updated along with the Wall light to include LED technology. The three fine wires which connect the reflector to the cylinder that carries the light source are a great detail: some light is emitted upwards, while the slightness of the wires creates an exceptionally airy impression. This is a great example of a product once loved, that slips from the memory and then is given a new burst of life.

Bolle Frostedby Giopato and Coombes

We discovered Giopato and Coombes a while back at Designersblock and loved the orginal Bolle light with it’s transparent spheres. This frosted update is just as beautiful. We also love the way the duo work so closely with traditional craftsman for manufacture, their contribution to keeping traditional Veneto glassblowing skills alive.

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Pinby Ichiro Iwasaki for Vibia

We love the form follows function approach of this light; The physical elements of the collection have been re-imagined to address the new realities of LED technology. The base, a rounded metal volume becomes a counter weight, the supporting column a slender pin, while the shade responds to the scale of the LED diode, because it simply doesn’t need to be any larger. On the stand were table, floor and wall versions of the lamp.

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Lab and Lab Steelby Andrea Kleinloog for Karakter

Lab and Lab Steel are inspired by traditional scientific tools of Andrea Kleinloog’s parents, their functionality transported to the form of the table light. Clamps and levers are used to direct light. We felt there was something incredibly timeless about the design and use of materials.

Click here for more information.

Arne Domusby Santa & Cole

Arne Domus is an aluminium injection hanging lamp, reminiscent of old industrial lamps, but smoothed, refined and given an LED light source. Perfect for use in multiples and as a standalone piece, we also like the choice of finishes.

Rest, Somewhere in the Middle and Tip of the Tongue Wallby Michael Anastassiades

Through a series of table lamps, Somewhere in the Middle, To the Top and Rest, Anastassiades pays homage to Carl Jacob Jucker and Wilhelm Wagenfeld’s MT8 lamp (also known as the Bauhaus lamp).

It was designed in 1924 and is one of the purest expressions of Bauhaus theory. The “borrowed” cut opaline sphere rests on different configurations of identical brass sections, arranged like perfectly balanced building blocks that are about to be knocked off and tumble down.

An existing Viaduct favourite Tip of the Tongue has also now been adapted into a wall/ceiling version.

Mobile Chandelier 7, 6 and 9 by Michael Anastassiades

The new Mobile Chandeliers are a natural evolution of the series, first designed in 2008 (Mobile Chandelier 1) with an introduction of curves to the existing linear language. All pieces are individually “tailored” with all elements, perfectly balanced in total equilibrium.

Bobby Michael Anastassiades

“Bob” is an inverted tear drop resembling a weight, suspended from a string, that is often used as a vertical reference line. It is a hypothetical tool for building measurements, other than just a simple pendant that hangs to illuminate a space. With it, Anastassiades progresses in his exploration of materials; their qualities and capabilities. The “Bob” family comes as pendants, wall or ceiling mounted, with braid or rod stem.

Nod by Daisuke Kitagawa

Spotted at Satellite, this protoype by Daisuke Kitagawa appealed to us on the basis of it’s clever form, the head contains an internal mechanism allowing it to rotate 360˚, thus enabling complete control of the light direction. Kitagawa had several notable pieces on the stand and we think this is a name you should expect to hear more from in the future.

‘As is often the case in the city, the spaces steal the show somewhat. Installations held in imposing spaces such as Palazzo Litta and Crespi

as well as the Orto Botanica di Brera left us peering at ornately painted ceilings and taking in dramatic greenery.’

As with the furniture and lighting sections we’ve kept this section short and sweet this year, focusing on the installations and exhibitions that really left an impression upon us.

As is often the case in the city the spaces steal the show somewhat, installations held in imposing spaces such as Palazzos Litta and Crespi as well as the Orto Botanica di Brera left us peering at ornately painted ceilings and taking in dramatic greenery as well as trying to keep our focus on the task at hand.

