When you purchase your home tour ticket, you are automatically entered to win the Nais wire chair designed by Alfredo Häberli for Classicon. The chair will be on display at Mason Murer Fine Art from May 6-9, 2008, courtesy Domus-Atlanta. The winner will be presented Nais at the Design Is Human launch party on May 9. Deadline for entry is 9:30 pm, May 9, 2008 and restrictions may apply.

Alfredo Häberli on Nais
“To make a chair made of titanium wire was one of my dreams. A chair made of very, very little wire is the reality. The wires of the seat run lengthwise (all other benches and chairs run crosswise!), and this detail makes comfortable sitting possible with less wire. Surely you know why. And up till now no other designer has seen it this way. A sketch, an unfinished drawing is something wonderful. While working on Nais, the chair was always in front of me - in graphite. The plan was to execute it in titanium, an idea that has persevered since the first sketch.”

Domus
1919 Piedmont Drive NE
Atlanta, Georgia 30324
www.domusinternaitional.com

www.classicon.com
www.alfredo-haeberli.com

Modern Atlanta does not provide transportation for the tour. The MA Guide book will provide a general map and addresses for the homes which can be picked up by ticket holders during the week of May 5 at the local Atlanta ticket purchase locations listed below, or at the MA Opening Night Kickoff and Social on Friday, May 9, 7pm, Mason Murer Gallery, 119 Armour Dr. Atlanta, GA. Ticket holders must show proof of ticket purchase to receive the MA Guide (bring a wristband or printed receipt). We recommend that ticket holders use Google or Yahoo maps to create directions from their own locations.

Ticket outlets (except for Octane) will only accept cash or check (w/ID)

Tickets can also be purchased at the MA Launch Party on May 9, 7pm, Mason Murer Gallery (cash or check)

Some of the homes featured this year are:

Unwhite Home - Dencity Design

Montgomery Ferry Home - Dencity Design

Redbone Serenbe

Todd Bertsch home

Mauldin home - West Architecture Studio

Poolhouse - Philip Babb Architect

Weatherby (in construction) - ConcourseE

Manigault (in construction) - ConcourseE

Ridgewood Rd. - Debra Johnston House

Kendall St - TaC Studios

East Ave - TaC Studios

Worth Home - Firefly Design Build

Gatti House - Serenbe

Kithaus at Design Within Reach

Nicholson Home - Dencity Design

Lightroom Studios

Hilderbrand - Cre8

Says Roland Heiler, Managing Director of the Porsche Design Studio in Zell am See: “Our studio already had long-standing experience in designing kitchen and home appliances, as well as furniture. In Poggenpohl we have found a partner capable of implementing our idea of what a modern kitchen should look like.”

Men in the Kitchen

With their new kitchen, both companies intend to live up to the trend that shows an increasing number of men displaying an interest in ‘kitchen and cuisine.’ “In recent years, kitchens have turned into event and representation areas frequently equipped with audio systems,” explains Elmar Duffner, Managing Director of Poggenpohl. “Our cooperation with Porsche Design enabled us to design a kitchen whose sleek and functional design language specifically addresses male customers.”

Finishes

The new kitchen will be on display as a show kitchen and sold in Poggenpohl studios around the world as of Spring 2008. It will be available in the United States as of Summer 2008. Aluminium profiles of different sizes, which permit individual styling, constitute the basic framework of the new kitchen. Within the aluminium frames, customers can position cabinet elements any way they like. The result is a modular, spacious and extremely versatile system of frames and carcasses that deliberately integrates clear spaces into the overall design concept.

The use of aluminium, a material typically used by Porsche Design, gives the kitchen an innovative and technical look as the material lends a high degree of originality to the surfaces of both the furniture carcasses and the frames. The frames come with integrated lights that directly and diffusely illuminate the worktop and the surroundings, respectively. Another material used is glass, which – painted unobtrusively on the rearside and available in a satin or glossy finish – embellishes the front surfaces or fills the frames. Using aluminium and glass for yet another product, Porsche Design once again adheres to its philosophy of combining sleek design language with the finest materials.

The two wood varieties available for the front surface design provide an eye-catching contrast with these cool materials. Customers can choose between Driftwood, a heavily brushed type of pine that feels quite natural to the touch, and Dark Oak, a finely brushed type of dark oak. The unsealed, textured wood surfaces create a very natural and cozy atmosphere, enhancing the precision of the technical materials – glass and metal – even further. Thin worktops crafted from satin-finished glass or black granite convey an impression of elegance and lightness, which is rounded off by their alignment with the carcass.

