Le cercle #17

V e n i c e T a l k i n gT h e l a n g u a g e o f m o d e r n a r c h i T e c T u r e

B e h i n d T h e s c e n e sa T B & B i T a l i a h Q

i n T h e c l o s e Ta p e e k i n s i d e T h e w o r l d ' s B e s T w a r d r o B e

T h e h i g h l i f ea l p i n e r e T r e a T s f o r T h e a - l i s T

l o n d o n c o o lT h e B e s T o f f r i e z e 2 0 1 4

publisher:

City News Privilege

on behalf of Le Cercle Hitti

editor in chief :

Anastasia Nysten

graphic design:

Genia Kodash

printer:

CHAMAS

www.3achamas.com

contributors:

Owen Adams

Vincenzo Albano

Miriam Dunn

Michelle Frangieh

Merlin Fulcher

Nour Harb

Nadine Khalil

John Ovans

India Stoughton

Rich Thornton

advertising:

[email protected]

t: +961 3 852 899

a w o r l d - c l a s s w i s h - l i s t

let le cercle fill you with inspiration and provide you with

the ultimate wish-list. for our 17th edition we have pulled out

all the stops to compile a compelling gift selection, and

while on a high, the ideal slopes for a ski getaway.

elsewhere opulent oriental hotelier raffles has taken our breath away with its latest project in istanbul: a hotel with a bird’s eye view of the Bosphorus and the central bazaars from an oasis of calm within the ultramodern zorlu center. in Britain’s capital le cercle ventures to the heart of the metropolis for a visit to frieze london while at the city’s Barbican we revel in a retrospective of the enfant terrible of avant couture, Jean-paul gaultier, and at the Bulgari hotel we sample alain ducasse’s new rivea restaurant. we zoom in for a look at citterio’s ground-breaking Backstage wardrobe concept for maxalto, a made-to-measure rotating portal into a private universe where everything is accessible simultaneously. B&B italia and maxalto are successfully redefining space and blurring the boundary between outside and inside, and the renzo piano-designed test lab and international showroom near milan is where the vision is realised.finally, roche Bobois pays homage to Jean cocteau’s artistic legacy, converting his original drawings and manuscripts into embroidered cushions and elaborate throws and upholstery. here’s what dreams are made of and may all your dreams come true at this special time of year.

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PARK VIEW BUILDING, BOULEVARD DU PARC - BEIRUT T. +961 1 99 21 16 CHARLES MALEK AVE., ELLIPSE CENTER - ASHRAFIEH, LEBANON T. +961 1 20 00 01

WWW.WSAL A MOON.COM

wss_earrings_21x27_wss_earrings_21x27 8/22/11 3:02 AM Page 1

l’art de vivreby roche bobois

See www.roche-bobois.com for collections, news and catalogues.

BEIRUT DOWNTOWN33, Rue WeygandTel. +961 1 985 888/999

European manufacture.

Chronos dining table, design Giusy Mastro.

Chistera chairs, design Marcello Ziliani.

Pattern sideboard, design Cedric Ragot.


See www.roche-bobois.com for collections, news and catalogues.



Chronos dining table, design Giusy Mastro.

Chistera chairs, design Marcello Ziliani.

Pattern sideboard, design Cedric Ragot.

ironVoTiVessTudio pols poTTen

metal, copper plated

and gold leaf coating

Ø 11 x h. 11cm

pols poTTen

heliUM,douBle-laMPBlown glass, leather, wood

h. 35 cm

Vanessa miTrani

gRaViTY, cuBescUlPTUReBlown glass, marble

h. 45 cm

Vanessa miTrani

BallBlown glass, marble

h. 30 cm x Ø 35 cm

Vanessa miTrani

accessoRies

The winTerwishlisT

goes window shopping for

some of this season’s must-have purchases.

feTishcoUPeBlown glass, porcelain

h. 28 cm x Ø 17 cm

Vanessa miTrani

roseauVasenoé duchaufour-lawrance

ceramic vase with brilliant slip

small: h. 450mm x Ø 22 cm,

large: h. 60 cm X Ø 29 cm

ligne roseT

BlUeTTecollecTion – doTToedoTTinoVases

paola naVone

h. 30 x ø 12 cm, h. 35 x ø 13 cm

and bowl h. 13 x ø 23 cm.

handcrafted silk-screened decoration

with raised 980/1000 silver.

egizia

accessoRies

PeloTe – colors collecTion

Blown glass, copper

h. 20 cm X Ø 20

Vanessa miTrani

lesoiseaUxpascale mourgue

Vase in white moulded

enamelled ceramic with black motif

w. 15 cm x d. 22 cm x h. 33 cm

ligne roseT

candleholderfolding nickelBall

sTudio pols poTTen

nickel plated metal

w. 150 X d.13 X h.101 cm

pols poTTen

BlUeTTecollecTion – dondoloesBiecoVases

paola naVone

h 40 cm x ø 10 cm, h 35 cm x ø 7,5 cm,

h 25 cm x ø 10 cm, h 30 cm x ø 12 cm

and h 25 cm x ø 15 cm

handcrafted silk-screen decoration using

shiny enamels, crystal sands

and 980/1000 silver.

egizia

lacecollecTion - VaseandBowl

paola naVone

Vase: h.40 cm x ø 20cm

white triple thickness encased mouth-

blown glass. hand-crafted silk-screened

decoration with 980/1000 silver.

Bowl: h. 12,5 cm x ø 21 cm

clear glass, handcrafted silk-screened

decoration with raised 980/1000 silver.

egizia

cilindeRglass,wiskeYglass andTwohalVesBoTTle

sTudio pols poTTen

glass

h. 45 cm x ø 32, h. 50 cm x ø 47 cm,

h. 75 cm x ø 25.3 cm

pols poTTen

conicooccasionalTaBlekensaku oshiro

medea stone, black marquinia marble

or white carrara marble

s: h. 15 cm x Ø 45 cm,

m: h. 15 cm x Ø 45 cm,

l: h. 24 cm x Ø 35 cm

ligne roseT

modellwalnut, with floor stand

geneVa sound

alTdeuTschecaBineTsTudio JoB

solid pine and pine veneer, hand painted

w. 125 X d. 56 X h.174 cm

moooi

modellred, with floor stand

geneVa sound

geneVaworldradiodaB+geneVa sound

offRandeoccasionalTaBlepascale mourgue

enameled earthenware

h.38 cm x Ø 54 cm

ligne roseT

geneVamodelswirelessgeneVa sound

dado sTudio kairos

wood fibre, satin or glossy painted

w. 51.1 X d. 55 X h. 45 cm,

w. 76.5 X d. 55 X h. 45 cm

B&B iTalia

accessoRies

lighTing

RandoMlighTlaMPBerTJan poT

fibreglass soaked in epoxy resin, matt chromed steel

base, semi gloss black powder coated base (black),

matt aluminium heat sink and opal glass

Ø 50 cm, 80 cm or 105 cm

moooi

PaRachUTenaThan Yong

satin black lacquered steel wire or transparent

lacquered copper-plated steel wire.

composed of 3 pieces.

