House of Finn Juhl

In/Out - OUT/ABOUT: Finn Juhl's House

In/Out - OUT/ABOUT: Finn Juhl's House

In/Out - OUT/ABOUT: Finn Juhl's House

In/Out - OUT/ABOUT: Finn Juhl's House

In/Out - OUT/ABOUT: Finn Juhl's House

In/Out - OUT/ABOUT: Finn Juhl's House

In/Out - OUT/ABOUT: Finn Juhl's House

In/Out - OUT/ABOUT: Finn Juhl's House

In/Out - OUT/ABOUT: Finn Juhl's House

In/Out - OUT/ABOUT: Finn Juhl's House

In/Out - OUT/ABOUT: Finn Juhl's House

In/Out - OUT/ABOUT: Finn Juhl's House

Furniture and houses are of course always designed in a context. I have rarely built a house where I didn’t also design the furniture. It is of course fundamental that the furniture is practical. Chairs are not designed to look at but to sit on, but of course it makes you happy, if they are also worth looking at – Finn Juhl, 1982

Danish architect Finn Juhl is now perhaps more renowned for his furniture than his architecture. Juhl worked closely with cabinetmaker and craftsman Niels Vodder to create such icons as the ‘Pelican Chair’ and the ‘Chieftains Chair’.

Juhl’s house, on the outskirts of Copenhagen is a modest abode, now open as a museum for the public to sense first hand the impact of Denmark’s design history and its significant contribution to the Scandivanian Modern period.

Inside the home, the spaces have a wonderful sense of connectivity, each one enticing and beckoning you with a promise of divine discovery. They are warm and sociable spaces that are lovingly curated. Embracing a theory he called “from the inside and out”, Juhl’s idea was that the inception of a building began with envisaging and planning its furniture. A fully furnished space could then start to determine both the spatial envelope required and thus the overall character of the architecture.

Heavily influenced by the artists of his time, Finn Juhl felt that a good designer should also build a collection that is visually eclectic but complementary. This ethos is apparent in his house where everything comes together with such harmony from the furniture pieces to the art, carpets, books, trinkets and treasures, and paint treatments. It’s a creative den, a visual feast of inspiration.

Juhl’s ‘Poet Sofa’, with its welcoming embrace is a hero piece in this picturesque home. Sitting in perfect harmony with the ‘Chieftains Chair’, both true icons conversationally face each other over a sculptural fireplace – the true heart of this home.

Credits: Finn Juhl

HAPPY 40th BIRTHDAY BELLE!

1_BELLE

1_BELLE

When Belle Magazine turned 40 this month, Arent&Pyke were honored to be part of the celebrations. We were asked to design a cover to mark this extraordinary milestone.

Take a look at our design in the November 2014 issue of Belle.

Congratulations to the amazing team at Belle and a very happy 40th birthday!
PS. You know 40 is the new 30, right?

OUT/ABOUT: John Nicholson ‘Breaking House’

In/Out: John Nicholson 'Breaking House'

In/Out: John Nicholson 'Breaking House'

In/Out: John Nicholson 'Breaking House'

In/Out: John Nicholson 'Breaking House'

In/Out: John Nicholson 'Breaking House'

In/Out: John Nicholson 'Breaking House'

In/Out: John Nicholson 'Breaking House'

In/Out: John Nicholson 'Breaking House'

In/Out: John Nicholson 'Breaking House'

Sydney-based artist John Nicholson’s new body of work ‘Breaking House’ is a psychedelic study of fractured form and carefully measured colour-stacks extruded to redefine and animate their framed parameters.

Nicholson’s use of highly saturated coloured polymers and pigmented Perspex are a scientific study of light and colour, a visual movement of sound and vibration. Stand-alone or wall hung sculptural interplays connect and harmonise, pulling the guest through the exhibition.

