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Cloak, New Venture for Contemporary Rugs and Carpets

It is our great pleasure to introduce you CLOAK, our new venture for contemporary rugs and carpets.

We offer a selected range of bespoke sized area rugs, as well as some modern wall to wall carpets. You can find these products at Decorous, Kemang.

Damier Soie

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Damier Soie
Himalayan Wool and Silk


Brilliant

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Brilliant
100% Leather


Tati

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Tati
100% Pure New Wool


Grace

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Grace
100% Bamboo Silk


Felt

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Felt
100% Undyed Wool


Feltstripe

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Felt Stripe
100% Undyed Wool


Oldie

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Oldie
100% Himalayan Wool


Oldie Bereber TV

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Oldie Bereber TV
100% Himalayan Wool


Opal

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Opal
100% Leather


Ambition

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Ambition
100% Leather


Channel

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Channel
100% Leather


Tavira

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Tavira
100% New Zealand Wool


Farao

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Farao
90% Wool 10% Bamboo Silk


Meta

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Meta
100% Pure New Wool


Comfort

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Comfort
100% New Zealand Wool


Trisquare

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Trisquare
Wool and Bamboo Silk


Iceland

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Iceland
100% New Zealand Wool

Terra Armchair

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Desain yang didasarkan pada pengoptimalan fungsi tentu akan memberikan hasil yang berkualitas. Ini yang menjadi panutan Decorous dalam merumuskan desain Terra Armchair. Tampilannya yang minimalis dalam balutan bahan cotton berpola serat, menegaskan bahwa kenyamanan tidak boleh lepas dari aspek estetika. Bentuk kubus diperhalus dengan garis-garis lengkung tak bersudut pada tiap tepi Terra Armchair, menjadikannya jauh dari kesan kaku sehingga tampak harmonis untuk dijadikan pengisi hunian Anda.

Terra Armchair tersedia dalam pilihan one seater dan three seater, yang bisa dipadu-padankan sebagai furniture utama penambah kenyamanan ruang. Dengan pilihan warna yang cukup netral, yaitu abu-abu atau putih, memungkinkan Anda untuk menambahkan aneka cushion berwarna sebagai aksentuasi. Gaya Terra Armchair yang cenderung modern juga menjadikannya cocok untuk digunakan pada ruang yang lebih formal, seperti lobby ataupun office.

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Our Designer Friend; Ary Indra

Melihat di Luar Arsitektur

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Nama Ary Indra bukanlah nama yang asing di dunia arsitektur Indonesia. Sebagai salah satu arsitek utama pendiri Aboday, pria yang biasa disapa Ary ini juga disibukkan dengan beberapa kegiatan lainnya seperti menjadi pembicara dan juga pengajar di sebuah universitas. Pengalamannya berkarir tak perlu lagi dipertanyakan. Sepuluh tahun di luar negeri dan sembilan tahun berkiprah di Indonesia membuatnya bisa dibilang sosok yang tak hanya mumpuni, tapi juga menjadi saksi perkembangan arsitektur Indonesia.
Sejak mendirikan Aboday bersama dua rekannya di awal 2006, Ary tak pernah lepas dari berbagai proyek besar yang kini sudah melambungkan namanya. Namun demikian, di 2015 ini Ary punya rencana yang sedikit berbeda, yakni kembali pada hal-hal yang “belum sempat” ia kejar.

“Saya sekedar ingin kembali mengejar hal-hal yang saya sukai. Contohnya musik, benar-benar berhenti main piano karena tidak punya waktu tapi sekarang bisa dilanjutkan lagi,” jelasnya.

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Lalu bagaimana dengan Aboday?
Ary mengakui, meskipun ia kini menyibukkan diri dengan hobi tak lantas membuatnya melepaskan Aboday begitu saja. Kini ia lebih memposisikan dirinya sebagai “sutradara” dari Aboday, mengawasi dan mengarahkan timnya dalam mengerjakan proyek. Selain itu, Ary juga tetap mengerjakan beberapa proyek lain yang tentu saja tak lepas dari bidang arsitektur. Contohnya adalah proyek pengerjaan desain panggung untuk keperluan konser seorang musisi tanah air. Meskipun bukan berupa bangunan seperti proyek Ary lainnya, tapi tugas mendesain panggung ini diakuinya menyenangkan untuk dikerjakan karena masih berkaitan dengan merancang dan mendesain.

