Photo（Magazine） Masaaki Inoue
p20 _ Gonzalez Haase AAS
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Tangible beauty by integrating structure, light, and materials.
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Text Takahiro Tsuchida
Summarized by editor
Photo (Studio) Kazumasa Harada
Coordination Hideko Kawachi
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Gonzalez Haase AAS, Berlin, emerged in the early 2000s with spatial designs for art galleries. The studio skillfully manipulates light and materials while basing its work on a realism that looks at the architecture itself in front of it. We caught up with Pierre Jorge Gonzalez and Judith Haase, the studio's heads.
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We are fascinated by Gonzalez Haase AAS. Their right-hand uses the rigor of the Bauhaus school, while their left-hand uses the lightness of bricolage. The studio's central figures are Pierre Georges Gonzalez, a French-born designer who studied scenography, and German-born architect Judith Haase. Their collaboration began in 1999 with the design of several art galleries in Berlin.
Their work eventually caught the attention of Andreas Murkdis, owner of one of Berlin's most sought-after boutiques, whose current shop opened in 2010 and is also the result of their renovation work. The shop is created as a place where the original dynamism of the building can be experienced, with minimal manipulation of the exposed structure to develop displays and other functions. Symbolic is the ceiling, which emphasizes a three-dimensional effect through lighting. They lighten the entire space homogeneously, which is not limited to this project. Communication then becomes more open. It is a democratic light, they tell us.
The distinctive ceiling lights in the boutique MODES Milano, completed in 2023, were adapted from parts of inexpensive lighting fixtures commonly found in Italian offices. Gonzalez Haase AAS actively brings elements normally hidden behind walls and other surfaces and places them in unusual contexts.
Another work that the two mentioned as one of their culminating projects is TEM-PLATE, which was completed in Lisbon, Portugal, in 2019. It is a renovation of an old warehouse, and the space was organized while keeping the beauty of the skeleton. Several original fixtures and furniture made from plywood are placed there, creating a space as an edgy select shop. Their approach is always oriented towards criticality. Using natural materials is often considered sustainable and eco-friendly but is generally more expensive than other options. Sometimes, cheaper and more industrial materials have a lower environmental impact because they require less processing and finishing.
Lola Light, which they presented last year, can also be considered a spatial and architectural project. While their previous products were derived from designs for specific architectural projects, this luminaire is their first independent design.
Gonzalez Haase AAS's designs do not rely on stories, contexts, and narratives. The creation is based on a realistic relationship with shape, color, and reality.
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p42 _ Sabine Marcelis & Paul Cournet
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Two shining personalities, one life.
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Text Yoshinao Yamada
Summarized by editor
Photo Yuta Sawamura
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Sabine Marcelis has significantly impacted the design scene with her works that expertly deal with light, color, and materials. Her partner, architect Paul Cournet, is also involved in various activities through his design studio, CLOUD. We had the pleasure of speaking with them at their home in Rotterdam, the Netherlands, to discuss their work ideas and plans.
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Sabine Marcelis grew up in New Zealand but completed her Bachelor's degree at the Design Academy Eindhoven in the Netherlands, her birth country. Marcelis has always been fascinated by the possibilities of light. She believes that the reflection and diffusion of light and the shadows it creates make all kinds of expression possible. Recently, Marcelis presented 'RA’, a re-creation of a sundial in Egypt. The installation utilizes the sun and light as more than an optical effect.
Marcelis finds collaborating with someone with similar interests but different perspectives exciting. Her partner, Paul Cournet, is one such person. She believes engaging in discussions with him, such as brainstorming sessions, can result in unexpected solutions.
Cournet founded his design studio, CLOUD, in 2022 after studying architecture in Bordeaux and Paris, France. As a student, he began working for Rem Koolhaas' OMA and its think tank, AMO. After establishing his own company, he took on an editorial role at Capsule magazine, also launched in 2022. Despite skepticism, Cournet believes creating a print magazine is essential in the digital age.
Cournet designed a custom seat from Le Corbusier's Grande Comfort sofa for the house where he and Marcelis live. He made it himself when Marcelis, who gave birth during the Covid-19 pandemic, searched for a comfortable chair to breastfeed in. Marcelis also uses artistic approaches to create materials and objects that enhance the surrounding environment.