overall dimensions h. 49 cm x Ø 80 cm

ligne roseT

caMPanUle daniel deBiasi

satin lacquered textured metal structure

w. 14 cm x d. 15 cm x h. 32 cm

ligne roseT

consTrucTionlaMPlJoosT Van BleiswiJk

die cast powdercoated aluminium

m: Ø 67 cm x h. 139 cm

moooi

heracleum The Big oBerTJan poT

metal wire frame, poly carbonate

lenses ultra thin suspension wire

h.23 cm x Ø 210 cm

moooi

seaTing

BalooncollecTionflorence Jaffrain

Bi-stretch fabric cover, flexible foam shell,

filling polystyrene beads

s: h. 70 cm x Ø 50 cm

m: h. 100 cm x Ø 70 cm

l: h. 120 cm x Ø 80 cm

Younow

pradosofachrisTian werner

polyurethane foam, epoxy mat

lacquered steel base, fabric cover

medium settee

w. 200 cm x d. 100 cm x h. 87 cm

ligne roseT

cossesofaphilippe nigro

structure in mechanically soldered steel.

high resilience polyurethane Bultex

foam, clad in polyester quilting

w.175 cm x d.99 cm x h.82 cm

ligne roseT

husksofapaTricia urQuiola

Tubular steel and steel profiles, flexible

cold shaped polyurethane foam, die-cast

aluminum feet, fabric or leather cover

w. 261 cm x d. 102 cm x h. 87 cm

B&B iTalia

MeTRoPoliTan‘14JeffreY BerneTT

Tubular steel and steel profiles frame, flexible cold

shaped polyurethane foam, fabric or leather cover

w. 100 cm x d. 84 cm x h. 95 cm

B&B iTalia

TUliPaniroderick Vos

w. 44 cm x d. 42 cm x h. 85 cm

linTeloo

feBo anTonio ciTTerio

Tubular steel and steel profiles,

flexible cold shaped polyurethane foam,

fabric or leather cover

w. 25 cm x d. 75 cm x h. 77 cm

maXalTo

TaBles

hiVeaTelier oi

multilayered wood panel chromed drawn steel

frame, leather

w. 61 cm x d. 53.5 cm x h. 42.5 cm

w.58 cm x d.57.5 cm x h. 25 cm

w. 40 cm x d. 40 cm x h. 51.1 cm

B&B iTalia

coMMoncomrades - MeRchanT

neri & hu

solid birch

h.40 cm x Ø 40 cm

moooi

aReapaolo piVa

painted mdf wood fibre panel

glossy or satin

w. 108 x d.108 cm x h. 35.3 cm

B&B iTalia

isolaTaBleroderick Vos

w.170 / 220 cm X h. 32cm

linTeloo

URBanhike marcel wanders

chromed steel, decalized aluminium

wood transfer

h.76 cm x Ø 44 cm

moooi

low-TideTaBle,roderick Vos

w. 120 cm x d.120 cm x 34 cm

linTeloo

asheRanoémie rognon

solid wood structure,

toughened ‘cristal’ glass

w. 130 cm x d. 80 cm x h. 26.5 cm

ligne roseT

PaThosanTonio ciTTerio

glossy painted mdf wood fibre panel or

black shellac, calacatta, marquina or

guatemala marble top. drawn steel bright

chromed, painted or copper finish frame

Ø 43 cm x h. 64 cm

Ø 80 cm x h. 65 cm

maXalTo

accessoRies

plaTinumcollecTionfragrance note: amber, grapefruit

BaoBaB

JUnglesafariliMiTed ediTioncollecTion

zeBrino

giraffina

ghepardino

fragrance note: patchouli,

cinnamon, candied lemon

BaoBaB

BiRdonwoodframe gardeco

dialogUe gardeco

dialogUe gardeco

lespresTigieusescollecTionencre de chine

fragrance note: century wood, Jasmin

cuir de russie

fragrance note: tanned hide

pierre de lune

fragrance note: white tea, frozen mint

BaoBaB

elecTrumcollecTionkheops

fragrance note: cistus, camel leather

khephren

fragrance note: cologne, chypre

mYkerinos

fragrance note: acacia, myrrh

BaoBaB

TeamsPiRiT gardeco

Make YoURself

aT hoMe

le cercle offers up some inspiration for creating ideal interiors

alMoRaDOSHI LEVIEN

B&B iTalia

TaBanoPATRICIA URQUIOLA

B&B iTalia

TogoMICHEL DUCAROY

ligne roseT

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@-chaiRTOSHIYUKI KITA

ligne roseT

exclUsif sofaDIDIER GOMEZ

ligne roseT

PaRchUTe lighTNATHAN YONG

ligne roseT

oTToManNOÉ DUCHAUFOUR-LAWRANCE

ligne roseT

hUsk sofaPATRICIA URQUIOLA

B&B iTalia

TaBanoPATRICIA URQUIOLA

B&B iTalia

010203

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93949596

979899

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ToBi-ishiEDWARD BARBER AND JAY OSGERBY

B&B iTalia

PaPillioNAOTO FUKASAWA

B&B iTalia

flaT c. wallsYsTeMANTONIO CITTERIO

B&B iTalia

conViViUMANTONIO CITTERIO

maXalTo

010203

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diVesANTONIO CITTERIO

MAXALTO

feBoANTONIO CITTERIO

maXalTo

PaThosANTONIO CITTERIO

maXalTo

diVesANTONIO CITTERIO

maXalTo

ReciPioANTONIO CITTERIO

maXalTo

loToANTONIO CITTERIO

maXalTo

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PieT Boon Paris APARTMENT



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www.dedon.de

LE CERCLEZouk · Zouk Highway · Tel. +961 9 21 77 44/55 Beirut · An Nahar Bldg · Martyrs Square · Downtown . Beirut · Tel. +961 1 97 14 44/555

DEDON_RAYN_Le_Cercle_420x270.indd 1 20.03.14 11:44

www.dedon.de

LE CERCLEZouk · Zouk Highway · Tel. +961 9 21 77 44/55 Beirut · An Nahar Bldg · Martyrs Square · Downtown . Beirut · Tel. +961 1 97 14 44/555

DEDON_RAYN_Le_Cercle_420x270.indd 1 20.03.14 11:44

from June 26 to october 5 a ret-

rospective at maXXi in rome was

dedicated to the world-famous

designer, architect and artist

gaetano pesce—bound by the

theme of diversity, something that

along with randomness and pre-

dictability, informed much of his

work. design for pesce was never

just for design’s sake, with the

conceptual and allegorical aspect

to his work celebrated via seven

thematic paths, entitled ‘non-

standard’, ‘person’, ‘place’, ‘de-

fect’, ‘landscape’, ‘Body’, and ‘pol-

itics’. The exhibition itself was

husk gets honoursdesigned by patricia urquiola in

2011, the husk armchair received

an honourable mention from the

international Jury of the 23rd

awards of the compasso d’oro, af-

ter originally being nominated

alongside the Tobi-ishi table by ed-

ward Barber and Jay osgerby, and

Beverly chair by antonio citterio.

The husk is available in two ver-

sions: indoor and outdoor, the lat-

ter of which was first presented

during milan design week. as with

the indoor version, the husk out-

door is a semi-upcycled product,

constructed from recycled, and re-

cyclable, materials, with its com-

ponents easily separated to reduce

environmental impact. The hard

white shell – made from a resistant

‘technopolymer’ material called

hirek – which encases it is intend-

ed to reflect strength, countered

by the presence of soft, fluffy pil-

lows inside. The chair itself is avail-

able in white, black, orange, lime

green and blue painted finishes.

structured using 40 mobile panels

delineating sketches, drawings,

and original models from the

1960s right through to the pres-

ent, with visitors expected to

‘choose’ their own experience. at

the end they arrived at a piece of

pesce’s most celebrated work—

1969’s ‘up5_6’, a giant anthropo-

morphic armchair reminiscent of

a prehistoric facility goddess, typi-

cal of his ability to subvert the nor-

mative language of design by

breaking taboos, as well as of his

inference of the human body.