Cabinets

A special highlight of the Poggenpohl Porsche Design kitchen is the fact that all cabinets can be opened without handles. With a gentle touch of the finger, pull-out elements and drawers will open magically—thanks to built-in high-precision systems; a light push suffices to make them all withdraw and, over the final centimeters, go back automatically into their original position. An innovative mechanism enables the graceful movement of doors and flaps: Gently touching the front face will activate a spacer pin that mechanically moves a door or a flap a few centimeters forward. The absence of handles further emphasises the uncompromising, purist and aesthetic appeal of the furniture. However, for completeness’ sake, and as an alternative to the handleless solution, functional bar-handles crafted from brushed aluminium are also available.

Lighting, Audio/Video

In addition to multi-functional lighting systems harmoniously integrated into the sleek overall concept, the kitchen also boasts a high-tech audio-video system. The module has a purist appeal thanks to the aluminium-titanium colored, anodized aluminium frame with its ultra-glossy surfaces in back-painted glass. The electronics of the built-in LCD module are installed behind glass to protect these delicate components against dirt and splashing water. The module itself does not require a ventilation system and features an innovative, extremely small sound system whose plug-and-play solution offers options for both analog and digital connections.

Appliances

As all electric appliances and furniture elements in the Poggenpohl Porsche Design kitchen form a unified whole, Miele was chosen the exclusive supplier– from ovens to steam cookers to dishwashers. In design and styling, all appliances are made to match that of the materials used in the kitchen. The electric appliances are operated via sensor keys, instead of buttons, and feature user-friendly dialogue displays.

http://beta.modern-atlanta.org/ma/another-test-post/ Belgium-based young Finnish illustrator talent Jarno Kettunen is dedicated to high fashion, lifestyles and luxury. He has developed a highly personalized and expressive style inspired by the traditional techniques of fine arts. After he was asked in January 2007 to draw backstage at the 2007 Wendy&Jim Homme fashion show in Paris, Jarno Kettunen’s unique illustrations have been in increasing demand in the world of designer fashion and luxury.

MA Who are some of the designers you’ve worked with?
JK Most recently, I participated in NOOVO festival for international fashion and photography. There I was asked to draw the collections of designers Boudicca, Mikio Sakabe, Romain Kremer, Eley Kishimoto, Gareth Pugh, Patrik Söderstam, and Petar Petrov. Some of these designers are more established and others are emerging talent. I have also drawn for the Wendy&Jim Homme Collection which took place in Paris.

MA What are your preferences in art material?
JK I select the technique according to the collection and what I see. When I’m asked to draw, I take as much material as possible and try to learn as much about the event as possible.

MA So there is considerable preparation involved?
JK Absolutely. Usually I want to know how the collection looks before I go on site so that I can select the proper material for artistic expression.

MA How did the technique evolve?
JK It began during my studies. There was a level of experimentation out of my love for fashion and drawing models. I think the style fits very well in context to fashion.

MA What lies in the future for Jarno Kettunen?
JK I’m very comfortable working with classical drawings and photography for inspiration which can be used in more detailed illustrations as in advertising or fashion magazines.

MA Have you had the opportunity to work outside of Europe?
JK Not really, actually I’m just starting out but opportunities keep popping up to give me more exposure. For example, my participation in NOOVO festival caught the eye of and was featured in Diane Pernet‘s fashion blog which got me lots of exposure. I’ve received very positive feedback because of it.

MA Inspiration? What inspires you to draw?
JK I am more inspired by techniques of fine arts. I like the technical part, for example using traditional materials but doing very spontaneous drawings. Also the way of perception, looking at things, I draw the model without looking at the paper which makes the artwork more personal.

MA What was your first break?
JK My first break was doing the Wendy&Jim show in Paris. I had introduced myself to them and showed them my work. They proposed their project to me. Since then people have been noticing my work.

MA You are participating in Design Is Human. What made you decide to accept?
JK I like the idea and with Design Is Human you have the fashion show. It has Belgium designers and I love their collections, which of course is a big reason for me.

Jarno Kettunen participates in Design is Human, taking part in Belgium Design and Fashion Weekend. His live illustrations will be for sale following the fashion show as part of the Darfur fundraiser. For more Jarno Kettunen visit modern-atlanta.com and checkout his website http://www.jarnok.com.