During our interview, we asked Marcelis and Cournet about their perception of the social issues affecting their generation. Marcelis expressed that she is not trying to save the world or lives. However, her designs aim to display possibilities and spark curiosity and surprise. She hopes that her work will always be able to trigger those emotions. Additionally, she emphasized the importance of designers remaining curious about what is possible and always anticipating what the future might hold.
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p65 _ Monouchigiwa by Haruka Misawa
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Text Takahiro Tsuchida
Summarized by editor
Photo Keisuke Kitamura
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A lot of debris on the beach has been washed up and collected by the sea. The age and origin of the items are unknown, and they are all spread out in front of us.
Haruka Misawa's installation 'Monouchigiwa' was created for the 'Material, or' exhibition held at 21_21 DESIGN SIGHT in 2023. She laid out numerous objects she had collected during her visits to the coast. She felt she hadn't just picked up whatever was in front of her but had carefully selected items she liked, even if she wasn't entirely sure what they were for. Misawa says, "That feeling is interesting; the feeling of unfamiliarity is uplifting."
The installation's floor was covered with a grid of black threads. The naturalist Minakata Kumagusu's drawer, which she had seen before, was divided inside by a lattice and contained a diverse collection of natural objects he had collected and organized. She recalled the sight of it numerous times during the setup. The threads were suspended 20mm above the floor to resemble water waves. Upon viewing the photos, the observer felt the threads possessed an aquatic materiality.
The role of a designer is typically to create. "Finding, collecting, and arranging objects may be considered the basic essence of design," says Misawa, although she adds, "In a way, I don't do anything." Misawa believes that the objects found on the beach represent the earth's natural order. In her work at Monouchigiwa, she interprets this order with her unique creativity.
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p82 _ Cecilie Manz
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Certainty lies beneath the stillness.
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Text Hisashi Ikai
Summarized by editor
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In 2023, Cecilie Manz held her first solo exhibition in Japan, TRANSPOSE. Her creativity once again impressed us with its depth. Although her Danish heritage and the natural environment and traditions of Denmark are often associated with her design style, her intentions go beyond region and time, as symbolized by the keyword 'appropriateness’.
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Cecilie Manz is a renowned designer who values simplicity in her creations. Her designs are not excessively decorative but focus on the balance of light and shadow created by curves and the finishes and colors that emerge from her research. Her products are meant for everyday use, beautifying the space and harmonizing with people's senses and the environment, promoting positive behavior.
In 2023, a solo exhibition called TRANSPOSE was held in Tokyo. It showcases Cecilie Manz's fresh design thinking and demonstrates her clarity, precision, and depth of thought, highlighting how the sense of design is transposed in her brain.
The popularity of Scandinavian design in Japan is still strong, but what does Cecilie, considered a leader in Scandinavian design, think about it? She says using natural materials like wood, linen, and leather isn't enough. She focuses on the differences between materials and whether they suit the intended use. She considers whether they are used where needed and in the right amount. This, she believes, is the foundation of Scandinavian design. She also expresses her appreciation for those who pioneered Scandinavian and Danish design but noted that it is a challenging field that cannot be easily navigated.
Mass production was the norm in the past, where products were created to cater to the masses' demands. However, there has now been an increase in the number of manufacturers who prioritize proper manufacturing. The designer Cecilie Manz has expressed her vision that future designs should strive to avoid being cheap or meaningless. Her designs are meant to be integrated into people's lives and used by countless individuals. Cecilie Manz takes her responsibility seriously, and her conviction has created a new era of design that continues to be in high demand.
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p96 _ Cure.tain / Ksenia Oganesyan
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Everything becomes curtains.
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Text Takahiro Tsuchida
Summarized by editor
Photo (Studio) Kazumasa Harada
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Berlin's Cure.tain is a project created by Ksenia Oganesyan, an architect by background. She deviates from the conventional use of curtains and draws inspiration from various materials, cultures, and lifestyles. She envisions the creation of new curtains that bridge the gap between architecture and art.
