Photo（Magazine） Masaaki Inoue
From editor
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Contemporary design began to take root gradually in the 1990s. Konstantin Grcic, whom we interviewed for the previous issue, Ilmm#0, became independent in the early 1990s and is a significant designer who advanced the design scene. Ronan Bouroullec, featured in Ilmm#1, also established the foundation of contemporary design with a style entirely different from the conventional. His unique ideas and genuine expressions beautifully reflect the freedom and simplicity captured in the drawings he created with his left hand.
Faye Toogood, Laila Gohar, and Older, too, exhibit creations that transcend common sense without being bound by their past or background. Contemporary design will continue to evolve; Consequently, since there is no single correct answer, the media should fully embrace this freedom of expression.
We have captured the inspiring beauty of Ronan Bouroullec's home and studio in Paris, along with the breathtaking landscapes of Brittany and his home there, which inspire his creativity. John Pawson's HomeFarm, featured at the end of this issue, is a residence where the architect enjoys serene moments away from the bustling city. While often regarded as a master of minimalism, his ideas and the design of HomeFarm stand apart from all design movements.
Thanks to the wonderful support, fortunate moments, and serendipitous events, the design journal "Ilmm" has been completed once again. Although the future remains uncertain, I feel an increasing desire for greater freedom.
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p32 _ Ronan Bouroullec
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Resonance of a single line evoking motion.
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Text Noriko Kawakami
Summarized by editor
Photo Mitsuo Suma
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First discovered by Giulio Cappellini in the late 1990s, Ronan Bouroullec caught the eye of Issey Miyake in the 2000s and was subsequently appointed by Vitra, which was led by Rolf Fehlbaum. Since then, Ronan Bouroullec has collaborated with Flos, Magis, Hay, Galerie Kreo, and other talented individuals. However, his creations always reflect a spirit of freedom. In a recent interview lasting more than two hours, we caught up with him to learn more about his current state of mind as he continues confronting creations that transcend borders.
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Ronan Bouroullec currently splits his time between three main locations: his home and studio in Paris and a house in Brittany, where he grew up. The Breton house, located just a three-hour train ride from Paris, is his retreat whenever he feels the need to escape, not just on weekends. The climate and light there differ from those in Paris, and the expansive sea and sky create a unique atmosphere.
Bouroullec claims that there is no hierarchy in the subjects that interest him―from drawings to industrial products, crafts, and installations. His extensive solo exhibition, "Résonance," at the Centre Pompidou lasted for seven months and showcased his wide-ranging artistic practice. For him, creating drawings is an essential part of his life―a pure and direct form of expression that requires nothing more than paper and a pen.
His wide-ranging interests reflect a deep curiosity and a commitment to exploring diverse materials and techniques; ceramics are one of the examples. His recent solo exhibition at the Centre Pompidou featured a vibrant collection of vases created during a project in Tajimi, Gifu Prefecture. He gained further recognition at the 2024 Milan Design Week, where he presented works in collaboration with the Italian design tile company Mutina. Furthermore, his creative session with Homme Plissé Issey Miyake that year resulted in what he was pleased to describe as "unexpected situations.”
The medieval chapel of Mont Saint-Michel-de-Braspart in Brittany symbolizes Bouroullec’s diverse creative endeavors, including art production, design projects, and collaborations with various artisans. The ambiance of this church beautifully showcases the diverse artistry of human crafts, making it impossible not to feel inspired.
Bouroullec's work seamlessly combines the sensual and physical elements of drawing with the intellectual enjoyment of encounters and dialogues. Exploring without a fixed destination requires passion and courage, the essence that Bouroullec captures in his work. The journey continues. A combination of refined intuition and careful thought influences Ronan Bouroullec's creations.
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@ronanbouroullec
p44 _ Ricardo Bofill
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Thoughts projected onto La Fábrica.
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Text Katsura Hiratsuka
Summarized by editor
Photo Enric Badrinas
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Ricardo Bofill founded the architectural firm Taller de Arquitectura, which is now led by the next generation, his son. Let's look back at Ricardo Bofill's architectural work and philosophy, known as a post-modern architect, from his base, "La Fábrica."
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Ricardo Bofill, an architect from Barcelona, passed away in 2022. His legacy continues through La Fabrica, the architectural firm he founded, which his two sons now manage. Famous for his monumental buildings that boldly describe urban landscapes, Bofill declared in his book "Espaces d’une vie" that "interior decoration is only interesting in relation to the overall project.” However, La Fabrica defies this image by offering an elegant, intimate space. This is a transformation of a former cement factory that operated from 1920 to 1967, and it bears little resemblance to a typical architectural office. Bofill's architectural firm, Taller de Arquitectura, which translates to "Architecture Workshop," was a dynamic and experimental space where artists and collaborators intermingled, creating a whirlwind of diverse cultures and ideas.