Tickets for the Home Tour and Belgium Design Fashion Show and Fundraiser for Darfur will be on sale at the MA08 Design is Human Launch Party. Cash or check only.

Photos from last year’s party:

With these three success stories, Flanders has actually stolen a march on traditional “design” countries such as Italy and the Netherlands. The Flemish design industry has now gained European recognition of its coming of age.

The DME Award designmanagementeurope.com

The DME Award is not allocated to individual products; it rewards the drive and application of business managers who are willing to employ design as a strategic tool. Indeed, design has become an important factor for economic growth. European policy also sees innovation, creativity and design as the prerequisites for a healthy, competitive economy. Consequently, the panel looked at the hard figures—the quantifiable operating results. Turnover and growth were among the deciding factors. Prizes are awarded in six categories, four according to business size, plus “newcomers” and “non-profit.” The DME Award is an initiative of the Design Management Europe Network. This European research project uses case studies to assess the current state of affairs and aims to set up guidelines for the use of design in European SMEs. Design Flanders, along with Design Region Kortrijk, is an important partner in the DME Network.

Dark Design

The three winners in each category demonstrate excellent design management, and serve as examples of European businesses worthy of repetition.

Behind the winning Flemish companies, there are strong personalities, business managers with a clear-cut vision of design. For example, lighting company Dark has shown that success can be obtained without compromising on originality. Business manager Marnick Smessaert aims to set the trends, and, in order to do, does not shirk a calculated risk or a decision based on “gut feeling.” http://www.dark.be/

Extremis

For Extremis, the linchpin of the company is sustainable enterprise. Dirk Wynants sees companies as having social responsibility. Every new product must signify a valuable addition to the company’s existing range. Also, their “tools for togetherness” are designed to improve the quality of life and social cohesion of the end users. Learn more about Extremis by visiting Domus-Atlanta. http://extremis.be/

Jaga heatwave

Jan Kriekels also resolutely opts for a differentiation strategy; Jaga distances itself far from the competition with heart-warming and sensually stimulating radiators. The company also devotes a great deal of attention to the environmental aspect. http://jaga.be/

The three Flemish companies were represented at the prize-giving ceremony in Essen. After the ceremony, a travelling exhibition, in which all the winning companies illustrate their design strategies, opened in the Red Dot Design Museum. A “book of winners” is also published.

ANN DEMEULEMEESTER
Ann Demeulemeester is an internationally acclaimed Belgian fashion designer who lives in Antwerp in a 1926 Le Corbusier-designed pavilion. In 1987, Demeulemeester debuted onto the fashion scene when she and 5 other students rented a truck and headed to London with their designs to show at London Fashion Week. Because no one could pronounce their names properly, they were dubbed “The Antwerp Six”; and although they hardly knew one another and had very different visions for fashion design, the name has endured over the years and is now legendary. Demeulemeester clothes are described by others as very creative and spirited rather than trendy. Her attention to detail and unexpected fabric choices are among the traits that makes her designs desirable. Demeulemeester’s collections are raw, oftentimes edgy but always in sync to a natural rhythmic flow. In 2007 Demeulemeester’s opened her new shop located in Seoul, designed by MASS STUDIES. In Atlanta, you can buy Ann Demeulemeester at Jeffrey, located in Phipps Plaza, 3500 Peachtree Road NE, across from Lenox Square.

Demeulemeester fashion

DRIES VAN NOTEN
Antwerp’s own Dries Van Noten is third generation in a family of tailors. In the 1980s, he was one of the original Antwerp Six who descended onto the London fashion scene that helped jump start their professional careers in designer fashion. At the young age of 16, he began his studies at the fashion section of the Antwerp Royal Academy. While studying, he worked as a freelance designer for commercial collections and established Belgian designers. As a graduate, he continued freelancing while developing his own first haute couture collection. Dries Van Noten’s designs are beautifully simple yet sophisticated, interlaced with classic and contemporary design elements. In 2007, he opened his second ever shop in Paris and now sells his men’s, women’s and accessories collections all over the world. In addition to his boutiques in Antwerp, Paris, and Hong Kong, Dries Van Noten works in partnership with some four hundred boutiques in cities such as New York, London, Paris, Hong Kong, and Tokyo. In Atlanta you can find Dries Van Noten at Jeffrey.

Dries Van Noten fashion

EXTREMIS
Extremis was established in 1994 on the initiative of Dirk Wynants. The company started very modestly with the creation of the multifunctional Gargantua garden table. From the tiny village of Gijverinkhove in the ‘Westhoek’, a far-off corner in the Province of West Flanders, Extremis managed to secure a firm position on the international design scene.