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Ksenia Oganesyan studied architecture in Moscow, Paris, and the Anhalt University of Applied Sciences in Dessau. After completing her studies, she worked for several architectural firms in Berlin for several years. Alongside her work in architecture, she also developed an interest in textiles and began making her dresses as a hobby. While working in an architectural studio, she discovered her fascination for textiles when she made her curtains for a project.
In November 2021, she established her own business named Cure.tain. It was pivotal when she shared her recent work with her former mentor, the promising architect Sam Chermayeff. One of her remarkable projects was renovating a pianist's home, where she incorporated the theme of 'playground' and installed a massive net in front of the curtains. The room's view and utility change when the curtains are placed over the net, resulting in a unique experience. Cure.tain's collaboration with Chermayeff has enabled many people to witness their innovative curtains.
Oganesyan, who has a background in architecture, reflects on the meaning and role of curtains in space from an architectural perspective. However, after working for nearly two years as Cure.tain, her interest in curtains has evolved towards an artistic point of view. Looking ahead, she envisions two potential paths for her future activities. One option is to continue working with clients and recommending the most suitable curtains for each space. Another is to focus on viewing curtains as art and developing her artistic style.
Two unique works of art, BAROQUE_LATEX, and BAROQUE_HAIR, were showcased at the Collective Exhibition in Berlin in 2023. These works are innovative in color and transparency, offer a unique tactile experience, and are accompanied by smells and sounds. The curtains are designed with more freedom and are based on a contemporary sense of aesthetics, sure to offer unexplored possibilities. It has only been a little over two years since Cure.tain was launched and an unimaginable realm is spreading out before our eyes.
p106 _ Overtreders W
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Exploring the future of circular architecture through temporary construction.
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Text Katsura Hiratsuka
Summarized by editor
Summarized by editor
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Overtreders W, a Dutch design studio founded by Hester van Dijk and Reinder Bakker in 2006, takes a unique approach to sustainability. They prefer to ' make everything on borrowed time ' rather than relying on heavy energy-saving technology in their architecture. They specialize in temporary architecture and showcase innovative solutions for reducing waste and reusing materials.
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The People's Pavilion at Dutch Design Week (DDW) in 2017 was an innovative structure that showcased the use of borrowed building materials. The pavilion was constructed using concrete and wooden beams, glass roofs, facade elements, and recycled plastic cladding sourced from building material wholesalers and suppliers. The materials were returned to their respective owners after the nine-day event. The pavilion's design was inspired by the gassho-zukuri of Shirakawa-go, which the designers had visited in 2007. To connect the columns and beams, the designers used steel straps typically used to secure pallet loads. Arup, a leading engineering firm, developed a method to bind three beams together using these straps.
'Stable Stack' is a project for a simple guesthouse in the rural village of Veenhuizen. The huts were built using locally sourced materials borrowed from the community. In his book 'Tools for Conviviality', Ivan Illich emphasizes the importance of allowing individuals to use the tools of the community freely. This is essential for creating a society that values and utilizes human creativity. The idea behind the project is to encourage the community to take an active role in manufacturing by organizing a series of scavenger hunts to gather materials instead of relying solely on industrial sources.
Overtreders W's efforts were acknowledged in a design competition for the Dutch Pavilion at Expo 2025 Osaka-Kansai, where they were awarded second prize. This innovative design team refers to themselves as 'choreographers of materials'. They believe in embracing the flow of materials as a representation of the world and are constructivist in their approach. They adopt a constructivist approach, often utilizing modern logistics to create new circulations. Their approach is particularly relevant today, given the increasing complexity and interconnectedness of the flow of things.
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p118 _1995 - Endings and beginnings of distorted dreams.
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Text Keiichiro Fujisaki
Summarized by editor
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In a series of articles, a design critic named Keiichiro Fujisaki discusses design related to a specific 'year' in history. The first article is about the year 1995.
The author believes the 21st century began in 1995 before it officially started. On 17 January of that year, a severe earthquake hit western Japan and caused significant damage to the urban infrastructure. This event made every Japanese person realize how fragile their peaceful daily life was.