The handcrafted, uphol-

stered corner sofa comes in a

choice of seven colours, com-

plete with innovative relax func-

tions, while its slender legs give it

an almost surreal floating appear-

ance. aside from offering diverse

layout options, the sofa harmon-

ises beautifully with other furni-

ture from the brand, including the

rolf Benz 50 armchair and bench

with optional footrest. The rolf

Benz 950 floor cushions, together

with coffee table options and

rugs, complete the landscape.

Revolutionising roomsfive decades ago, a young ger-

man genius named rolf Benz

made it his mission to create a

sofa which perfectly fused com-

fort and function, enabling users

to discover the true art of ‘sitting

back and relaxing’.

during the years that fol-

lowed, rolf Benz’s instantly recog-

nizable, premium upholstered furni-

ture became sought after the world

over, breathing new life into both

personal and professional living

space. The growing brand flew the

flag for flexible, versatile furniture,

with its luxurious individual sofas,

recliners and occasional tables of-

fering a stylish, modern alternative

to static, traditional layouts.

rolf Benz chose to mark

its 50th anniversary this year with

a special sofa which paid tribute

to the luxury brand’s iconic 1964

addiform sofa and armchair pro-

gramme. The firm teamed up with

the designer norbert Beck to cre-

ate the clearly retro-inspired, yet

indisputably contemporary, rolf

Benz 50 sofa.

having wowed the crowds

at the 2014 milan furniture fair,

rolf Benz will now take its land-

mark sofa on a worldwide tour of

50 cities, giving admirers an op-

portunity to visualise just what it

could bring to their living room.

fRoM dUcks To décoRw o r d s

M i R i a M d U n n

fA T O u r O F

B & B I T A L I A ’ S

h e A d q u A r -

T e r S g I v e S A

F A S c I N A T I N g

I N S I g h T I N T O

j u S T w h A T

M A k e S T h e

F I r M ’ S F I N e

F u r N I T u r e S O

v e r y S p e c I A L

as a young, pioneering furniture designer

who was keen to break new ground, italian-

born Piero ambrogio Busnelli found inspir-

ation in the unlikeliest of places.

never was this more evident than

when, during a trip to a uk trade fair some four

decades ago, his attention was caught by a

rubber duck, or, more accurately, the polyure-

thane mix used to fill the inside of the bath toy.

around this time, the innovative Bus-

nelli was searching for new ways of filling his

luxury chairs and sofas. The designer believed

that polyurethane, which gave the rubber duck

its smooth curved contours, could be the filling

of the future for his high-end furniture pieces.

Back at his factory in italy, he worked to recre-

ate and fine-tune a suitable foam for his furni-

ture, using trailblazing moulds which remain a

key component of the process today.

Today, the B&B italia team continues to

push boundaries at its headquarters in nove-

drate, north of milan, creating award-winning

design furnishings for the home and commer-

cial spaces. The firm’s pieces have long cham-

pioned the made in italy brand, boasting a

combination of exceptional quality and time-

less elegance.

while a family-run enterprise, B&B italia

has constantly sought out some of the most ex-

citing names in design as collaborators for its

projects, from renzo piano and richard rogers,

who designed the firm’s headquarters in 1972,

to well-established partner antonio citterio,

who was the brains behind the award-winning

Backstage bedroom décor and coordinates the

maxalto sister line. B&B italia’s prestigious list of

partners also includes naoto fukasawa, gaeta-

no pesce and patricia urquiola, who created the

hugely popular Tufty-Time sofa.

aside from its structural significance,

B&B italia’s headquarters is noteworthy for

housing all of the firm’s operations under one

roof. from design, and research and develop-

ment (r&d), to the factory floor and testing

space, the operations are carried out in an end-

to-end process here, as le cercle discovered

when it was invited to visit the premises.

Touring the site, it is immediately evi-

dent that B&B italia’s manufacturing process is

both complex and intricate. The r&d centre,

for example, is where the polyurethane mix has

been created to exact proportions, while a

huge hangar is home to the hundreds of

moulds on B&B italia’s inventory. The firm’s de-

signs are known for their staying power; the

vintage coronado sofa, for example, which

was designed by afra and Tobia scarpa, has

been in production for over 40 years, and the

mould remains proudly on site to prove the

point. other areas house the collection of fine

fabric and leather upholstery.

activity at the testing space reinforces

just how stringent B&B italia’s standards are,

while its showrooms exude glamour and fi-

nesse. a doyl chair by gabriele and oscar Bu-

ratti is a stand-out object, as is an athos table

by paolo piva. The papilio chair, meanwhile, by

naoto fukaswa, is pure Japanese elegance.

maxalto’s showroom, next door to the head-

quarters, gives the site an added dimension.

Touring B&B italia’s site provides ob-

servers with an opportunity to experience

something of the journey undertaken by the

firm itself, which has been fuelled by creativity,

innovation and industrial know-how. framed

milestones adorn the wall, ranging from a pho-

tograph of mario Bellini’s cameleonda vintage

sofa, which was the first to have matching

chaise-longue and wall units, to awards and ac-

colades, reflecting B&B italia’s hard-earned and

deserved success.

Hayek Roundabout, Sin el Fil, Beirut, Lebanon

tel. +961 1 480520 www. geahchangroup.com

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w o r d s

M e R l i n f U l c h e R

saY whaT?

sT h e v e N I c e

A r c h I T e c T u r e B I e N N A L e

e X A M I N e S T h e M O d e r N

L A N g u A g e O F u r B A N

d e S I g N

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This year’s Venice architecture Biennale

set out to break the mould. Rather than

allowing individual participating coun-

tries to work around a loose theme as in

previous sessions, the global summit of

architectural culture – this year led by

star curator Rem koolhaas of Rotter-

dam-based oMa – focused exclusively

on the impact of modernity across the

world. after declaring an unprecedent-

edly long 18-month run-up to festivities,

koolhaas asked participants to present a

detailed analysis of how modernism had

been absorbed into their national cul-

tures between 1914 and 2014.

koolhaas’ reasoning was both sim-

ple and highly political. The designer of such

world-famous buildings as the ccTV head-

quarters in Beijing wanted to evaluate the

common language of materials, fittings,

doors, walls and ceilings which have en-

shrined a new ubiquity of architectural ex-

pression across the world. The influence of

these elements, koolhaas argues in an exhi-

bition inside the biennale’s central pavilion,

has not been properly understood by build-

ing designers and their users. The end result

has been a blanket acceptance of the char-

acteristics of modern building and startlingly

similar visual outcomes across the world.

The accusation, and its significance for fu-

ture urban life, is somewhat bleak. will the

digitally networked building blocks of the

all-encompassing smart cities proposed for

the future also pass into normality without

full consideration of their impact on space

and culture?

The response from participating

countries was varied. Britain’s clockwork Je-

rusalem installation described how the na-

tion’s love of landscapes had created a

unique form of modernism both socially

progressive and visually rooted in the past.