From the very outset, a major part of the production was meant for the international markets, as the home market could not secure the necessary continuity. On its major markets, Extremis works with a network of agents and importers who are aware of the local market dynamics. Extremis products can be found in the most exclusive design furniture shops throughout the world or are prescribed by the world’s leading architects in a wide variety of projects. Ever since Extremis was established we have been recognized and rewarded for being innovative and trendsetting in the field of contemporary design.

Extremis

DARFUR CRISIS
The current conflict in Darfur is complex, caused by a host of political, social, economic and environmental problems. The result is a humanitarian crisis affecting millions of people. The conflict erupted in early 2003. Fighting among various factions has killed hundreds of thousands of people and displaced more than two million, most escaping to larger towns where they stay in camps for “internally displaced people,” and some crossing the border into Chad, where they live in refugee camps, straining local resources. Attacks on civilians during the conflict have been brutal and include burning homes, killing and rape. CARE has been active since April 2004 and currently provides direct humanitarian assistance to over 526,000 war-affected people there and in neighboring Chad. CARE’s work includes water and sanitation, community services and distribution of food and other relief.

A portion of proceeds for Belgium Design & Fashion Weekend go to Darfur humanitarian relief.

photo credit michael wadleigh

photo credit michael wadleigh

Visit domusinternational.com and jeffreynewyork.com to learn how they influence Atlanta design.
Special thanks to Skylar Morgan for use of his workshop and industrial location for this event.

“These two commissions continue the High’s tradition of bringing great art to the High through global partnerships and, in this case, permanently,” said Michael E. Shapiro, the High’s Nancy and Holcombe T. Green, Jr. Director. “The High’s collection of decorative arts is one of the most renowned in the country, and we are committed to keeping this collection fresh by adding contemporary designs such as these. We also look forward to the community connection brought about by the two projects and to introducing new visitors to the collections through their involvement.”

Jurgen Bey: “Tree Trunk Bench”

Artist Jurgen Bey creates provocative, socially aware designs that often involve collaboration with the owner or commissioner. The High’s commission of a “Tree Trunk Bench” will incorporate a tree from a section of the Atlanta Botanical Garden currently being cleared for the construction of their green expansion plan including a new LEED certified visitor center, canopy walk, gardens and parking facility. Choosing a tree from this site allows the High to recycle a part of the landscaping slated for removal. The selected tree is a mockernut hickory, a species commonly found in the Eastern United States. Arborguard, a tree care and preservation firm based in Atlanta, has provided services to treat the tree, cut it down, and transport it to the Museum. For this commission, Bey will also create custom-made chair backs that he will install on the trunk to create a bench.

Born in 1965, Jurgen Bey entered the international design arena in the 1990s. An independent designer inRotterdam, Bey previously collaborated with designer Jan Konings under the name Konings & Bey. He designs for public spaces, interiors and applied art. Analyzing relationships between content and form, his designs encourage interaction between viewer and object. Bey also teaches at the Design Academy in Eindhoven,Netherlands. For more information, visit http://www.jurgenbey.nl.

Tejo Remy: “Chest of Drawers”

Tejo Remy began designing lively recycled chests of drawers in 1991. They feature mismatched drawers built into customized matching casings, stacked in an apparently indiscriminate way. These individual pieces are then bundled together with a furniture mover’s strap. For the High’s commission, the Museum will hold a statewide call for submissions of drawers from any type of furniture. Participants will be asked to submit a photo of their proposed submission, along with its dimensions and a motivational statement. Remy will then select drawers for the commissioned piece, which he will create in Atlanta. More information about drawer submissions is available online at http://www.high.org/drawerproject..

Born in 1960, Tejo Remy works as an independent interior and product designer in Utrecht, often in collaboration with Rene Veenhuizen. By approaching the traditional with an innovative and conceptual eye, Remy brings contemporary style to discarded objects and forces the individual to interact differently with the finished product. He has been commissioned by gallery W 139, Museum Boymans van Beuningen, and VROM, the Dutch Ministry of Housing, Spatial Planning and the Environment. Additionally, Remy teaches at the Hogeschool voor de Kunsten in Utrecht, Netherlands. For more information, visit http://www.remyveenhuizen.nl.

