Window to Columbus
Opening 26 August 2017
Press Preview 24 August
Eliel Saarinen’s First Christian Church, Robert Venturi’s white-glazed-brick Fire Station 4 and Paul Kennon’s Streetscape project are just a few examples of the terra-cotta brick’s prominence in the architecture and civic planning of Columbus, Indiana.
Inspired by this brick legacy, Formafantasma and Dzek have developed a volcanic-ash-glazed brick as the primary building block for our installation. The Amsterdam-based Italian studio Formafantasma has been involved with volcanic materials since 2013, and in recent years has been working with us to investigate the architectural potential of volcanic ash.
Window to Columbus is a wall of volcanic-glazed bricks with an inset window. This window reveals a mini-museum hosting a series of six exhibitions, rotating fortnightly, telling stories about the materials that have helped to define Washington Street and the architecture of Columbus at large. The exhibitions are co-curated by Formafantasma and Tricia Gilson of Columbus Indiana Architectural Archives. Their content will appear on these pages as well as on our Instagram page as they are released.
This exhibition also represents the first public presentation of our research with Formafantasma into volcanic matter and its relevance in the manufacture of architectural materials. The wall will be composed entirely from our first four pilot productions of bricks glazed with Mount Etna volcanic ash, clay and salt.
Swiss Institute Annual
Architecture and Design Series:
Second Edition, Pavillion de L’Esprit Nouveau:
A 21st Century Show Home,
Curated by Felix Burrichter
24 September – 8 November, 2015
Swiss Institute / CONTEMPORARY ART
18 Wooster Street
New York NY 10013
We are delighted to be a part of the Swiss Institute’s 2nd Edition of its Annual Architecture and Design Series entitled PAVILLON DE L’ESPRIT NOUVEAU: A 21st Century Show Home. Curated by Felix Burrichter, the editor and creative director of award-winning architecture and design magazine PIN–UP, the exhibition channels the visionary irreverence of Le Corbusier for a 21st century take on domesticity.
When Swiss-born architect Le Corbusier participated in the 1925 Paris Exposition des Arts Décoratifs, his contribution – the original Pavillon de l’Esprit Nouveau – caused an uproar among the fair’s organizers. In a commercial trade show intended to facilitate the promotion of the Art Déco style, his aesthetic was dismissed as antithetical. In retrospect, however, Le Corbusier’s Pavillon de L’Esprit Nouveau acted as a manifesto that introduced revolutionary design concepts, such as building standardization, mass-production as it applies to furnishings and interiors, and the mechanization of the home. These ideas would resonate for decades to come, largely influencing post-war housing schemes and décor throughout the rest of the 20th century.
In homage to the original Pavillon de l’Esprit Nouveau, Burrichter’s exhibition acts as a conceptual show home for the 21st century. Ninety years after the original debuted in Paris, this contemporary PAVILLON DE L’ESPRIT NOUVEAU explores new modes of domesticity, as well as innovation in furniture design, where craft co-exists with computational expertise. The exhibition features over 30 international designers and artists, most of whom are participating with specially commissioned works. All featured pieces bear key elements in either fabrication or material that highlight industrial progress made in the last 15 years such as laser-cutting, 3D-printing, advanced LED-technology, non-woven textiles, and ultra-light carbon-fiber.
In addition to serving as a platform for new design, PAVILLON DE L’ESPRIT NOUVEAU is also an interactive, architectural experience. Divided into softly delineated zones, each increasing in levels of privacy, the exhibition design by architect and artist Shawn Maximo makes use of digital rendering technology and Chroma key compositing. The 21st century show home incorporates scenarios of different domestic environments, exploring the blurred lines in a culture of digital escapism and surveillance.
In the characteristically confident words of Le Corbusier, the Pavillon’s 2015 iteration at Swiss Institute aims to capture “a turning point in the design of modern interiors and a milestone in the evolution of architecture.”
The exhibition will include works by:
Lindsey Adelman, Nanu Al-Hamad, ArandaLasch, Alessandro Bava, Josh Bitelli, Camille Blin, Laureline Galliot, Konstantin Grcic, Paul Kopkau, Kram/Weisshaar, Joris Laarman, Max Lamb, Le Corbusier, Piero Lissoni, Philippe Malouin, Shawn Maximo, Jasper Morrison, Jonathan Muecke, Marlie Mul, Ifeanyi Oganwu, Leon Ransmeier, Sean Raspet, Jessi Reaves, Guto Requena, RO/LU, Rossi Bianchi, Julika Rudelius, Soft Baroque, Robert Stadler, Ian Stell, Katie Stout, Elisa Strozyk, Studio Drift, Patricia Urquiola, Christian Wassmann, Bethan Laura Wood.
London Design Festival
Marmoreal by Max Lamb:
A pictographic story of material making.