This short-lived and highly-charged period

in British design history should be remem-

bered not for its failures, the pavilion cura-

tors sam Jacob of faT and wouter Vansti-

phout of crimson argue, but for its

experimental spirit which needs resurrecting

now more ever. in contrast, the irish pavilion

looked at grand infrastructural projects such

as motorways, dams and bus stations which

facilitated an escape from the country’s co-

lonial past. The korean pavilion meanwhile

focused on the collective impact of mod-

ernism either side of the world-famous 38th

parallel and won the biennale’s coveted

golden lion award – equivalent to being

named ‘best in show’.

create a modular series of geometric

shapes, this dizzying structure, like much of

ai weiwei’s work, is immensely provocative.

By referencing the forever bicycle brand –

manufactured in shanghai since 1940 – the

artist reminds us of the complex systems of

design, production and supply which are

very often invisible to contemporary con-

sumers but have had a profound cultural im-

pact on our lives and on the politics of mod-

ern china. are these bicycles like other

chinese goods, such as smart phones, fur-

ther elements of the ubiquitous modernism

koolhaas describes?

as always with the Venice Biennale

the fun doesn’t stop with the national pavil-

ions. This year london’s lisson gallery con-

tinued its long-standing presence at the fes-

tival with a series of site-specific installations

by world-famous artists – including richard

deacon, anish kapoor and santiago sierra

– responding to public realm and the built

environment. The crown jewel among them

was ai weiwei’s forever Bicycles installation

in the riverside courtyard of palazzo

franchetti. containing some 1,179 stainless

steel bicycle frames welded together to

aRe These BicYcles like oTheR chinese goods, sUch as sMaRT Phones, fURTheR eleMenTs of The UBiqUiToUs ModeRnisM koolhaas descRiBes?

ai weiwei’s forever Bicycles

german artist heinz mack offers a

refreshing solution to the conundrum with

his installation featuring nine shimmering and

symmetrical golden columns in the church

square of san giorgio. By repurposing the

most ancient and universal of architectural

elements – the column – mack reminds us

that site-specific responses to modernism will

remain the most culturally sensitive and artis-

tically relevant for a very long time to come.

decorated with more than 800,000 tesserae,

the pillars’ golden mosaics echo a traditional

local craft well displayed on the Basilica of

san marco across the water. Their playfully

reflected light reminds passers-by at day, eve-

ning and night of the beautiful possibilities

still existing within modern architecture, sug-

gesting a brighter future for us all.

geRMan aRTisT heinz Mack offeRs a RefReshing solUTion To The conUndRUM wiTh his insTallaTion feaTURing nine shiMMeRing and sYMMeTRical golden colUMns in The chURch sqUaRe of san gioRgio.

Views of The sky over

nine columns

by heinz mack

heinz mack, The sky

oven nine columns

photo: reginals weiss

mönchengladbach

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when the italian furniture designer an-

tonio citterio hit a stumbling block in

his quest to create attractive, space-sav-

ing storage solutions for clients, he came

up with a new wardrobe system which

proved to be not only groundbreaking,

but also prizewinning.

Titled Backstage, and produced by

the leading italian design company B&B ita-

lia, citterio’s ingenious idea took the walk-in

wardrobe concept to an entirely new level.

The system’s innovative use of inter-

nal space, together with its revolutionary

door-opening system and ability to integrate

seamlessly into a bedroom, earned Back-

stage the prestigious wallpaper magazine

design award 2014 for ‘best wardrobe’.

w i T h i T s i n g e n i o u s u s e o f

s p a c e , c u T T i n g e d g e d e s i g n

a n d e l e g a n T f a c a d e , T h e

n e w B a c k s T a g e w a r d r o B e

s Y s T e m B Y a n T o n i o c i T T e r i o

f o r B & B i T a l i a i s ,

u n d o u B T e d l Y , a f r o n T l i n e

p h e n o m e n o n

a walk-in wondeR

w o r d s

M i R i a M d U n n

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wallPaPeR Magazine design awaRd 2014 foR ‘BesT waRdRoBe’

below: antonio

citterio

right: Backstage,

wardrobe

in its praise for Backstage, the

magazine said citterio had successfully re-

thought the concepts of storage, use and

planning of internal space, while also rein-

venting the relationship between the bed-

room and dressing area.

The centrepiece of the Backstage

wardrobe system is the full-height door,

which disappears into the wall where it is

mounted, retracting when opened. The rev-

olutionary, B&B italia-patented ‘re-entering’

opening system ensures easy and complete

access, while the layout inside can be re-

configured to suit the user’s taste.

space is used brilliantly on the inside,

with luxurious leather shelves positioned

cleverly on top of bronzed, nickel-finished

drawers. additional features, such as acces-

sory trays, belt and jewellery holders, togeth-

er with an adjustable mirror, are conveniently

mounted on the inside of the doors. energy-

saving led luminaires, placed on the shelves,

light up when the doors open.

aside from its technical prowess, the

Backstage system is also beautiful to look at,

exuding B&B italia’s signature craftsmanship

and attention to detail. The door, which

comes in a choice of widths, is finished in

sucupira, otherwise known as Brazilian

chestnut wood, or a choice of lacquered

colours in matt or sheen, while the handles,

in leather or bronzed-nickel inserts, are hall-

mark B&B italia.

when talking about Backstage, mi-

lan-based citterio explained that the ward-

robe concept evolved from the challenges

he regularly came up against in his residen-

tial and hospitality projects. “it offers solu-

tions that allow you to create different lay-

outs in the bedroom,” he said.

citterio’s determination to over-

come a hurdle by creating something pio-

neering, yet sublime, also helps to explain

the success of his partnership with B&B ital-

ia. founded in 1966 by piero ambrogio Bus-

nelli, the company, which is also located in

milan, has played a key role in shaping mod-

ern italian design, combining creativity, in-

novation and industrial knowhow. The Back-

stage system, surely, is a prime example of

all three, and more besides.

iT offeRs solUTions ThaT allow YoU To cReaTe diffeRenT laYoUTs in The BedRooM

Backstage, wardrobe

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Renowned for bringing forth brilliant in-

terior designs, dori hitti’s studio never

ceases to fulfill the craving for a time-

lessly welcoming ambience. This project,

in particular, serves as no exception.

This unique apartment located in the

heart of the achrafieh is the epitome of

minimalist chic with an edge.

marked by a classic yet contempo-

rary blend of calm and fresh elements, the

finest details encapsulate the optimal bal-

ance of coming home to a cozy environ-

ment while still enjoying the energy of an

eclectic city. upon entering the walls of

this sophisticated residence, modern and

long-lasting touches can be spotted on vir-

tually every corner.

w o r d s

M i c h e l i n e f R a n g i e h

p h o T o g r a p h e r

M a n s o U R d i B

waRM MeeTs cool

The arT of dori

hiTTi’s laTesT

VenTure Blends

coziness wiTh sTYle

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w

clean shapes and wooden panels

enveloped by serene tonalities have been

selected to ascertain the quality of a hospi-

table layout ideal for family life as well as for

the entertainment of guests. distinctive sec-

tions of the home are subtly separated, as

visible by the meticulous placement of as-

sorted lighting.

it’s difficult to choose just one aspect

alone that commands the attention, as each

separate piece has its own character, yet ex-

ists in harmony with the rest. The eye’s focus

is drawn to the large, centered spherical ceil-

ing light whimsically hovering over the con-

trasting dark brown, charcoal leather chairs

from minotti and square-shaped maktabi car-

pet. The round, overlapping centre tables

brilliantly mirror a split reflection of this peak

of illumination, serving as one of the many

examples of the designer’s exceptional vision

for cleverly linking distinct dimensions.