“Saya tidak bisa lepas dari arsitektur. Karena saya tidak bisa melakukan hal lain selain arsitektur, dan bagi saya ini justru seperti kekurangan,” paparnya sambil tertawa.

Arsitektur Indonesia sudah sampai mana?
Bagi Ary, arsitektur Indonesia sudah mengalami banyak perkembangan yang signifikan dan semakin bagus. Ia melihat, perkembangan ini sangat dipengaruhi oleh arsitek-arsitek muda yang punya karya bagus. Para arsitek muda Indonesia punya kesadaran untuk berfokus pada bidang ini sejak usia sedini mungkin. Namun ada kekurangan yang masih Ary temukan pada para penerus dunia arsitektur ini.
“Saya sendiri baru mulai serius berkarir sebagai arsitek di usia 30. Sebelum itu, saya menghabiskan enam tahun untuk bergaul saja,” ujarnya. Namun ternyata hal ini justru membawa dampak positif baginya dalam berkarir, yakni membuatnya berkembang. Ia membandingkannya dengan banyak mahasiswa yang tidak bisa optimal dalam berkarya, karena kurang bergaul dan terkesan kehilangan kenakalan mereka sendiri. “Mereka juga terlalu terpengaruh oleh banyak hal, contohnya kemajuan teknologi informasi. Mereka jadi terbiasa ‘disuapi’ bukan mencari sendiri. Ini mempengaruhi cara mereka dalam berkarya dan mencari tahu,” jelasnya.

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Apa harapan Ary untuk para penerus arsitektur Indonesia?

“Seorang arsitek sebaiknya tidak sibuk sendiri, harus bisa melihat lebih luas, melihat ke aspek lain. Contohnya melihat ke profesi atau kehidupan lain di luar arsitektur itu sendiri, agar tidak menjadi jurang yang mematikan bagi si arsitek itu dalam berkarya,” jelasnya lugas.

Hal ini ia contohkan pada sebuah proyek yang saat ini sedang berlangsung di ibukota. Proyek yang terkesan sederhana namun penting, yakni pembuatan toilet di sebuah ruang publik oleh arsitek Indonesia. Tak ada yang sebelumnya menyadari betapa pentingnya aspek kecil tersebut. Padahal, hal-hal sederhana inilah yang dapat memunculkan inisiatif untuk berkarya. Karena itu, Ary sangat berharap akan ada lebih banyak arsitek yang membuka kacamata di luar arsitektur itu sendiri.

Aurélie Blanchard makes over the canteen in Gehry’s Vitra Factory Building

A factory hall is one of Frank Gehry’s three contributions to the Vitra Campus at Weil am Rhein in Germany. Twenty-five years after its completion, Swiss architect Aurélie Blanchard has revamped the building’s canteen (+ slideshow).

Vitra's Gehry's Building Canteen by Aurélie Blanchard Architect

Canadian architect Frank Gehry completed the Factory Building for Vitra in 1989 – the same time as the celebrated Vitra Design Museum and the smaller Vitra Design Museum Gallery – at the campus that has now become a popular tourist attraction for the brand.



Swiss architect Aurélie Blanchard was this year commissioned to restyle some of the building’s interiors, starting with the canteen.

Vitra's Gehry's Building Canteen by Aurélie Blanchard Architect

Her aim was to inject a more homely atmosphere into the industrial space, introducing some of Vitra’s popular furniture and homeware items alongside low-level lighting and foliage.

Vitra's Gehry's Building Canteen by Aurélie Blanchard Architect

“The brief was to bring to the existing canteen space the domesticity one would find in a proper restaurant while respecting the industrial and communal character of the room,” said Blanchard, whose past projects include a copper-lined Basel restaurant.

“The design aims to bring warmth and diversity whilst keeping a high sense of minimalism and abstraction through the device of monochromy,” she said.

Vitra's Gehry's Building Canteen by Aurélie Blanchard Architect

Most of the space is taken up by a series of long canteen tables that span the whole width. Beside these, the architect has added a variety of different Vitra chairs that vary from Charles and Ray Eames’ DSW Chair to the Basel Chair by Jasper Morrison and Ronan and Erwan Bouroullec’s plant-inspired Vegetal.

