Michael Anastassiades’ Mobile Chandelier 6 is a series of light-weight floating and balancing geometries. Each chandelier piece is comprised of black patinated brass, with mouth-blown opaline spheres for illumination and varying pendant rod lengths to order. The resulting forms are effortless and seem to engage in space with a unique lightness. Based in London, Anastassiades has collaborated and designed for FLOS, Lobmeyr and Svenskt Tenn, along with concentrating on the curation of his own signature pieces; a collection of lighting, furniture, jewellery, and tabletop objects. His philosophy of a continuous search for eclecticism, individuality, and timeless qualities in design is clear through his work, with an emphasis on the minimal and utilitarian. The Mobile Chandelier 6 series is a clear extension of this philosophy. Photography courtesy of Michael Anastassiades.
Spain-based architect Ramón Esteve designed a world-class residence with a privileged high view of the turquoise Mediterranean below; the scale of this project goes beyond 1,200 sqm, nevertheless it manages to nail a challenging combination of extravagance and minimalism impeccably. The outer façade facing the street is quite private and does not give anything away regarding its visual prerogative, a much-understated introduction to its wood-clad and geometric structure. On the opposite side lays a very modernist and playful take on various volumes, each one housing its own veranda and access to the beautiful view of the ocean. This project celebrates the natural landscape, yet the interior design brings forth symmetry defiantly. The interior design thrives in white color dominance, an effort to maintain a homogeneous feel in all rooms. Impressive how such a wide variety of materials managed to build a cohesive unit. Kudos to the excellent timberwork in the kitchen, bathroom and on the beautiful 6m high patio. With luxury comes great responsibility, and I’m pleased to see the architects did not ignore ecofriendly solutions: Two separate pools grace this residence, yet rainwater is recycled to fill each one. Lastly, the energy consumption is kept to a minimum with state-of-the-art...
With his RTW Collection #11 Rad Hourani artfully underlines his signature style of architectural and pure looks. Besides his honored haute couture line, the Paris based designer with roots in Jordan and Canada now fields a strong additional oeuvre: his own scent Ascent, his RTW line — by the name of RAD by Rad Hourani — and a parisian gallery. While he constantly experiments and broadens his approach towards the arts and fashion through his endeavors, the ready to wear line seems to be the foundation of his unisex signature style. I’m attached to the notion of purity. And by choosing simple, stark lines, I strive to blur gender boundaries… My pieces are timeless and free of gender differentiation. — Sixth Finger Interview It is remarkable how Rad Hourani manages to persistently iterate a design language that stands out by its radical confinement in shape and color. The effect of this work will never stop awing me. His designs will never get old.
The benefit of choosing minimal accessories lies in their flexibility to be integrated to many outfit combinations. Recently, Collection Of Style—Swedish fashion powerhouse—launched their minimal accessories collection called In Contrast. Although the series only hold a modest number of items, the curation has a uniformed aesthetic of monochromic black and white. In Contrast ranges from highly crafted leather sandals to a leather bag with raw hems. While they don’t act as fashion statements, these accessories subtly complement the wearers with a new edge. However, my favorite is a piece of rubber block necklace that has a smaller counterpart in the form of a wristband. With a thick strap, this particular adornment stands out due to its unique and chunky nature that is not often seen in minimal fashion accessories. The collection is now live at COS online store.
Wall Cloud is a beautifully minimalist renovation project devised by Sasaki Architecture for a former waterfront warehouse in the Minato district of Tokyo that previously operated as a popular disco called Juliana’s Tokyo in the early 1990s. Sasaki Architecture intended to create an open space with floating walls and pillars. The beams and other components were reconsidered as different spatial components, and were redefined in the space. The ceilings were removed, and the beams now surround the space as drifting walls, while lights are used to enhance the sense of floating. Dividers of individual spaces for tenants are transparent glass attached beneath the wall volume. The attic of the former discotheque on the second floor remained untouched for a long period of time, causing an oppressive feeling in the space, but when an old space is given new life, it always brings excitement. I like that. The oppressive attic-like space of a symbol of the past was transformed like a wall cloud, and regenerated as an impressive and wonderfully spacious working environment. Superb. Photography by Takumi Ota.
This elegant dark home is located in Shiga, Japan and designed by FORM/Kouichi Kimura Architects. Framing House was built for a small family who desired to live in a habitable art gallery. The home’s name is attributed to the structure’s act of framing key spaces. This framing notion allows each space to feel unique yet still connected to the flow of the house. Three main spaces are carved into the home’s layout: an art gallery, living space, and courtyard. The courtyard links the gallery and living spaces, and has the added benefit of bringing nature and natural light into both areas of the home. In nearly every room of the home, sections of the walls are cut out to frame windows, artwork, countertops, and shelves. These features contribute to the minimal sensibilities of the home by removing the need for stand-alone furniture and hiding clutter. Framing House is not just a home and an art gallery, it is a home as an art gallery. I could not imagine a more beautiful dwelling place. Photography by Yoshihiro Asada.