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pleasing to the eyes and

relaxing to the soul, white walls

encase the mix of round-based

accents and more protruding

edges with volume. even the

marble floors are masked by

shades of white and beige,

more closely resembling the

anomaly of snowy white sand.

natural tones are ever-present,

and the finishing touches to the

lit-up atmosphere are curtains in

pristine white as smooth as a

flowing river of milk, with alter-

nate panels complementing the

furnishings’ shades.

classily furnished with

exquisite designs from B&B ital-

ia’s maxalto line, minotti, dedon,

and ligne roset, each living

space has a life of its own. fo-

cusing on the glass and chrome

bar again brings to the fore the

convivial essence of the home’s

theme while maintaining a cool

façade. You can’t miss the con-

temporary sources of lighting

dropping over the bar like

slimmed, elongated tubes, pro-

viding an aesthetically intriguing

nuance to the harmonious am-

bience. This is a superb example

of a versatile home at its best, fit

for all seasons and moods.

w o r d s

J o h n o V a n s

sTYlish To a Tee

south korea may not spring to mind as

the ultimate golfing destination, but a

spectacular new south cape owners

club, on the coast of namhae island in

the country’s south gyeongsang prov-

ince may just change that assumption.

The luxury golf resort community, which

is the brainchild of fashion magnate Jae

Bong chung, is located right on the

southern tip of the korean peninsula,

and comprises a beautiful, 40-suite bou-

tique hotel and 130 private luxury sea-

view villas – as well as an on-site spa.

The dramatic setting supplied by the

south cape coastline is married to the club’s

equally impressive architecture, which was

created at the hands of architectural firm

mass studies. while largely minimalist and

splashed in a neutral palette, the interiors,

from wine bar, cafeteria, and restaurant to

the plush suites, are peppered with ligne

roset furnishings. replete with a sweep of

futuristic concrete, wrapping around the pe-

rimeter of the clubhouse, the sculpted roof

notably interplays with the landscape, with

a r c h i T e c T u r e m e e T s g o l f

o n T h e s o u T h e r n k o r e a n

p e n i n s u l a

the membrane-esque curves embracing the

hill that they stand on, cossetting a central

courtyard which enables panoramic ocean

views. Beneath the roof stand several three-

metre canopies that function as shades.

paramount to the design as a whole, mean-

while, was a sense of visual continuity for

the club’s guests.

The golf course itself, the heart of

the complex, was designed by internation-

ally acclaimed californian golf course archi-

tect kyle phillips. set amidst bentgrass

greens, the 18-hole course interfaces with

the contours of the landscape, which are

perfect for both everyday games and cham-

pionship tournaments, with a rating of 75.2

and slope of 138. perched on the coastline,

the golfing experience is cited by players as

unrivalled, with each hole enjoying its own

fabulous viewpoint. Tee up in south korea?

don’t mind if we do.

opposite page bottom:

south cape owners

club interior.

ploum sofa designed by

ronan & erwan Boroullec

for ligne roset

mobidec stool designed by

pierre chrpin for ligne

roset

circles pedestal tables by

maria Jeglinska for ligne

roset

fifty outdoor/indoor

armchair designed by dögg

& arnved design studio for

ligne roset

opposite page top: south

cape owners club

interior. ploum sofa

designed by ronan &

erwan Boroullec for

ligne roset

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where better to showcase a selection of

exquisitely-crafted furniture than in a

majestic italian palazzo, dating back to

the baroque era and steeped in history?

The decision-makers at the leading,

high-end lifestyle and furniture company luxu-

ry living may well have come to the same con-

clusion when they chose the sumptuous pala-

zzo orsi mangelli as their new headquarters.

located in the italian cultural hub of

forlì, the splendid 17th century building,

boasting a magnificent facade, complete

with stone balcony, has many a tale to tell.

T h e l e a d i n g l i f e s T Y l e a n d

f i n e f u r n i T u r e c o m p a n Y ,

l u X u r Y l i V i n g , h a s T a k e n u p

r e s i d e n c e i n a p a l a T i a l

s e T T i n g p e r f e c T l Y s u i T e d T o

s h o w c a s i n g T h e f i n e B r a n d s

i T r e p r e s e n T s

hoMe sweeT hoMe

w o r d s

M i R i a M d U n n

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once the home of cardinal paolo

orsi mangelli, the palazzo has changed

hands and roles over the years, most recently

housing the university of Bologna’s secre-

tariat and faculty of political sciences.

Today, following an extensive renova-

tion, the building is proving to be the ideal

setting for luxury living’s collaborative ven-

tures, celebrating and promoting fine furni-

ture and furnishings from several of the

world’s most desirable brands.

The move marks a milestone for the

luxury living group, coming some four de-

cades after alberto Vignatelli first set up club

house italia spa to launch his inaugural furni-

ture range. in preparation for the new chap-

ter in its history, luxury living was actively

involved in returning palazzo orsi mangelli to

its former glory inside and out, working

closely with the famed french designer

Jacques grange, who breathed new life into

the building’s interiors.

unsurprisingly, the latest collections

of the big brands now in residence at luxury

living’s new headquarters look entirely at

ease in their new home.

mr Vignatelli and

Jacques grange

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sophisticated and subtle, the home

collection, created by the definitive British

luxury car company Bentley, sits beautifully in

its new surroundings.

sumptuous comfort and sensuous

quality are cleverly combined with functional

performance in the furniture and accessories,

which range from sofas and armchairs in tac-

tile leather – a signature of the interiors of all

Bentley models - to elegantly crafted tables

and sideboards. The colour palette for the lat-

est collection is dominated by natural and pas-

tel shades, such as mocha, taupe and camel,

set against burgundy and blue, while hints of

male attire, including pinstripe and hounds-

tooth, feature in sophisticated velvets.

The coloUR PaleTTe foR The laTesT collecTion is doMinaTed BY naTURal and PasTel shades

marrying the best of italian luxury and

new York aesthetics with a hint of British el-

egance, fendi’s latest collection brings pala-

zzo orsi mangelli to life in a way that only

one of the world’s most admired luxury

brands could manage to do.

its long established range of home

furnishings, which features sofas, cabinets,

ottomans and bookshelves, is designed and

manufactured using the finest materials and

exclusive finishes. created almost exclusive-

ly by italian artisans using traditional tech-

niques, fendi’s sofas come in leather or lux-

urious material, adorned with exclusive

buckles and embroidery. new, exciting co-

lours have been introduced to the latest col-

lection, led by soft french blues and deep

burgundies, which are set against greys,

bronzes and quartzes.

fendi’s laTesT collecTion BRings Palazzo oRsi Mangelli To life

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The modern, yet discreetly elegant,

made-in-italy collection from the luxury

brand Trussardi could also have been tailor

crafted for the palazzo’s interiors.

Trussardi’s furnishings, which have

been created in conjunction with the archi-

tect carlo colombo, include beautiful beds,

sofas, saddle chairs, lamps and coffee tables.

lovingly made from prized fabrics and wood,

combined with the brand’s favoured leather,

the collection is completed with a handcraft-

ed finish. The collection makes use of a vari-

ety of natural, earthy tones, including sand,

tan and ivory, while the bases have a con-

trasting, clean-line finish.

