Novy Dvur Monastery by John Pawson

It’s as if John Pawson is trying to prove that monastic austerity is capable of brightening our spiritual needs—no surprise, considering that with the minimalist British architect, “Every architectural word tells.”

A reductive design process that questions the necessity of every element in the desire to eliminate what is superfluous. This discretion in design is vital for a group of robed Cistercian monks, originally from France, who deliberately seeks seclusion. The restored Our Lady of Novy Dvur monastery, in the Czech Republic is their entire world—based on bare necessities and self denial.

Mr. Pawson’s edgy poetry in the Our Lady of Novy Dvur monastery is evident. Everything is a shade of white. Spartan interiors with a dramatic stripped down elegance of modernism that reveals hidden sources of light. Concrete, plaster and wood; no stained glass; minimal comfort.

This extraordinary serenity is rare. And we are glad that Cistercian monks do these things, so we don’t have to.

For those of Mr. Pawson’s fan club: The London Design Museum’s exhibition “John Pawson Plain Space,” will feature John Pawson’s work from September, 22 2010 to January, 30 2011.

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Impact

Gautier Pelegrin and Vincent Taïani are two Frech designers who work together under the flag of Noon Studio. Noon Studio is based in London, U.K. and Avignon, France.

The designers teamed up with Arkheia, which is the commercial exponent of LERM, the French Laboratory for Material Research and Study. Arkheia developed a quick setting concrete in an attempt to elevate the material to a nobler rank.

The result: Impact, a coffee table with a concrete top shaped into a bowl. The bowl could be used to hold books, but just as well as a fish tank – wouldn’t that be a conversation piece?

If you happen to be in Paris at the moment, do stop by at the Maison & Objet exhibition. Noon Objects have a stand (D46) with Impact on display.

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Guidelines

Guidelines, designed by Dutchman Frederik Roijé, is an innovative wall fixture that functions as a magazine rack. The magazines are held in place by two bent metal frames, one on top of the other. The manner in which the magazines are displayed is as if they were works of art. The playfulness of the structure conceals its surreptitious functionality. If I didn’t know better, I would have enjoyed this piece purely for its design.

I also find it interesting that, when looked up from the front, nothing but thin lines could be seen – it seems as though the magazines and rack amalgamate inconspicuously. Furthermore, the white colored rack placed against a white wall gives the illusion that the magazines are floating.

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Bauhaus Chessmen

The Bauhaus Chessmen, designed by Josef Hartwig all the way back in 1923, are a great example about minimalism and simplicity in design, but above all a perfect example of applied symbolism.

Each piece is shaped as a combination of cubes, cylinders and balls, representing the way they move on the board. For example, the queen is shaped with a big cube with a ball on representing it can move on any direction.

Another touch of minimalism: the board itself does not have a frame: it’s just the checked field.

The Bauhaus Chessmen is part of the MoMA Collection.

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Padfoot

We’ve seen quite a few iPad stands since it hit the market, but the Padfoot by Dutch designer Michiel Cornelissen is just a bit better than what I’ve seen so far.

It’s just so simple: a piece of polyamide with a slot. It’s lightweight and impossible to break. Perfect! (Thx, Pawel)

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Sign Out

This photographic series is titled Sign Out by Poland-born, Düsseldorf-based photographer Josef Schulz.

I assume that these photographs are found abstractions: Newly constructed signage that has yet to be adorned with typography and graphics. Captured in this incomplete stage, these photographs look equally surreal and futuristic, and our attention is turned away from the function of these objects to a heightened consideration of form and colour.

Update: As Maarten suggests in the comments, these photographs are more than likely digitally manipulated. Seen in this light, the work’s title is literal. Sign Out refers to a removal of graphics in an attempt to reduce or minimalise what already exists to its most basic form.

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Exhibition- Less and more: the design ethos of Dieter Rams

Less and more: the design ethos of Dieter Rams. More than 500 exhibits on 1000 square meters of exhibition space in the Museum für Angewandte Kunst in Frankfurt, Germany.

An important focus of the exhibition is context, the historical context as well as the design context of Rams’ oeuvre, and an overview of the concepts of 20th century design with a balance of aesthetics and functionality. Among others, work from Hans Gugelot, Peter Raacke and Richard Sapper are on view. The exhibition does not only want to provide an overview of the work of Dieter Rams, but is also devoted to the future of product worlds.

Museum für Angewandte Kunst in Frankfurt, Germany.
Until September 5, 2010.

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Herr Erich

This table, dubbed Herr Erich (Mister Eric), was designed by Simone Korte of Swiss design agency Form2.

Even though it stretches up to 3 meters or 10 foot in length, the Herr Erich is a very solid table, thanks to it ingenious design – which doesn’t use a single bolt or screw. Pretty amazing.

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Fray Identity

I’m in love with Fray’s 2010 identity designed by London based graphic design consultancy, Build.

From the choice of typeface, to the paper stock selection, the end result just bliss. It’s the lack of elements that opens up to more possibilities.

Fray is a new venture from Simon Waterfall, and looks to change the way design agencies work, and hints that they are already working with 3500 staff. The minimalist business cards acts as a template, allows staff to write their names in the debossed blank spaces. The letter/invoice letterhead is another fantastic detail as well.

How do you react to minimalist identities and how minimal is your business card?

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Tokyo Marc Jacobs Flagship Store

A backdrop that is as edgy as Marc Jacobs’ clothing line; yet it’s quiet with understated sensibility. Marc Jacobs’ new three-story Tokyo store, designed by New York-based architect, Stephan Jaklitsch is scheduled to open in the fall. The design has already received an Award of Excellence from the American Institute of Architects, New York.

Subtle in the extreme; rigorously designed with an obsession for precision. The façade sets the tone for Marc Jacobs fashion brand with a pared-down modernity of a straightforward structure and a muted palette of gray. Two color-blocked strips sit on top of a glass box which works its magic at night, like a lamp.

Spare simplicity to draw myself in and engage my senses; subtly—notably in the easy-chic. When I enter a store, I want a little Mies van der Rohe.

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