Three decades before the opening of the Tate Modern, when the reuse of industrial heritage was far from commonplace, Bofill turned his attention to abandoned factories. The factory site was first subjected to a bold demolition process involving monochrome photographs marked with colored markers, and then it was cut using dynamite and drills. The space was reorganized using a method that Bofill described as "leaving an ambiguous state between the images of destruction." The addition of repetitive arches brought a new order to the space. Bofill named the enclosed area "the cathedral," which he designated as his main architectural studio and residence. Some of the cylindrical silos were given functions, with six becoming workspaces and four becoming guest rooms.
When Bofill began his approach to the abandoned factory in 1968, the May 1968 protests in Paris took place, and the Whole Earth Catalog was published in the United States, marking a period of widespread youth rebellion against the postwar managerial society. Additionally, Bofill, who had traveled extensively to Islamic regions and North Africa from a young age, openly acknowledged the nomadic villages as a source of inspiration. Through his architectural projects and the arrangement of his own studio, Bofill aimed to create an urban environment where people of diverse backgrounds could mix and grow autonomously. This space transcends architectural types such as offices, residences, and gardens, as well as the conversion of industrial heritage, Brutalism, Surrealism, and quotations from classical styles. La Fabrica will keep developing, establishing itself as a stunning utopia designed by Bofill.
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p60 _ Faye Toogood
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Instinct and intellect.
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Text Takahiro Tsuchida
Summarized by editor
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With her unique design background, Faye Toogood is set to break into the mainstream. Her creativity merges intuition and instinct with a strong intellectual and modern edge. Additionally, her latest creations blend captivating wildness and serenity to produce functional objects.
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Faye Toogood launched her design career in 2008 following her studies in sculpture, art, and art history. Her distinctive approach gradually transformed into a manner of "creative play," embraced through the absence of constraints. A pivotal moment in her evolution occurred with her transition into motherhood, leading to a shift from her previously sharp and angular designs to softer, more gentle forms. A notable example of this change is the "Roly Poly" chair. Toogood frequently draws inspiration for her designs from models, which lends her work―such as the Roly Poly―a natural, almost instinctive essence. She compares this creative process to the carefree nature of a child's play.
Toogood often integrates hand-drawn illustrations and patterns into her designs. These features enable her to convey her creativity directly, bridging the divide between machinery and humanity and the industrial and handcrafted. Her art history background has proven essential. While numerous designers look to historical works for inspiration, this approach is particularly emphasized and scrutinized in art.
In 2024, Toogood introduced the "Gummy Chair," an armchair crafted from soft fabric and padding. The sculptural "Palette Table" is inspired by artists such as Isamu Noguchi. Both pieces come in a range of colors. This fusion of softness and robust form presents a novel challenge for Toogood. Although she is often seen as a designer deeply connected to her senses, her sensitivity is inextricably tied to her instincts. Her distinctive learning and experiences have enhanced this sensitivity, leading to a highly refined aesthetic. Her designs are speedy, powerful, and clear, evoking a wide spectrum of emotions.
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p74 _ Mesura
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Architecture without boundaries.
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Text Takahiro Tsuchida
Summarized by editor
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In 2010, five architects fresh out of school created a collective called Mesura. Through collaboration within and outside the team, they have completed projects that are both impactful and have strong messages. They are gradually expanding their range of activities to create a sense of community. We visited their studio in Barcelona to hear their thoughts on how they embody the image of a creator suitable for the contemporary era.
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The five founding architects of Mesura, a Barcelona-based design firm, characterize their team as having "a unified vision paired with diverse personalities." This dynamic is essential for grasping Mesura's distinctive approach. Established in 2010, just after their graduation, the firm was established during the global financial crisis, which greatly affected Spain's construction industry. Concurrently, they felt a new paradigm was beginning to take shape in architecture.
Five years after its founding, Mesura's relocated studio is committed to a flat organizational structure. The open-plan design allows models and mood boards for current projects to be easily seen. This layout sends a clear message to clients about Mesura's capacity for large projects, willingness to collaborate, and trustworthiness. Additionally, the visibility of staff activities highlights the flat organizational structure in action.
At Mesura, enhancing communication and highlighting processes extends beyond internal studio activities. Their website showcases comprehensive descriptions of each project, frequently accompanied by renderings and drawings. Furthermore, it encompasses diverse content, encompassing art, culture, and social issues that influence their work. For Mesura, publicly sharing a project via the website or other platforms is a fundamental aspect of the project itself.