Much of the city events had one eye on design week and another on the Expo, also taking place in Milan this year. It’s food theme was carried through lots of the work at student shows and elsewhere. Design Academy Eindhoven took the opportunity to show for the first time the work of it’s ‘Food non Food’ Department, entitled EAT SHIT. Exhibits ranged from the sublime to the ridiculous and if the aim was to provoke debate and amuse it suceeded, capturing much of the social media coverage throughout the week.

Fabrica also found a warm cosy spot in our hearts. We are fans of the collective generally, but their two shows (both for big brands Airbnb and Daikin respectively) offered warm, gentle experiences that provided some nice respite from continuous new product onslaught.

For us this was perhaps more of a Fiera year. We found much in the halls to ponder over and the city, whilst diverting and enjoyable, did not leave us with as much of a lasting impression as in previous years.

CITY

Norwegian PresenceVentura Lambrate

By far and away the slickest show in Lambrate this year, Norwegian Presence showed a collection of yes... Norwegian furniture, lighting and accessories by nine designers.

Government funded, it was a beautiful and coherent exhibition that showcased some great pieces by Andreas Engesvik, who you may know as co-designer of e15’s Colour light (with Daniel Rybakken) as well as Runa Klock’s ‘Core’ a natural stone table light. Another favourite for us was Marte Frøystad’s ‘Flip It’ tables, simple geometric linoleum tables which were perfectly proportioned.

Click here for more information.

Nendo Works 2014-2015

Nendo, a perennial Viaduct favourite did not disappoint. Surely the most prolific design group in the world, the amount of product on display at their Nendo Works show was slightly terrifying, but also beautifully curated.

As ever their poetic and minimal approach to design briefs offers much to delight. Their collaboration with Glas Italia has gone from strength to strength with new pieces such as Layers and Soft. These are statement products make no mistake about that, but in the right space, with the right intention, they have the capacity to shine.

Clockwise from top left: Nendo sketches for their Rain Bottle project which considers the relationship between design and language. In Japanese there are dozens of word for rain, all with subtle nuance, each bottle celebrates one of those words. Samidare for example means

consistently falling spring/summer rain. Below right is ‘Soft’ for Glas Italia. Frosted glass is cut at a 45 degree angle and printed with bright colours to create a glowing effect. We also loved the textural form of their Alcantara ‘Wood’ table.

Garden of Wonder Orto Botanico di Brera

Tucked behind the Accademia di Brera in the centre of Milan is a large hidden botanical garden. Within this oasis was an installation sponsored by Be Open exploring scent and perfume. Designers such Hayon, Massaud and Nendo were each given a perfume to inspire them. Nendo responded to their Moscovan classic perfume with these bottles (pictured left) that reflect the winters and summers of Moscow through graduated colour.

Austrian Design Pioneers

Impressively housed in a hangar like installation. This exhibition by Advantage Austria showcased work from the likes of Adolf Loos through to recent graduates. It was a great reminder of Austrian design and it’s importance.

Favourite pieces here included Big-Game’s Hammer Lamp for Wiener Silber. The foot of the lamp is a technical component that includes a compact LED light source and holds a solid silver or gold-plated silver reflector that can be tilted in order to adjust the angle of the light. The reflector is made from a hand-hammered sheet of solid silver – a technique called martelé – and it gives the light a certain warmth.

We also liked Nina Mair’s Tilda stool and tables. The round brass profile takes the form of a simple stool for everyday use, which is robust despite its delicate appearance.

Max Lamb - ‘Exercises in Seating’

Max Lamb also had a stunning retrospective show at Garage San Remo entitled ‘Exercises in Seating’. Ten years of work displayed simply in a circle, showing his progression and exploration of materials and concept. In a year where many have questioned why design at all, we felt this show answered this question. His affinity with materials and locality always creates new and interesting results, offering a glimpse into the future of commercial design if such an approach was adopted into the mainstream.