Gubi & Gamfratesi

n/Out - Out/About: Gubi & Gamfratesi

 

n/Out - Out/About: Gubi & Gamfratesi

n/Out - Out/About: Gubi & Gamfratesi

n/Out - Out/About: Gubi & Gamfratesi

n/Out - Out/About: Gubi & Gamfratesi

n/Out - Out/About: Gubi & Gamfratesi

n/Out - Out/About: Gubi & Gamfratesi

 

n/Out - Out/About: Gubi & Gamfratesi

n/Out - Out/About: Gubi & Gamfratesi

n/Out - Out/About: Gubi & Gamfratesi

n/Out - Out/About: Gubi & Gamfratesi

n/Out - Out/About: Gubi & Gamfratesi

Gubi & GamFratesi – how wonderful it sounds. Rich and lyrical, almost regal; it is an arranged marriage between the design gods. Gubi, thoughtful and timelessly Scandinavian sees with its keen eye, the fruitful relationship of Danish-Italian design duo GamFratesi.

Salone del Mobile Milano 2014 saw several new additions to the Gubi & GamFratesi collection – the taller brother of the Beetle chair; the Beetle Bar Stool, the strong and sophisticated Masculo chair (now available on a swivel base), and the TS table (named after The Standard, a GamFratesi designed hotel in Copenhagen).

All three of these designs have one thing in common, their heavy bodies float weightlessly on slender frames. Whether it be upholstered shells, curvaceous masculine backs or marble tops, their fine black legs almost disappear, giving them a sense of divinity. Sitting on parquetry flooring against vivid white walls, you can truly appreciate how each piece was conceived and implemented.

Gam and Fratesi speak about this design ethos as an expression of their relationship, the marriage of the playful, full-bodied Italian spirit to the immaculate, tender-handed craftsmanship of the Danish. It is a beautiful thing to witness a married bliss as pure as this.

Credits: Gubi flickeflu

Friday Musings: Grand Budapest Hotel

In Out - Friday Musings: Grand Budapest Hotel

In Out - Friday Musings: Grand Budapest Hotel

In Out - Friday Musings: Grand Budapest Hotel

In Out - Friday Musings: Grand Budapest Hotel

In Out - Friday Musings: Grand Budapest Hotel

In Out - Friday Musings: Grand Budapest Hotel

In Out - Friday Musings: Grand Budapest Hotel

In Out - Friday Musings: Grand Budapest Hotel

In Out - Friday Musings: Grand Budapest Hotel

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In Out - Friday Musings: Grand Budapest Hotel

 

In Out - Friday Musings: Grand Budapest Hotel

In Out - Friday Musings: Grand Budapest Hotel

In Out - Friday Musings: Grand Budapest Hotel

In Out - Friday Musings: Grand Budapest Hotel

Each time Wes Anderson makes a film, you just know you’re in for a delightful ride and this time around it is called Grand Budapest Hotel. Grasping life in all its knotted complexities, filled to the brim with colour, teeming with fastidious details, it’s a vibrant lesson in just about everything.

It’s an transportive allegory for a time when central Europe was the king of the world and when life was grandiose and layered with opulence. It’s a love story, a fairytale of loyalty, of companionship and survival. Part historical reality, part fantasy, the script is full of good humour and delicious tidbits.

The sets are plump and blooming with colour celebrating the opulence of the glory days of the Hotel before the outbreak of the war. Bold military red, fairy floss pinks and frosted whites of the hotel’s heyday then give way to faded yellows and dated mustards taking us on a colour-rendered journey. We are transported from the visual delights of the 1930s sugar-topped majestic treat of the hotel, to its sadder days of 1970s near-abandonment. Outside the comforts of the Grand Budapest, it’s all shades of grey contrasted against barren whitescapes.

It’s the details, those precious details, that we are still savouring. The signature Anderson symmetry of EVERY frame, the extremely intense close ups of the Lobby Boy’s sweat-smeared, drawn-on moustache, the perfectly formed fish waves of Madame D.’s intensely high quiff, William Defoe’s freshly scarred fist and skull-ringed fingers. It’s the nostalgic opulence and evocation of everybody’s hotel dream satisfied – the keys, the scent of ‘L’Air de Panache’, and the signature miniature cake ‘Mendl’s Courtesan au Chocolat’.

We are still licking our lips with delight.

Credits: CreativeCow Crome Yellow Hard Crimson BuzzFeed

Out/About: American Trade Hotel

In/Out - American Trade Hotel

In/Out - American Trade Hotel

In/Out - American Trade Hotel

In/Out - American Trade Hotel

In/Out - American Trade Hotel

In/Out - American Trade Hotel

In/Out - American Trade Hotel

In/Out - American Trade Hotel

In/Out - American Trade Hotel

In/Out - American Trade Hotel

In/Out - American Trade Hotel

In/Out - American Trade Hotel

In/Out - American Trade Hotel

In/Out - American Trade Hotel

In/Out - American Trade Hotel
Oozing cool, the American Trade Hotel may have had its heyday in the 60’s and 70’s, but this smoking hot revival sets to rival that benchmark. Rich in historic character while still maintaining a contemporary homely feel, it’s not hard to imagine Picasso teaching Paloma how to sculpt a bird out of a leaf in the courtyard or Tilda Swinton sipping a Martini in the bar.