In Tokyo, two months after the fact, Aum Shinrikyo followers spread sarin, a highly toxic nerve gas, in an underground train. Their facilities, which resembled massive pre-fabricated warehouses and factories, were completely sealed off from the outside world―the economic logic of maximizing space while minimizing costs eliminated any concern for aesthetics or humanity. The hollow, shell-like structures of modernism are a kind of postmodernism.
Postmodernism, as exemplified by Memphis in 1981, is a style that results from the blending of historical representations, the combination of traditional and popular culture, and the creative and intelligent manipulation of color and form. However, a different and darker version of postmodernism emerged from the distortion of modernism in the aftermath of natural disasters, terrorism, and other related incidents. This dark postmodernism was once again witnessed on September 11, 2001.
As a writer from 1995 to around 2005, I wrote numerous articles that focused on the lives and work of modern and contemporary designers and architects. I aimed to present their work as 'tales of masters' and 'masterpieces.' However, the revaluation of modernism during this period was driven by market forces and became a tool for value creation. This is a dark manifestation of postmodernism, where modernism has become bloated by capitalism and has swallowed up the pure modernism of the past. This trend continues to this day in the 2020s.
"If we talk about the year 1995 in terms of dreams, one dream that still exists today is the dream of digital media. The internet dreamed that individual creativity could transform the world through grassroots connections. In the 21st century, people are constantly using their smartphones and navigating the sea of the internet while being heavily influenced by AI. However, despite these technological advancements, we can still not prevent the climate crisis or wars, and we struggle to determine our direction. Have we become better equipped to handle the dangers and fragility of reality since then?”
p122 _ NM3
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From Milan, the new modernism of Made in Italy.
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Text Sanae Sato
Summarized by editor
Photos Delfino Sisto Legnani (DSL Studio)
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NM3 is a trio based in Milan known for creating a unique, concise metal structure. They have collaborated with various fashion brands, bringing a fresh perspective to the Italian design scene. We take a closer look at their unique identity, which represents the spirit of the times and gained popularity through their breakthrough on Instagram.
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Architects Nicolò Ornaghi and Francesco Zorzi, who were classmates at Politecnico di Milano, along with Delfino Sisto Legnani, an architecture graduate who later became a photographer, founded NM3 in Milan during the lockdown in March 2020. All of their products are manufactured in Italy. Their style may appear spontaneous and rough, but it is not a rebellion against modern Italian design. Instead, they place themselves within the modernist tradition of German origin.
Shortly after their debut, they went unnoticed, until their first client, LA's Dover Street Market, contacted them via Instagram. From then on, the fashion industry started showering them with offers. They appear to be at the center of Milan's cultural scene. Zorzi claims that only 5% of their social media followers own their products, while the majority of them have a digital experience of their products. Therefore, photography plays a critical role in their business.
Although they excel in digital media, they also prioritize physical presence. Last February they relocated their office and showroom to Via Carlo Farini in Milan. Two months later, they organized an exhibition at this location, titled 'FIND ME A CHARGE'. According to Zorzi, the focus is on realistic product design instead of art. Furthermore, he expressed his discontent with trendy contemporary design.
I had assumed they were streetwise and subcultural, but when I spoke to them in person, I realized they were down-to-earth intellectuals. Despite being based in Milan, a city with a rich cultural and historical heritage, NM3 is inspired by the modernist movement, which prioritizes functionality over decoration. With their youthful energy, speed, and momentum, their creations will soon expand in scale and venture into architecture.
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p134 _ Uncapturable by Yusuke Ide
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Text summarized by editor
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The photographs show several buildings designed by Mexican architect Luis Barragán (1902-88). Despite the unremarkable exterior walls, Barragán's architectural experience is unforgettable.
Walking along, you catch a glimpse of sunlight filtering through the trees. Your eyes gradually adjust to the darkness beneath your feet. However, soon, you are exposed to so much light that the needle on your exposure meter swings out of focus. The connecting corridors and openings have been narrowed, creating a sense of spaciousness. Despite its minimalistic design, the water basins, flowers, and grasses offer a beautiful display of vivid colors and luminosity, pleasing the eye.