The intersection of individual and collective strengths among the five members is evident in their diverse practices across different fields and their capacity to elicit various sensations. Although architecture lies at the heart of Mesura's efforts, this same range and diversity are expected to enhance numerous other professions as well.
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p96 _ Deutsche & Japaner
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Sublimating the message into vibrations.
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Text Takahiro Tsuchida
Summarized by editor
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Deutsche & Japaner specializes in branding and graphic design projects of various scales. They emphasize textual elements like logos and typefaces, ensuring careful curation. Their approach features distinctive color usage, the interaction between text and images, and even three-dimensional products such as apparel. They believe that good design must be guided by the natural flow of the task itself. Their individual works powerfully convey a distinct sense of "voice.", reflecting the aspirations of the client's brand while conveying information with impact.
p96 _ Carlo Clopath
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Spiral revives rituals.
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Text Takahiro Tsuchida
Summarized by editor
Photo Carlo Clopath
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Carlo Clopath, known for his minimalist approach, visited Arita, Japan, in early 2023, where he crafted a collection of vessels featuring abundant spiral patterns. His work transcended traditional aesthetics, aiming for a cultural enhancement of functionality. ‘The designs created by the Jomon people were not simply ornamental. He explains, "I wanted to challenge or broaden the current understanding of rationality and efficiency, especially regarding climate change.”
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Swiss designer Carlo Clopath spent approximately three months in early 2023 in Arita, Saga Prefecture, as part of an artist-in-residence program. Previously focused on wood and metal, he found ceramics to be an unexplored medium. He aimed to collaborate closely with expert Arita porcelain artisans and immerse himself in the local culture.
Following extensive research in the area, Clopath began conceptualizing the designs of his vessels. He drew inspiration from the spherical, cylindrical, and hybrid shapes commonly seen in historical kilns, particularly in Arita. Clopath believed that a vessel's shape was intrinsically linked to its purpose, while the applied decorations were vital for ritualistic functions. He often incorporated hand-drawn spiral motifs, noting that although they were tied to nature, these designs were not direct depictions but symbols representing broader ideas such as flowing water, seasonal transitions, and the life cycle.
In November 2023, Clopath held his solo exhibition titled "Acts of Beauty - Ornament: Symbols of Existence in Harmony with Nature" at (PLACE) by method in Tokyo. The ceramics displayed were arranged on the exhibition space floor. Meanwhile, folk crafts featuring spiral patterns adorned the walls, establishing a conversation between the historical artifacts and Clopath's contemporary creations.
Clopath clearly possesses a strong ambition for perfection. Yet, it’s intriguing that he is aware of the broader rhythms of nature and humanity, reflecting on significant themes. These endeavors subtly highlight the varied values that postmodern industrialization often neglects, aiming to reintegrate them into our everyday existence.
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p106 _ 1851
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Changing Expo, changing design.
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Text Keiichiro Fujisaki
Summarized by editor
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A series of articles in which one author freely discusses design on the theme of a particular ‘year’ in history. Design journalist Mirei Takahashi starts by exploring 1851 when the first World Exposition occurred in London. She looks at the connection between design and the fair, its expansion to the USA and Japan, and how it has evolved to this day.
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Reflecting on the past 170 years, 1851 stands out as a pivotal year in the evolution of modern design. This was when the world's first World's Fair occurred in England, hosted at the newly built Crystal Palace in London's Hyde Park. For the first time, a wide audience was invited to experience the interplay of science, culture, and art―elements that had previously been exclusive to a small elite. Following its successful run, many exhibits from the fair formed the core collection of the Victoria and Albert Museum, often regarded as the world's first design museum.
World Fairs have been venues for displaying nations' technological strengths and cultural heritage while facilitating trade discussions and boosting brand visibility. This tradition continues today through trade fairs in different countries. A notable example is the Salone del Mobile Milano, the largest furniture fair in the world, held every April in Italy.
Conversely, contemporary world fairs are platforms to tackle urgent global issues, including environmental challenges, poverty, and racial inequality. The theme of the 2025 World Expo in Osaka is "Designing the Future Society for Our Lives." It is important to pay close attention to how renowned Japanese architects will create each pavilion and the messages that participating nations and companies will express.
p110 _ Nick Ross
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Silent, clean, hardcore.