“These commissions are relevant to today’s climate for many reasons,” said the High’s Decorative Arts curator, Ronald T. Labaco. “The conceptualization of both pieces heralded an era of socially aware design almost twenty years ago, but the issues of environmental conservation that they address continue to resonate. With the growing international concern about global warming, green design and manufacture are becoming important issues. When these pieces were first introduced, their apocalyptic overtones expressed a sense of foreboding about Y2K and the turn of the millennium, but in today’s context they provide a positive outlook for the future by putting a playful spin on ecological responsibility. On display at the High, these pieces will not only be engaging and delightful to view, but will also encourage awareness and discussion for years to come.”

Droog Design Collective

The Droog Design Collective sets forth innovative and inspired designs for everyday objects using low-cost, industrial or recycled materials. Established in the Netherlands in 1993 by designer Gijs Bakker and art historian Renny Ramakers, Droog was conceived as a platform for contemporary Dutch design. However, Droog soon expanded its scope to embrace the work of an international network of contemporary designers. The Dutch word for “dry,” as in “dry wit,” and unadorned or simple, “droog” refers both to the wry sense of humor that characterizes the designs and to the practicality and simplicity of their objects.

Droog aims to stimulate creation, innovation and debate. Product development and distribution are crucial parts of the collective’s activities. Other efforts include education and publication, traveling exhibitions and the organization of meetings and events. For more information, visit http://www.droogdesign.nl.

High Museum of Art

The High Museum of Art, founded in 1905 as the Atlanta Art Association, is the leading art museum in the southeastern United States. With more than 11,000 works of art in its permanent collection, the High Museum of Art has an extensive anthology of 19th- and 20th-century American and decorative art, significant holdings of European paintings, a growing collection of African American art and burgeoning collections of modern and contemporary art, photography and African art. The High is also dedicated to supporting and collecting works by Southern artists and is distinguished as the only major museum in North America to have a curatorial department specifically devoted to the field of folk and self-taught art. The High’s Media Arts department produces acclaimed annual film series and festivals of foreign, independent and classic cinema. In November 2005, the High opened three new buildings by architect Renzo Piano that more than doubled the Museum’s size, creating a vibrant “village for the arts” at the Woodruff Arts Center in midtown Atlanta. For more information about the High, please visit http://www.high.org.

MD What intrigues you about concrete?
PD It’s like being a little kid again. You play in the mud and the result is this hard, elegant form. Concrete is part science and part art. They say anyone can cast concrete and practically anyone can. But almost no one completely understands it. Most experts in the field, whether in construction or decorative concrete, have their own mixes—most of them secret. The literature is constantly revealing new developments from better looking concrete to more rapidly curing and even flexible concrete.

MD How is concrete part of modernism?
PD Concrete was really only effectively used starting in the 1920’s, so it is modern by default. It didn’t exist before modern architecture. As soon as it became available people began to use it, but there was an initial backlash. It looked rough and brutal and was used poorly. However, people stuck with it. Certain architects like Bernard Maybeck, Louis Kahn and Frank Lloyd Wright took it under their wings and made a mark.

MD Will you work with clients who don’t have a modern aesthetic?
PD Absolutely. PaleoDesign recently renovated a kitchen on Lake Lanier with a reclaimed heart of pine floor, dark woods for the cabinets, a weathered island and our concrete, which was done in terra cotta and a brick red. Not only will we work with traditional designs, we think concrete is often more appropriate in them than say, granite. We did a kitchen in Buckhead for a couple that was inspired by a kitchen they had seen in a chateau in rural France. If anything we’ve seen more traditional concrete installations than modern ones.

MD In your eyes, what makes a dwelling modern?
PD There are certain architectural movements that might be called modern, post-modern, or deconstructionist. And of course there is no need for us to define those. Our personal interpretation of what is modern is probably closer to what is contemporary in the sense that when we develop our concrete mixes we use the latest additives and techniques. So for us, modern is the fact that we read the current literature. We develop our own mixes; we pay attention to current concrete development and the way the reinforcement is used. Our process is modern. Our product is modern. Our mixes are modern. Or should we say contemporary? We use computer modeling that allows us to calculate mixes, volumes, strengths, and weights accurately. Whatever we use -from the molds, to the caulk technology, and certainly our drafting aids and laser levels - it’s a modern way of doing it. PaleoDesign is keenly trying to understand the modern science. Some of our mixes are right out of the engineering journals– mixes that they are developing to fix roadways. So in that sense we are modern. In the design sense, it’s a matter of personal aesthetics.