As soon as you shift your attention to the surroundings, you realize that the bustling Mexico City has already faded away, leaving behind a serene and peaceful environment.
A series of perceptions may be realized by walking around and looking through the camera's focusing glass. Each perception cannot be captured on negative film simultaneously. Fortunately.
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@ide_yus
p144 _ Konstantin Grcic
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Creation with abstraction.
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Text Takahiro Tsuchida
Summarized by editor
Photo Kazumasa Harada
Coordination Hideko Kawachi
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German designer Konstantin Grcic is known for his focus on creating industrial products, and he produces several new pieces every year, including furniture. In addition to his industrial work, he is also commissioned by galleries and museums to create experimental pieces. Through an interview with him in Berlin, we explored the relationship between these two aspects of his work.
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Missing Object/Volume is a design that may seem abstract, but it serves three purposes: it can be used as a stool, a stepladder, and a side table. The word "object" comes from the Latin word "ob-iactum", which means "to throw before a person". This original meaning of the word denotes a somewhat violent notion, which contrasts with the static and aesthetic image we associate with objects nowadays. For designer Grcic, this relationship was intriguing. Furthermore, the physical presence of the object is enigmatic, as it is "missing" in some sense.
The design had a distinct sense of artificiality but lacked any clear intention. This style has been a recurring theme in Grcic's work. For instance, he recognizes that pieces like Cugino share similarities with sculpture, a form of art. Missing Object/Volume and Cugino are versatile and can serve multiple purposes. Grcic often creates multi-functional products with simple shapes. Vitra's Stool-tool, for example, is a single-piece plastic item that combines a stool and a desk. Even his smaller works, like 'Hieronymus' (2016) and 'Wall' (2022), have architectural influences.
Grcic's style is characterized by abstraction, multifunctionality, and narrowness. While these elements are sometimes seen in mass-produced products, the complete picture of his work can only be grasped by considering his collaborative projects with galleries and museums. Like a product, Grcic's works experiment with materials and structures to create something functional. However, working with galleries and museums allows him to explore beyond manufacturing constraints. One of his latest experimental works is Transformers, exhibited at Galerie Kreo in 2023.
Grcic's style has evolved in various ways. Form, function, and expression, as well as figuration and abstraction, are intertwined with depth and heat. When this artistic chaos is combined with some social significance, it results in a mass-produced object of such purity that it is recognized as a Grcic design―his unconstrained creations for the gallery catalyze this change.
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p162 _ Giustini / Stagetti
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Collectible design from Rome bridges the gap between the past and the future.
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Text Sanae Sato
Summarized by editor
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Giustini/Stagetti is a design gallery with a distinctive presence worldwide. It specializes in vintage Italian and contemporary design from local and international sources. The gallery showcases furniture masterpieces and unique pieces created by renowned craft masters. It also features contemporary collections developed from scratch based on meticulous research. All of these demonstrate the high level of skill and craftsmanship that Italy is known for.
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Roberto Giustini, a gallery owner who began his career in contemporary art by working with Enzo Cucchi and Ettore Sottsass, met Stefano Stagetti, who ran a gallery specializing in Italian design of the 1950s. Their collaboration led to establishing the design gallery Giustini / Stagetti in 2009. The gallery showcases an impressive lineup of designers presenting their products based on in-depth research and careful thought in collectible design. The gallery is also involved in all production processes, from finding manufacturers and artisans to working with the designers to develop new collections.
Konstantin Grcic's Magliana Collection, introduced in 2017, drew inspiration from architect Pier Luigi Nervi's use of reinforced concrete in the 1930s. Fromafantasma will showcase an exhibition during Milan Design Week in April 2024. In recent years, sustainable design has gradually increased in popularity within the collectible design market. Michela Tornielli, the gallery's director, says, "We are currently in a transitional period where we are moving from workshop-like outputs to the next level.”
Stefano Stagetti used to acquire pieces through auctions, but now they tend to source from private dealers and individuals as the gallery's profile has increased.
Giustini/Stagetti is a gallery that leverages Italy's rich history and manufacturing culture to offer the world unique, valuable, and beautiful pieces with interesting stories. They enable designers to express themselves in new ways, bring out the full potential of materials, and connect the past and future of design.
p170 _ Formafantasma
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Where is Formafantasma heading? The mediator between people and the outside world beyond people.