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Text Yoshinao Yamada
Summarized by editor
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When we think of furniture and history, we typically associate it with the historical evolution of furniture itself. From early humans sitting on stones for rest to the development of seats of power for royalty and aristocracy and the eventual emergence of chairs for the general populace in modern times, the history of furniture is diverse and intriguing. However, instead of delving into furniture's cultural and anthropological aspects, let's consider how people have sought suitable forms for sitting. Designer Nick Ross, based in Sweden, explores this question by examining history.
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Nick Ross's furniture designs embrace minimalism, focusing on essential forms while radiating a primitive essence through the expressive features of the materials. Although the pieces in his studio come from different backgrounds, their craftsmanship is so unified that it is difficult to distinguish between mass-produced and unique creations at first glance.
Ross draws inspiration from ancient history, using it as a lens to explore the connection between users and modern design. In his earlier creations, he designed tables influenced by Greek and Roman sculptures and incorporated elements from Roman-era narratives of the Caledonians, the native inhabitants of Scotland. His fascination with understanding the events shaping distinct cultural phenomena remains strong. Ross argues that the initial phase of his design process involves crafting furniture that elicits the same sense of security once experienced in early human homes.
He refers to the "P-L 01" chair, created for Denmark's Niko June, as an example. The designation "P-L" comes from the post-and-lintel architectural method seen in ancient Greece and other civilizations, indicating a design where vertical posts uphold horizontal lintels. While it is distinctly recognizable as a chair, it possesses a uniquely undeniable quality.
Despite varying backgrounds, Ross's designs remain minimalist. Scandinavian design tends to be characterized by simplicity and cleanliness, and although Ross's creations can be similarly described, they stand apart from the conventional Scandinavian style. His affection for pieces that appear to be crafted by extraterrestrials gives his work an otherworldly quality, which likely stems from this distinctive aesthetic.
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p118 _ Laila Gohar
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Just wanna make the parties fun.
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Text Kanae Hasegawa
Summarized by editor
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Creating fun, beautiful, and uplifting communication. Laila Gohar lives in New York and plays such a role through food. Cooking is important for people to have an invaluable experience in their limited time together. Having mastered the unique charm and subtleties of food, she is now trying to spread its proven power further.
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Laila Gohar's creations are truly enchanting. Picture strangers maintaining eye contact over a party table as they encounter an eggplant-shaped cake. Gohar primarily uses food as her medium to design and install works that radiate a festive spirit. More broadly, she functions as a communication designer, articulating the essence and themes of her clients.
Her work is often a showstopper, featuring food installations so striking that they demand a second look. At a party hosted by Galerie Lafayette in Paris in 2019, she astonished guests with a colossal mortadella resembling a telephone pole and a butter sculpture reminiscent of a plaster cast. She explains that she finds beauty in the imperfect rather than the symmetrical. She challenges our perceptions by distorting the shapes and scales of everyday objects. Everything she does is self-taught, as she continually experiments with ways to make dining at a party a more enjoyable experience.
In 2020, during the COVID-19 pandemic that distanced everyone, she founded "Gohar World," a brand specializing in table accessories. This initiative stemmed from her wish to promote the joy of communal dining when gatherings were limited. True to her design philosophy, she embraces a democratic perspective.
p132 _ Older
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Seeing the world through the lens of uniforms.
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Text Sanae Sato
Summarized by editor
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Older is a uniform brand based in Milan. They elevate the workwear and aprons worn by staff in restaurants, museums, and events to the level of fashion while also recognizing them as objects that contribute to a space. In a similar context to architecture and interior design, they redefine the concept of uniforms into something innovative.
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Older is a sustainable uniform brand established by Italians Letizia Caramia and Morten Thuesen from Denmark. The couple is dedicated to designing timeless and practical workwear. Their collections feature crisp fabrics, contemporary shapes, and expertly crafted silhouettes, delivering a minimalist yet elegant look. Letizia and Morten met while working at Alexander McQueen in London and founded Older in 2013. The brand’s name signifies their goal of crafting clothing that matures beautifully, defying the rapid trends of the fashion industry.
They think workwear enhances morale and self-esteem, giving employees a feeling of pride and acknowledgment. Drawing inspiration from modernist designers such as Charlotte Perriand, Le Corbusier, and Shiro Kuramata, Older adopts a modernist perspective on uniforms. Their clothing is manufactured in Europe through ethical and sustainable production processes, yielding highly durable items intended for professional environments. Additionally, they produce small-batch accessories from fabric offcuts and utilize recycled cardboard boxes for shipping.
Together, both in their personal and professional lives, they committed to prioritizing the enjoyment of their work. They look up to couples such as Charles and Ray Eames and Alvar and Aino Aalto, who creatively inspired one another while nurturing satisfying personal lives.