They are architectural optical art, at once minimalist and pop futuristic. We love the timber frames in ‘Two Way’ and ‘Double Jam’, calming notions of building blocks their balance only made possible by the asymmetric angled blades of colour. Nicholson’s ‘Atrium’ is a dreamy conceptual vision.

John Nicholson ‘Breaking House’
Sophie Gannon Gallery
2 Albert Street Richmond VIC 3121
Tuesday – Saturday 11am – 5pm
or by appointment
Until 8th November 2014

Credits: Images courtesy of the artist and Sophie Gannon Gallery

Preen by Thornton Bregazzi Spring 2015 Ready-to-Wear

In/Out: Preen Thornton Bregazzi Spring 2015

In/Out: Preen Thornton Bregazzi Spring 2015

In/Out: Preen Thornton Bregazzi Spring 2015

In/Out: Preen Thornton Bregazzi Spring 2015

In/Out: Preen Thornton Bregazzi Spring 2015

In/Out: Preen Thornton Bregazzi Spring 2015

In/Out: Preen Thornton Bregazzi Spring 2015

In/Out: Preen Thornton Bregazzi Spring 2015

In/Out: Preen Thornton Bregazzi Spring 2015

In/Out: Preen Thornton Bregazzi Spring 2015

Preen by Thorton Bregazzi is the work of Justin Thornton and Thea Bregazzi. Their ready-to-wear Spring 2015 collection hit the catwalk with a blast of colour and pattern. Taking their inspiration from cricket, 80’s hip hop and the African Masai it’s no wonder they delivered a complex, layered look.

Renowned for deconstructing vintage looks with a penchant for the Victorian era, this new direction was much more athletic. It was a heady mix of asymmetrical, disassembled and collaged tailoring with exposed chunky plastic zippers, beaded fringing and quilted tops.

The patchworks of prints with strong linear graphics resembled jungle camo of the future. Hints of neon cheekily popped through black and white illustrations. Flowing florals were decidedly feminine, while strong sports stripes in red and navy were assertive.

Credits: Style.com

Sergio Rodrigues

In/Out: Sergio Rodrigues

In/Out: Sergio Rodrigues

In/Out: Sergio Rodrigues

In/Out: Sergio Rodrigues

In/Out: Sergio Rodrigues

In/Out: Sergio Rodrigues

In/Out: Sergio Rodrigues

In/Out: Sergio Rodrigues

In/Out: Sergio Rodrigues

In/Out: Sergio Rodrigues

In/Out: Sergio Rodrigues

In/Out: Sergio Rodrigues

Today we pay homage to the renowned Brazilian architect Sergio Rodrigues (1927-2014), and reflect on his contribution to Brazilian furniture design.

Most famously know for his ‘Mole’ armchair (1957) Sergio Rodrigues was dedicated to the design and production of Brazilian furniture. Strongly influenced by the Modernist movement he instilled a very distinct national style into his designs. Using local materials, he preferred to work in teak and leather. His masculine chairs are showstoppers; they are gregarious and handsome, generous in proportion and spirit. The perfect hosts, they promise you comfort like no other. You know that over time their patina will be testimonials to their true quality.

We also are great admirers of his Aspas armchair (1962), with it’s bullhorn embrace. His Mocho stool (1954) is a perfect sidekick with its cupped seat and Rodrigues’ characteristic bulbous legs. These are lovingly crafted objects, incredibly sculptured and robust in personality.

In 1955, Sergio Rodrigues created the Oca Store. This Rio de Janeiro showroom was not only a showcase of his furniture but also an important meeting place for intellectuals and artists. Doubling up as a gallery space it encouraged and promoted artistic and design endeavors.

On 15th May 2012 The Selby was invited in to Rodrigues’ studio to document this creative genius in his environment. What a beautiful shoot ensued, an inspirational visual language of intellectual wisdom and good humour. Playful bold colours are the back drop to piles of books and paper rolls. His sketches, prototypes and miniature models pepper the space.

Proud of his heritage and with a progressive energy, his legacy of furniture will be treasured for generations to come.

Credits: The Selby

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