The city of forlì has long been a mag-

net for lovers of fine italian craftsmanship, be

it architecture, art or design, which helps to

explain why the luxury living group has slot-

ted into its new surroundings with ease. in-

deed, the firm’s decision to take up residence

in palazzo orsi mangelli could be viewed as

not only a new phase in luxury living’s his-

tory, but, also, a homecoming of sorts.

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Cherche Midi bed, design Eric Gizard.

Echoes armchairs, design Mauro Lipparini.

See www.roche-bobois.com for collections, catalogues and showroom addresses.



for decades, hospitality in Tur-

key meant faded fezzes and tar-

thick coffee, but in september

2014, Raffles finally gave istan-

bul the luxury modern hotel it

truly deserves.

if istanbul hotels are known

for one thing, it’s their cliches.

whether it’s “ottoman heritage

fused with Turkish hospitality”, or

“the original crossover of east and

west” - all luxury hotels in istanbul

invoke the same banal insistence on

the city’s ancient history and cul-

ture. not so with raffles, the brand

new hotel so utterly now that it wel-

comed lady gaga as one of its very

first guests.

Bw o r d s

R i c h T h o R n T o n

BeYond The

oTToMan

raffles istanbul bucks the

boring trend of “ottoman inspired”

and relishes in Turkey’s modern,

cutting-edge present: its truly cos-

mopolitan opulence stands

strong, and without need of

crutches from the past.

first, the hotel is proudly

situated in the zorlu centre, istan-

bul’s newest shopping and enter-

tainment complex. Towering above

the Bosphorus and the old city

alike, raffles is the perfect enclave

for the discerning traveller who

wants to shake off the tourist

crowds and plan their own inde-

pendent adventure.

The hotel’s contemporary

essence hits you as soon as you

enter the lobby: martin dawe’s

henry moore-esque abstract sculp-

ture and dreamscape photo-artist

Jean-francois rauzier’s surrealist

vision of istanbul show that raffles

is here to celebrate the city’s dedi-

cation to the new. in the rooms, art

is omitted in favour of soothing

minimalism, a theme only intensi-

fied by the subtle hints of Turkish

architecture hiding in the furniture

and elegant division of space. even

the lighting is intelligently modern

- it changes automatically accord-

ing to the time of day.

what’s more, the service

is impeccable. each guest is as-

signed a personal butler on ar-

rival, and every review of the

hotel confirms that the staff are

attentive but never obsequious.

True to their commitment to the

international ambiance, the ho-

tel’s prime attraction is sergi’s

arola’s two-michelin-starred

tapas restaurant featuring a cat-

alan-inspired menu that will

have the elite of Barcelona trav-

elling east to taste the finest of

their own cuisine.

one of the biggest surpris-

es at raffles for the seasoned luxu-

ry traveller is the size of the rooms

- nothing is smaller than 60m2, and

each is equipped with a personal

espresso machine for those mo-

ments when ringing room service

is just too much of a chore.

if you’re tired of the

thickly upholstered hospitality

that suffocates you at istanbul’s

more traditional hotels, raffles

is your new istanbul port of call.

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Time was when you had to make a grand

entrance before dinner, and whether

you’re wearing an elegant ballgown or

not, descending the beaded sweep of

staircase of london’s Bulgari hotel re-

calls a more exciting way to rustle up an

appetite. once at the bottom, you’ll have

set foot in Rivea, a basement restaurant

helmed by chef damien leroux, alain

ducasse’s protégé, who’s proving he’s

got the mettle to match his master. The

interiors are striking: an oval room de-

signed by italian architects antonio cit-

terio and Patrica Viel, who’ve lit up the

subterranean space via a sea-blue and

cream pearlescent palette reminiscent of

the Riviera. There’s also a swathe of geo-

metric carpets, scatterings of B&B italia

furniture, and scandinavian-influenced

tables and crockery – while, clad in car-

digans and converse, the waiting staff

look cool and casual, jiving perfectly

with the relaxed atmosphere that comes

to characterise the restaurant. in chef

vernacular, it’s a generous dollop of lux-

ury and a pinch of the unconventional.

w o r d s

J o h n o V a n s

fUll-flaVoURed

conTinenTal chic

seRVed in sTYle

f

il ristorante

smart crockery and styl-

ish waiters aside, what we were

really interested in was the food.

The menu – made up of small

plates – propagates the vivid

tastes and colours of riviera, yet

with most of its ingredients

sourced within the British isles.

seafood is the first order of the

day: with its tight rhythm of fla-

vours, the octopus and potato

salad makes a brilliantly delicate

start, as well as sea bass carpac-

cio and pine nuts, and red mullet

with confit of tomatoes and ol-

ives. wines include a full and ex-

pressive 2006 chateaux Vigne-

laure, introducing the robust

flavours of some classic rivea

dishes, including a tender and

juicy roasted duck, turnips and

beetroots, followed by a dainty

John dory, riviera style. italy-

lovers are also catered for by an

artichoke and borage ravioli, as

well as a potato, sage and par-

mesan gnocchi, where a thin

leaf of parmesan is first “jumped”

on the pan and then put in the

oven to achieve the ideal consis-

tency. The desserts, meanwhile,

include a thin gianduja palet, a

plate of delicious rhubarb and

strawberry, and salted caramel

ice cream.

The rivea is probably the

ideal stop-off for an experienced

palate seeking simple flavours,

disguising a swirl of meticulously

orchestrated combinations. ler-

oux is undoubtedly proving he’s

got a handle on french and ital-

ian cuisine like no other.

above and left:

The rivea dining room

above: rivea seasonal

vegetable crudites

right: chef damien leroux

©p

ierre

mo

ne

tta

©p

ierre

mo

ne

tta

©p

ierre

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tta

©p

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tta

A haven in the busy heart of Beirut, Plus Towers redefine luxury living.Plus Towers offer a home without compromise, to the highest standards, surrounded by luxurious boutiques, high-end office and residential buildings, and some of the city’s finest restaurants, cafes and bars.

Apartments from 165 m2 to 590 m2 in addition to penthouses with terraces.

Plus Towers. Every city needs its icon.

Banking Facilities:

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Peak of PeRfecTion

F r O M h I g h - e N d d e S I g N T O r u S T I c S e c L u S I O N ,

T h e r e ’ S A S k I r e T r e A T T O S u I T y O u r T A S T e

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situated in the beautiful moun-

tainside village of megeve,

lodge Park – a self-styled

‘trendy trapper’s retreat’, and

named Tatler magazine’s ‘Best

winter hotel’ last year – offers

contemporary alpine hospitality

with a meaty twist. with parquet

floors, scottish-inspired tartan

wallpaper, animal skin throws

and log furniture, the rooms’ in-

teriors have a distinct, deliberate

ambience, and most also boast a

well-stocked fireplace, meaning

at the very least you’ll have

somewhere to dry your socks

when you’re done with the adja-

cent slopes for the day. Vegetar-

ians should probably shy away

from the aptly named ‘Beef

lodge’, but if you’ve packed your

steak knife and have somehow

managed to sneak it through

customs, it’s a restaurant that

can only be described as a carni-

vore’s paradise. aside from its

flesh-centric menu, it’s also re-

plete with trophies from the

hunt: antlers and more skins

adorn the walls, and even smok-

ers can stay warm in the special

heated outdoor area by donning,

you guessed it, furs.