All of the chairs are black, helping to tie together the different styles while also contrasting with the oak tabletops.

Vitra's Gehry's Building Canteen by Aurélie Blanchard Architect

“The mixture of their different lines and style is unified through their black monochromy,” said Blanchard.

“The iconic chairs are thus being reduced to the essence of their silhouettes, whilst the horizontal planes of the large communal oak tables bring an element of warmth and domesticity.”

Vitra's Gehry's Building Canteen by Aurélie Blanchard Architect

Cushioned seating runs round the room’s perimeter, while high-back seating creates a more comfortable dining area in one corner.

Vitra’s Corniches shelves create a space for plants along the walls, which have been painted in a subtle shade of green, and low-hanging bell-shaped pendant lights – designed by Finnish architect Alvar Aalto in the 1930s – contrast with the industrial lighting above.

Vitra's Gehry's Building Canteen by Aurélie Blanchard Architect

Aurélie Blanchard is now working on some of the other spaces in the building, which contains offices, production rooms, a showroom and a test centre.

Other recent additions to Vitra’s famous campus include a fictitious home by Studioilse, a micro-home by Renzo Piano and a combined viewing tower and helter skelter by artist Carsten Höller. The site is best known for Herzog & de Meuron’s VitraHaus showroom, as well as buildings by Tadao Ando, Alvaro Siza and Zaha Hadid.

Photography is by Mark Niedermann.

 

SOURCE: http://www.dezeen.com/2014/12/05/aurelie-blanchard-canteen-frank-gehry-vitra-campus-factory-building/

Studioilse designs home for fictitious couple using Vitra and Artek furniture

The loft space at the VitraHaus showroom in Weil am Rhein, Germany, has been transformed into a fictitious home by London-based Studioilse using furniture by Vitra and Artek  (+ slideshow).

Studioilse VitraHaus loft with Vitra and Artek furniture

Studioilse, led by designer Ilse Crawford, curated the installation at Swiss firm Vitra‘s Herzog & de Meuron-designed showroom – the first joint showcase since the brand acquired Finnish company Artek in September last year.

Studioilse VitraHaus loft with Vitra and Artek furniture

“The VitraHaus loft was going to be redone for the fourth time and I felt that this would be a fantastic opportunity to display Artek as a natural addition to the Vitra project,” said Nora Fehlbaum, a member of Vitra’s board of directors.

Studioilse VitraHaus loft with Vitra and Artek furniture

The loft has been arranged as the home of imaginary Finnish-German couple Harri and Astrid – a musician and set designer whose apartment is “filled with objects that tell the story of their lives”.

Studioilse VitraHaus loft with Vitra and Artek furniture

Studioilse wanted to present the furniture as part of a lived-in environment rather than in a traditional showroom.

Studioilse VitraHaus loft with Vitra and Artek furniture

“We wanted to think beyond the furniture and lighting and beyond the bland commercialisation of design, to convey real life in all its layers and eccentricities,” said Crawford.

Studioilse VitraHaus loft with Vitra and Artek furniture

On display are famous designs like Stool 60 and Paimio Armchair 41 by Modernist architect Alvar Aalto, who co-founded Artek in 1935.

Studioilse VitraHaus loft with Vitra and Artek furniture

The space is cluttered with books and ornaments, while photographs and colour samples are pinned to a cork-lined wall.

Studioilse VitraHaus loft with Vitra and Artek furniture

Canvases, brushes and other artist’s materials are grouped into a studio setup in one part of the loft, which has wooden floors throughout and is naturally lit by the building’s large gable windows.

Studioilse VitraHaus loft with Vitra and Artek furniture

“It was vital to bring out the intellectual spirit of the minds and hands that made these things,” said Crawford. “These pieces are stories of real life and courageous intentions to raise the quality of everyday living. To see them as museum exhibits or sales units is a profound injustice to their creators.”

Studioilse VitraHaus loft with Vitra and Artek furniture

Earlier this year, Artek bought the factory in Finland where Aalto developed his furniture.

SOURCE: http://www.dezeen.com/2014/05/13/studioilse-arranges-vitra-and-artek-furniture-into-home-for-fictitious-couple/

 

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