Originally built in 1917, the American Trade Building at 4 stories high was and still is, the tallest building in the old town of Panama City. Lucky if you’re a guest, as every room has a view over its charming neighbouring white-washed haciendas. We can almost feel the warm fragrant air waft in as you swing open the French doors to survey the panoramic surroundings. Taking a large lungful in, you kick off your shoes and pad across the ancient timber floorboards. Everything is how it should be as you flop onto your crisp white bed realizing that the old and the new meet with perfect clarity in this thoughtfully restrained interior.

What else would you expect from the the Ace Hotels crew. The American Trade Hotel is a heady mix of texture, colour, scale and details. Dark walnuts, rich colours and clean palettes are teemed up with local flora, Bertoia wire frames and Viennese rocking chairs. The layering is sumptuous and inviting, it just reeks of good times!

The American Trade Hotel has the feel that it very well could be the new hotbed of cultural and creative hustle and bustle.

Credits: Yatzer

Out/About: Pierre Charpin’s L’Appartement 50 at Cité Radieuse

In/Out - Out/About: Pierre Charpin's L'Appartement 50 at Cité Radieuse

In/Out - Out/About: Pierre Charpin's L'Appartement 50 at Cité Radieuse

In/Out - Out/About: Pierre Charpin's L'Appartement 50 at Cité Radieuse

In/Out - Out/About: Pierre Charpin's L'Appartement 50 at Cité Radieuse

In/Out - Out/About: Pierre Charpin's L'Appartement 50 at Cité Radieuse

In/Out - Out/About: Pierre Charpin's L'Appartement 50 at Cité Radieuse

In/Out - Out/About: Pierre Charpin's L'Appartement 50 at Cité Radieuse

In/Out - Out/About: Pierre Charpin's L'Appartement 50 at Cité Radieuse

In/Out - Out/About: Pierre Charpin's L'Appartement 50 at Cité Radieuse

In/Out - Out/About: Pierre Charpin's L'Appartement 50 at Cité Radieuse

In/Out - Out/About: Pierre Charpin's L'Appartement 50 at Cité Radieuse

In/Out - Out/About: Pierre Charpin's L'Appartement 50 at Cité Radieuse

In/Out - Out/About: Pierre Charpin's L'Appartement 50 at Cité Radieuse

In/Out - Out/About: Pierre Charpin's L'Appartement 50 at Cité Radieuse

In/Out - Out/About: Pierre Charpin's L'Appartement 50 at Cité Radieuse

Well its not often we’re speechless but this installation by designer Pierre Charpin in L’Appartement No.50 within Le Corbusier’s Cité Radieuse really takes your breath away. The exemplary balance between colour and the purest of palettes makes one’s heart sing.

L’Appartement No.50 is one of 337 apartments within Le Corbusier’s concrete dream for a utopian society. As you can image the bones of this building are blue blood modernist, the perfect backdrop to just about anything! Let it be said Pierre Charpin is not just anything. His design sensibility is so honest and intuitive, each piece surprising in it’s exploration of form and materiality. This is no roll-out design family, it is a thoughtful gathering of old friends that sit so comfortably together. Good humoured, robust and dependable, this is a gang you want to hang with.

Charpin has incorporated pieces by his predecessors such as Jasper Morrison, the Bouroullec Brothers and Konstantin Grcic with his own pieces into this domestic theatre. His ‘Playtime’ glass sculptures, ‘Oggetti Lenti’ vases sit and ‘Crescendo’ coffee table have blood ties back to the modernist movement while his suspended ceiling sculptures, ‘Mini Eclipse’ lamp, ‘Stump’ marble side table and ‘Desa’ floor lamp are true contemporaries.

His exquisitely measured layering of the 3D and 2D are heavenly and thanks to the hospitality of No.50’s resident Jean-Marc Drut – a true patron of the arts – this rare intimate gallery is open to the public during the summer months if you are lucky enough to find yourself in Marseille.

The fantasy of setting up a temporary home in the Cité Radieuse, to feel the history of radical and cultured thinking and know that you are following in the truest legacy of our built environment is nothing short of a dream.

Credits: Wallpaper & Yellowtrace

FRIDAY MUSINGS: Mara Hoffman Spring Summer 2014

In/Out - Mara Hoffman Spring Summer 2014

In/Out - Mara Hoffman Spring Summer 2014

In/Out - Mara Hoffman Spring Summer 2014

In/Out - Mara Hoffman Spring Summer 2014

In/Out - Mara Hoffman Spring Summer 2014

In/Out - Mara Hoffman Spring Summer 2014

In/Out - Mara Hoffman Spring Summer 2014

In/Out - Mara Hoffman Spring Summer 2014

In/Out - Mara Hoffman Spring Summer 2014

In/Out - Mara Hoffman Spring Summer 2014

In/Out - Mara Hoffman Spring Summer 2014

In/Out - Mara Hoffman Spring Summer 2014

POP BAM!!! New York based fashion designer Mara Hoffman is no wallflower. Her summer collection of feminine floaty attire has us yearning for those long lost summer days and all the giddy parties that ensue. These showstoppers are confident and sassy.

Hoffman’s collection is electrified folklore. Applied embellishments unravel in radiant iconic bursts of rainbows, serpents and goddess eyes. Seemingly collated from exotic faraway lands, it is a brilliant mish-mash of cultures unified. Hoffman’s inspiration is boundless. Colours are reminiscent of the juicy seasonal fruits of watermelon, peach and mango against backdrops of midnight and petrol blue. These garments have no limits, fresh from morning till late night.

Never shy of patterns her first collection back in 2000 was lovingly hand dyed and batiked by Hoffman herself and since then it’s been a psychedelic journey thru pattern and colour.

Credits: Vogue UK Mara Hoffman

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