19-25 September 2015
4 Thurloe Place Mews
London SW7 2HL
Following exhibitions in Milan, Beijing and Basel, Dzek brings Marmoreal to London as a part of the Jane Withers curated Brompton Design District. Set in a South Kensington garage in Thurloe Place Mews, a stone’s throw from the V&A, this London Design Festival exhibition presents Marmoreal in its complete range of standard colours and dimensions. From full slabs and tiles to a selection of furnishings, this unique arrangement marks the first time viewers can experience the full-size, three-metre slabs. All these formats of Marmoreal are shown alongside images and text that give visitors an in-depth insight into its manufacturing process, from concept and prototype all the way to production and application.
Marmoreal, Bathroom, Furniture
Design Miami/ Basel
16-21 June 2015
Hall 1 Süd, Messe Basel, Switzerland
At Design Miami/ Basel, the British designer Max Lamb (b. 1980) will address material design, bathroom furnishings, and interiors in the exhibition Marmoreal, Bathroom, Furniture. The installation features a new black Marmoreal engineered marble realised in collaboration with Dzek.
Marmoreal, Bathroom, Furniture challenges the rationale for the mass standardization of sanitaryware, provoking reflection on our bathroom rituals and relationship to that intimate space. Le Corbusier, the master modernist, had a particular interest in the bathroom experience and viewed the mass standardization of sanitaryware as the pinnacle of successful design, championing the bidet as the epitome of design by evolutionary need. Charlotte Perriand, Le Corbusier’s contemporary, also had great interest in the bathroom; the French architect’s time in Japan and Vietnam informed her highly regarded bathroom work. Lamb, like Perriand, adopted some of this eastern bathing philosophy during his travels in Asia. It is evident in his desire to be more generous with the bathing experience while simultaneously resisting the idea that the bathroom should consume ever more space. The design of the Marmoreal bath, with its steep vertical sides, recalls the traditional Japanese ofuro, or soaking tub.
Lamb began his examination of bathroom design by questioning the origins of our personal maintenance habits: specifically, whether they’ve been informed by mass standardization, or whether this standardization was born of human necessity. His daily bathing routine was an important reference point, and inspired a desire to eliminate the things he deemed ill considered in the standardized modern bathroom. With the Marmoreal material as protagonist, each of his bathroom furnishings became necessarily different from the familiar standards made out of ceramic, steel, and plastic. Stone, of course, offers both limitations and opportunities.
Lamb’s interpretation adheres to idealistic structural rationalism; his bathroom furnishings are architectonic, and operate in a language consistent with the other Marmoreal furnishings of his design—skeletal pieces that convey an honesty typical of the designer’s work. They are efficient, and designed to serve equally well in a fully integrated Marmoreal space as well as in ad hoc scenarios.
House Party with Dzek
Kate MacGarry, London
14 November - 20 December 2014
27 Old Nichol Street
London E2 7HR
House Party is an exhibition of furniture, ceramics, painting, sculpture, jewellery and clothing by 24 artists and designers selected by Kate MacGarry and Brent Dzekciorius from Dzek.
Featuring works from 1882, Josh Blackwell, Yoko Brown, Karl Fritsch, Martino Gamper, Gemma Holt, Marc Hundley, Max Lamb, Philippe Malouin, Peter Marigold, Michael Marriott, Peter McDonald, Florian Meisenberg, Otto, Renee So, Andrew Stafford, Study O Portable, Harry Thaler, Faye Toogood & Francis Upritchard.
24 May - 29 August 2014
798 Art District
No.4 Jiuxianquiao Lu
Chaoyang District, Beijing
The Ullens Center for Contemporary Art in Beijing is putting on its first design exhibition this spring in cooperation with Lou Weis from Broached Commissions in Australia. Titled Broached Retreat, the exhibition invites international designers to participate in discussions on the history of design. These discussions take place within a pavilion constructed out of paper, stone, and steel. The pavilion, entitled Broached Privacy, addresses the question of how we experience personal, interior spaces today.
Marmoreal by Max Lamb is featured in Broached Retreat as an architectural surface used within the pavilion for flooring and wall cladding as well as in the construction of exhibition designer Chen Lu’s own furniture designs.
Other participating designers include Broached founding members Adam Goodrum, Trent Jansen, and Charles Wilson, whose work is appearing alongside that of Keiji Ashizawa (Tokyo), Susan Dimasi (Melbourne), Naihan Li (Beijing), Azuma Makoto (Tokyo), and Lucy McRae (London).
An Engineered Marble for Architectural Surfaces
Designed by Max Lamb
Salone del Mobile, Milan 2014
8 April -13 April 2014
Via Maroncelli 7
Dzek debuts Marmoreal, a new engineered marble for architectural surfaces designed by Max Lamb.
Tuesday – Saturday 11am – 7pm
Sunday 12 – 5pm