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Text Kaoru Tashiro
Summarized by editor
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The project led by Formafantasma involves research that reveals the hidden properties of certain materials and explores their potential for mass production. The project was inspired by the ideas of Tim Ingold, who participated in the 'Prada Frames' symposium curated by Formafantasma, and the words of Enzo Mari, a master of the 20th century. We will examine the significance and beauty of Formafantasma's approach.
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Formafantasma is a design studio that has been active for over a decade. They are known for their highly abstract and metaphysical designs based on research and experimentation. In their latest exhibition, 'Cambio' at the Serpentine Gallery in London in 2020, they have taken a more scientific and interdisciplinary approach. The project emerged from their research into the governance of the global timber industry. This led to a change in the wood selection criteria for furniture manufacturer Artek's production process in Finland. According to Formafantasma, this achievement is more important than designing new products.
In 2023, the Norwegian National Art Gallery in Oslo presented an exhibition called 'Oltre Terra'. It tells the story of the interdependent relationship between sheep, shepherds, and humans. The exhibition beautifully visualizes the intricate and intimate connection between humans and animals. The work was part of a project with the Italian company Tacchini, which aimed to use wool as an alternative to industrial polyurethane foam. This initiative was significant as it proposed a sustainable solution to the problem of disposing of large quantities of wool.
Last year, Formafantasma organized a symposium called "Prada Frames: Materials in Flux" which they curated. Anthropologist Tim Ingold gave the opening talk. The book written by Ingold inspired the title of the symposium. The term "Materials in Flux" reflects that, just as anthropology has moved beyond its human-centered status and has been fundamentally changed by the 'Ontological turn,' a tectonic shift is finally beginning in the design field.
Formafantasma's work is not only beautiful, but it is not just about aesthetics. Their philosophy aligns with Enzo Mari's belief that design can change society because it is intertwined with the economy. However, Formafantasma's design principles are even more relevant today, as humanity and ecology are at stake. They have managed to involve people from various domains to address these issues. They are constantly redefining design and are themselves evolving. Every time we see their work, it reminds us that we are also continually changing.
p190 _ FLOOAT / Yumika Yoshida
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All essences are hidden in the invisible.
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Text Hisashi Ikai
Summarized by editor
Photo(Studio) Masaaki Inoue
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FLOOAT is a Tokyo-based design studio that publishes the magazine Ilmm. The studio's director, Yumika Yoshida, is its central figure. She is revolutionizing office design in Japan by taking a more active and creative perspective.
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FLOOAT, led by director Yumika Yoshida, has been designing offices and winning national and international awards for years. Where does her design philosophy come from? Yumika Yoshida's earliest design memories come from her childhood home, which her father, an architect, designed. She later worked for a design firm specializing in office interiors. She was inspired by her seniors and wanted to challenge herself to do more different kinds of design.
Yoshida was one of the founding members of FLOOAT, which launched in 2011. She describes her design style as not flashy but aiming to create a comfortable feeling that can be felt with the whole body as you spend time there.
Offices are filled with necessary mechanical equipment, such as air conditioning, electrical wiring, and fire safety devices, to ensure employees' safe and stable environment. She says their role must be examined and appropriately organized to minimize noise. More than just superficial furnishings must fulfill people's functionality and comfort requirements. The spaces created by Yoshida are meant for comfortable living, with great attention paid to the behind-the-scenes details.
Yoshida frequently visits outstanding architecture in Japan and worldwide to enhance her aesthetic sense. Last year, she revisited St Moritz Church (Augsburg, Germany), which John Pawson renovated. It is a place that inspired her to rethink her design. She becomes more aware of issues, seeks new solutions, and gets excited about each experience.
What is Yoshida's goal? Offices are constantly changing due to reorganization and reassignments, and the adoption of free-address and hybrid work arrangements is also rising. The role of design, she says, is to accommodate all kinds of change and maintain an appropriate overall atmosphere.
'I want to create an even better office after five or ten years of use. 'I hope we can create a timeless space with strength and depth.'
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