lodge PaRk

walig-hut might sound like

somebody grunting in the neo-

lithic period, but it’s got a lot go-

ing for it for a hut built in 1786:

five stars, in fact. originally home

to farmers who would bring

their cows up to pasture during

the summer, the hut’s structure

and simplicity are still intact, and

stretch to the fabulous morning

views of wildflower meadows (in

the summer) and of nearby vil-

lages gstaad and the saanen-

land. while it’s part of the gstaad

palace, it’s actually a 15-minute

drive away, and it’s this wonder-

fully rustic seclusion that vindi-

cates the admittedly enormous

price tag – oh, and the three-

course supper (accompanied by

lashings of champagne) that’s

included.

are integral to the site’s tradition-

al charm. and with sheepskin

rugs, alpine decor, only one out-

door bathroom and no hot wa-

ter, it’s traditional charm that

guests will get – although any

freezing cold night-time trips to

the bathroom will be forgotten

about when they wake up and

walig-hUT

finger-wrinkling session in the

heated outdoor whirlpool. stefa-

no and giorgia take the senti-

ment ‘family-run’ very seriously,

after wearing yourself out in the

outdoors, you’ll be served a tra-

ditional italian family recipe –

you might even take a tour of the

wine cellar, which used to be a

goat stable.

after carving out successful ca-

reers in fashion, couple stefano

and giorgia took the irregular

step of moving to a hunting

lodge in the dolomites – now

known as the stylishly furnished

san lorenzo Mountain lodge,

boasting original wooden panel-

ling peppered with fox furs, an-

tiques and gingham cushions.

The hotel also has, rather incon-

gruously – but of course not un-

welcomingly – its own floodlit

18-hole golf course. at 1200 me-

tres altitude, you’re well-posi-

tioned to partake in all the regu-

lar winter activities, and there’s

plenty more on offer here, too,

including hikes to private moun-

tain huts, trips to truffle farms, or,

if that all sounds a bit too labori-

ous, maybe you’ll settle for a

san loRenzo MoUnTain lodge

upon arriving at courcheval’s

la sivoliere, you probably can’t

fail to notice that there’s an

oversized red chair sitting in the

snow outside. it’s known as the

‘sifel chair’ and was designed by

sculptor caroline corbeau, and

typifies some of the surreal

touches at this five-star luxury

chalet – made characterful by

some proudly chosen contem-

porary design pieces by design-

ers such as kevin reilly and

gaetano pesce, including a sofa

that looks like both a mountain

and a waterfall. it’s not all simply

psychedelia, though: its restora-

tion has kept in with savoy ar-

chitectural styles, while a mix-

ture of stone and raw and

weathered woods are offset by

custom-made laliques. The

rooms themselves are comfort-

able and spacious, and after a

day out pounding the pistes and

too much vin chaud, you’ll be

glad of the peace and quiet and

extensive spa facilities.

la siVolieRe

karen chekerdjian may not be your typical designer, hav-

ing worked in film, advertising and graphic design before

taking the path of industrial design. But her first solo ex-

hibition at the Beirut art center is not only mature in its

physical form and finishing, it is also highly conceptual

and steeped in the history of the objects themselves. le

cercle asked karen chekerdjian to tell us more.

le cercle: You say that Trans|Form has to do with liminal-

ity and fluid situations that throw everything into ques-

tion. What evoked this idea of change and transformation

in this exhibition?

karen chekerdjian: i wanted to work in a more conceptual

manner, by showing movement in my work, especially since

i’m not creating these objects for a showroom. i simply

went to the objects i have produced in the past, which i felt

i didn’t explore enough, and i worked on them. maybe i

would have liked them to be imprecise, as in how concepts

or ideas can be imprecise, but they cannot be. as a designer,

you can’t present something that’s unfinished.

on an exhiBiTion,

TRans|foRMw o r d s

n a d i n e k h a l i l

o

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lc: There definitely is this sense that

your objects embody hidden stories,

that your work is as much about ab-

sence as it is about presence. so what

remains, the imprint?

kc: Yes, and i also believe some random-

ness in terms of effects that are arbitrary or

unexpected. like how my kids reacted to

the space and the reflections of the objects.

They thought it was a playground.

lc: Yes, your platform rainbow has a bit

of a circus feel to it. i find it interesting

here how you are rendering the concept

of a rainbow, which is natural, manmade.

kc: That’s true though i think some people

don’t see it. maybe the arch is difficult to vi-

sualise as a handle. for me, it’s very obvious.

This was a 3mm tube originally, without

lights, stretching over the platform table – a

representation of the cityscape. i thought to

myself, what can i add to this? so i blew it up

in order to play more with the space and en-

gage with the geometry of the Bac.

You know, it was monday morning

the day before the show and we had just fin-

ished this rainbow, me and my assistant,

when we started getting all these new ideas.

we couldn’t stop, you never stop. design is

a process, that’s the beauty of it.

lc: But even if your forms look

precise or defined, it is their functions

that seem to be undefined, no?

kc: i guess you could say i’m

focusing more on what the forms can

be than what they are. what it means is

there are gestures or imprints. Take my

disappearance of object collection,

which is limited to 10 pieces. i only had

two left and i didn’t want to sell, so i

found myself raising their prices.

here, the object 3 vases from

the series are deconstructed and com-

pressed so much that they aren’t even

the same height as the original vases.

They look more like sculptures or tables.

someone even remarked that the thin-

nest sheet could be hung up on the wall,

like art. i liked that because it means the

function has completely changed.

top:

full rainbow,

stainless steel

and copper,

ø 250 cm

above:

Trans d,

stainless steel.

164.5x104 cm

right:

Trans a,

stainless steel,

128x90 cm

Jean Maurice eugène clément cocteau

was one of the best-known and most re-

spected artists of the 20th century. he

was also a polymath. a poet, novelist,

playwright, designer and filmmaker as

well as a fine artist, the frenchman

moved in exalted circles and counted

Pablo Picasso, Jean Marais, Yul Brynner,

Marlene dietrich, coco chanel, igor

stravinsky, amadeo Modigliani and edith

Piaf among his friends and lovers. coc-

teau’s substantial legacy was honoured

late last year when Roche Bobois un-

veiled a special line of new designs to

pay tribute to the artist on the 50th an-

niversary of his death in 1963.

“ i a m n e i T h e r d e s i g n e r n o r

p a i n T e r ; m Y d e s i g n s a r e

w r i T i n g s u n T a n g l e d T h e n

r e - T a n g l e d d i f f e r e n T l Y . ” –

J E A N C O C T E A U

w o r d s

i n d i a s T o U g h T o n

“i aM neiTheR designeR noR PainTeR; MY designs aRe wRiTings UnTangled Then Re-Tangled diffeR-enTlY.” Jean cocTeau

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ceRaMic celeBRaTions:

Roche BoBois

honoRs Jean

cocTeaU

The french design firm partnered with

the Jean cocteau committee, responsible for

the management of the artist’s estate, to cre-

ate a 33-piece collection based around two

independent ideas. The first was to faithfully

recreate cocteau’s ceramics, which he con-

sidered works of art in their own right, working

with an italian master potter and using a slight-

ly different manufacturing process to ensure

longevity. The second was to employ medi-

ums that the artist himself never worked with,

such as textiles. The result is a collection of

elegant, decorative pillows, bed linens and

rugs, limited edition ceramic tableware, serv-

ing trays and vases, as well as lighting and

pieces of furniture, all of which are inscribed

with lines from cocteau’s poetry and literary

works in handwritten text, or adorned with his

distinctive drawings, many of them capturing

silhouetted figures.