Narita International Airport adds to its roster the exciting and very original Terminal 3. As a joint effort from NIKKEN SEKKEI + Ryohin Keikaku + PARTY, this project unapologetically uses the low budget to its advantage with smart choices regarding the structure, applied materials and even the layout. A great example of heavy-duty minimalism infused with playfulness. To break the mould and ignore the customary moving walkways was not only an aesthetic choice but also a monetary one, since the budget for Terminal 3 was half of the usual sum; in a bold move, rubber running tracks were installed all the way through guiding the travellers and the airport’s staff. The clear lines leave no room for doubt, the blue surface leads the way for the departing passengers, whilst the red/earth colour welcomes the arriving commuters. It’s worth pointing out the great pictograms replacing illuminated signs as well. The interior design made with much-celebrated MUJI furniture is a perfect fit for what Terminal 3 is about. The brand’s affordable and functional furnishings enriches the ambient with great visual patterns and additional colour. Since the structure is quite raw and exposed, it is a great contingency plan to add explicit soft...
Silent is Paris-based designer Damir Doma‘s diffusion line launched in 2010. In his AW 2015 Women’s collection, a language of urban minimalism surfaces as his pieces of his look book sit aside images of architecture, taking modern sportswear into the realm of stylish elegance. Addressing the needs of the active, modern woman, curves and edges in the silhouettes of the collection translate into the sporty turtle neck collars, asymmetrical A-lines and cut-outs, suggesting they were intended for the ease of movement. Sweater dresses are explored both as oversized and fitting, while the contrast in piping, exposed stitching and seams reiterate the architectonic elements that Doma so beautifully alludes to. These poised pieces are most chic and graceful, resulting in, for lack of better words: utilitarian made very sexy.
Crafted by Canadian artist Karen Zalamea, Pierre/Paysage (Stone/Landscape in French) is a collection of ten photographic images presenting transformed representations of space. Layers of acetate were cut into different geometric shapes, carefully positioned and lit to create different formal arrangements, alluding to abstract yet quite tangible architectonic, topographic and cartographic silhouettes – at once diaphanous and yet surprisingly solid. Zalamea’s work is involved in the material concerns of image-making practices, often incorporating intricate processes that fuse elements of drawing, sculpture, and performance in her photographic and video production. A stunning feat to coordinate so many disciplines into such sophisticated, minimalistic outputs.
Cologne based design studio Kaschkasch created a slim wallmounted, foldable desk named Fju. Folded down you have a small workspace with a smooth writing surface. When you are done you just place your belongings in the storage pockets under the desk and fold up. Now the storage pockets are revealed and the desk has transformed into a shelf. Within seconds you create some extra space when needed. Fju consists of two main components: a steel bracket, mounted to the wall, and the wooden body made of 8mm thick veneered oak plywood. Fju comes naturally finished or dyed with charcoal. Like Fju the products of design studio Kaschkasch, founded Florian Kallus and Sebastian Schneider, are characterized by precise lines and geometric shapes.
Near the Norwegian village of Geilo, a popular skiing destination, Oslo-based firm Reiulf Ramstad Arkitekter have designed Split View Mountain Lodge, an extremely beautiful family home for their holiday. The architects tell us: This holiday home has a clear and clean-cut expression. The volume has a main wing, housing mainly bedrooms, which naturally adapts to the terrain and divides into two branches of living zones. The shift in program and use of different levels allow this part of the building to adapt to the slope of the site. With the same timber cladding on all of the outer walls and on the roof, the holiday home is unified in one structure. If the exterior is great, no less remarkable is the interior, both made using mainly locally-sourced Norwegian piner, with huge gable-shaped windows to enjoy the unique views of the valley.
Beller’s Equal seating ensemble personifies minimalism, emphasizing a sense of delicate sensibility. The collection is a set of chairs and stools all made from retracting wood in a tight grip of a single, seamless piece of cast metal. The philosophy of the strength between the relationships between objects, and people, is the basis for material selection and composition. The ash wood and the cast aluminum stand as these opposites, united in the Equal chair. Norway-based Lars Beller Fjetland studied at the Bergen National Academy of the Arts focusing on furniture, interiors and lighting, and his Norwegian coastal roots are clearly overt in his work. It is typical of the beautiful Scandinavian tone of combined considered tradition, restrained form and impeccable and seamless detailing. Equal is the spawn of this fascination with detail and a timeless aesthetic. Photography courtesy of Magne Sandnes.