The sheer range and variety of coc-

teau’s output, combined with roche Bobois’

inventive designs, ensures that the colourful

collection includes something for everyone.

playful pieces combine the beauty of mod-

ern art with the functionality of contempo-

rary design, proving without a doubt that

cocteau’s work retains its power and rele-

vance half a century on. cocteau “embraced

creativity in all its forms,” said roche Bobois’

north america marketing director Jennifer

Barre, adding that “it is an immense privilege

and responsibility for roche Bobois to be

given the opportunity to contribute to pro-

moting his work.”

cocTeaU eMBRaced cReaTiViTY in all iTs foRMs

left: The collection faithfully

recreates cocteau’s

ceramics, which he

considered works of art

in their own right

This year was the last time frieze found-

ers Matthew slotover and amanda sharp

managed the fair. They went out with a

bang in the form of a super-curated

frenzy that layered performance and

sculpture with museum-class wall art

set in london’s majestic regent’s

park, frieze has become a model of what

happens when you turbo-charge an art fair

until it sort of surpasses itself. The running of

the fair has now been handed over from co-

founders matthew slotover and amanda

sharp to the new director Victoria siddall,

who will be in charge of both the london

and new York iterations from now on. The

2014 edition had more curated programmes

running concurrently than ever before. The

overall effect was primarily one of saturation

and overstimulation. however, those with the

stamina and curiosity to explore in depth

could discover a palpable sense of the fair as

a live and genuine arts hub that is relevant to

contemporary creativity in london, as well as

to the caprices of the global art market.

a slice of cool

sTiMUlaTionw o r d s

n o U R h a R B

a

The overall standard at frieze always

remains high, but distinguishing the good

from the very good, and the predictable from

the occasionally abysmal, can be a challenge

amid such a carnival. That said, highlights

could be discerned – and one wonderful

thing about going to frieze is that your eye

quickly makes clear your personal taste as

you realise you are subconsciously discard-

ing an awful lot, but still managing to zoom in

on those artworks that speak to you. among

such eye-catchers were the notable leba-

nese artists etel adnan and huguette caland,

showing at sfeir-semler and agial respectively.

The works of indian sculptor anish kapoor

were also undeniably strong and radiated

their usual genius at lisson.

frieze masters has become like a fair

of its own and it is fashionable to exclaim

how much better its content is than what you

can find in the main tents. it shows museum-

grade art above soft grey carpets – so natu-

rally it’s more pleasurable than the ‘cattle

market’ ambiance elsewhere. But aside from

its superior production qualities, it always has

a few properly curated exhibitions, and

opposite page: frieze london

2014—sfeir-semler

gallery. photograph by

graham carlow. courtesy

of graham carlow, frieze

above: frieze masters

2014—agial. photograph by

linda nylind. courtesy of

linda nylind, frieze

below: frieze masters

2014—lisson gallery.

photograph by stephen

wells. courtesy of stephen

wells, frieze

this year the best was The collector,

staged at helly nahmand by robin Brown

and anna pank, with an accompanying essay

by sir norman rosenthal. This installation of

an imaginary apartment set in paris in 1968

was intended to question what it means to

collect, considering personality, passion, and

a driving desire to feel life’s poetry through

art. Two other booths shone out in particular:

the always-outstanding marian goodman ex-

hibited beautiful pieces by giuseppe penone,

while hauser & wirth spotlighted some Jean

Tinguely favourites.

The true triumph was this year’s

sculpture park, curated by clare lilley, along

with the frieze projects series, curated by

nicola lees. although they busy the fair with

yet more content, the critical programming

behind these works helps the viewer to break

out psychologically from the repetitive booth

format and to re-engage with art that actually

relates to the context in which it is being ex-

hibited. nick mauss’s ballet piece for projects

stood out, as did martin creed’s video work

no.732, which looked sensational shown

outside on a big screen, muted when the sun

shone and luminous in the rain.

above: frieze masters

2014 —helly nahmad.

photograph by linda

nylind. courtesy of linda

nylind, frieze

right: frieze masters

2014—hauser & wirth.

photograph by linda

nylind. courtesy of linda

nylind, frieze

right: frieze masters

2014—marian goodman.

photograph by stephen

wells. courtesy of stephen

wells, frieze

L e b a n o n , Q a t a r , a n d n o w i n t h e U . a . e .

w w w . s e l e c t i o n s t h e m a g a z i n e . c o m

w o r d s

i n d i a s T o U g h T o n

The gliTz

and glaMoUR

of gaUlTieR Today he is one of the undisputed vision-

aries of the fashion word, but Jean Paul

gaultier never formally trained as a de-

signer. as a young man, he bombarded

the famous couture designers of the day

with his sketches, until his talent caught

the eye of Pierre cardin, who hired him

as an assistant. a controversial figure,

gaultier has been both loved and hated

by the fashion elite since launching his

first collection in 1976, taking the inspir-

ation for many of his designs from urban

street wear. The creative mastermind be-

hind the wardrobes for film by directors

including luc Besson, Pedro almodovar

and Peter greenaway, and the designer

of choice for famous singers from Ma-

donna and kylie Minogue to Marilyn

Manson, gaultier was feted in 2014 in a

comprehensive retrospective at the Bar-

bican art gallery in london.

Jean paul gaultier.

The fashion world of Jean

paul gaultier

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The fashion world of Jean paul

gaultier: from the sidewalk to the catwalk

was organised by the montreal museum of

fine arts, in collaboration with maison Jean

paul gaultier, and supported by design house

roche Bobois, for whom gaultier designed

an exclusive collection in 2010. The first ma-

jor exhibition devoted to gaultier’s significant

contributions to the world of high fashion,

the retrospective was conceived as a theatri-

cal installation and included around 165 gar-

ments, both couture and ready-to-wear, dat-

ing from the 1970s until the present day.

among the items on display, many of

which were exhibited in the u.k. for the first

time, were the iconic conical bra and corsets

the celebrated couturier designed for madon-

na’s 1990 Blond ambition Tour, as well as cos-

tumes featured in a number of cult films.

shots by well-known photographers and vid-

eo footage of catwalk presentations, concerts

“iT’s an honoUR foR Me, BecaUse iT’s a wondeRfUl galleRY and a wondeRfUl Place wiTh exTRaoRdinaRY aRchiTecTURe and i Think ThaT showing MY woRk TheRe will Be BeaUTifUl”

left: Tribute to frida

kahlo collection (ad

campaign). The

fashion world of

Jean paul gaultier

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and films helped provide a comprehensive

overview of forty decades of output. Through-

out the exhibition, which was divided into

eight sections, visitors were given the chance

to trace the influences behind gaultier’s

eclectic, boundary-pushing style, from paris

street wear to the edgy diY aesthetic of British

punk and the surrealism of science fiction.

“it’s an honour for me,” gaultier said

of the Barbican retrospective, “because it’s a

wonderful gallery and a wonderful place with

extraordinary architecture and i think that

showing my work there will be beautiful.”

above and left: The

fashion world of

Jean paul gaultier -

from the sidewalk to

the catwalk, Barbican

art gallery, credit

matthew

lloyd-getty

Documents

Le cercle #17