MD What hesitations do clients have about concrete?
PD The first thing out of anybody’s mouth is “Does it stain?” Also, it’s sometimes difficult to overcome the expectation that concrete is going to look like the garage floor. Yet people touch our pieces and actually say it feels soft. People have asked us, “What kind of stone is that?” and we tell them “It’s not stone, it’s concrete.” There is this look of amazement and they start asking more questions. People are more accustomed to the raw, brutish concrete that is found in its most edifying form at the base of a skyscraper and at it’s worst, cracked at the edge of a sidewalk. The concrete we make is technologically more advanced, designed to use the natural appearance of concrete in a superior way. It’s a much smaller quantity, crafted with much greater care as to its molding, curing, and subsequently, its grinding and sealing. So it looks very different.

MD What features of your installations are clients most enthusiastic about?
PD They like to have something that most people don’t have. Concrete answers that need. In a glowing tribute to modern manufacturing and logistics, granite has been made extremely uniform. Whether you are in California or New Hampshire you can have the copper flake or galactic pearl or galaxy black. With concrete, to a certain extent, the piece can be more individual. Most of the clients we have dealt with have enjoyed the ability to have something different and also the ability to make shapes that would be very prohibitive in granite. Granite comes in rectangular slabs. You might be cutting out more material than you were using, whereas with concrete, there is no waste. In fact that’s one of the environmental aspects of concrete buildings and fixtures. There is no dumpster. You just pour what you need and that’s it.

MD Who is your ideal client?
PD Every client is our ideal client. And we mean that perfectly honestly because if we define the ideal client, by definition, we preclude having clients that show us something new, which is what we find most interesting. The Lake Lanier clients we spoke of earlier introduced us to a completely different pigment supplier that ended up having a superior grade of pigment that flowed better in the mold and led to us furthering the development of our mix. While the color request was quite extraordinary, and was designed to match an Aga oven and some Cherokee red windowpanes, it taught us something. So I think every client is the ideal client. The nature of the material demands that the person is already thinking outside the box. So there is a sort of filter on the clientele. We haven’t met one we didn’t like yet.

MD Why do you think Atlanta is the right place to be in business?
PD We live here. It’s convenient. Atlanta is a city that is young in the modern movement. It’s possible to be in contact with and interacting with some of the leaders. That would be a lot harder in New York or San Francisco or Chicago. I think Atlanta makes it possible not to follow the established lines of thinking, but to establish our own. Atlanta in particular tends to have this very traditional “Build a house, put granite in it” attitude. And we’re looking to change that.

MD How do you see modernism evolving?
PD Modernism has evolved without our help. The other day, walking between Richard Meier’s High Museum and the Renzo Piano addition, we could see a huge difference in the complexity of details and materials. That increasing complexity of material and detail specification is the evolution. And we hope people will start thinking of countertops as things that are integrated into backsplashes, aprons, different thicknesses and unsupported spans. The kitchen suddenly can be more complex than cabinets with countertops on top. The computer has reduced the amount of physical waste. We can design something, structurally analyze it and if it doesn’t pass, we can change it without ever having built a prototype. And it’s only getting better and faster from here.

MDDescribe your work in relationship to this moment
PD Concrete is set to make resurgence as a building material. The appreciation of the concrete aesthetic beyond its novelty is something that’s going to happen again. There’s also a diversity beginning to happen in the concrete aesthetic, whether you go towards Tadao Ando’s light and silky aesthetic, or Kahn’s more massive and block-like style or Calatrava’s shells and domes. Builders in the Midwest’s tornado alley are building houses in concrete that don’t look any different than the traditional homes out there. But methods have gone beyond building squares and rectangles and things like that. They are actually getting more complex. We are just part of the whole movement. It happened quite naturally for us. We didn’t use that as a strategy. We just saw the possibility of the material.

PaleoDesign is Steve Drabant and Neil Deshpande. Visit http://paleodesign.com/ for more information.

MA is proud to include the works of H.A. Sigg as part of the MA 08 Design is Human event. Sigg’s works will be exhibited and available for purchase at the Mason Murer gallery during the MA08 Design is Human Opening Night event through June 15, 2008.

MA would like to thank LegacyAdvocacy and Mason Murer for bringing the Sigg exhibit to Atlanta.

To learn more about H.A. Sigg and view his work, please visit http://www.hasigg.com.

DWR invites you to leave your preconceived prefab notions at the door and come witness the future of modular construction. Eco-friendly Kithaus is an innovative aluminum building system that’s assembled onsite, using a proprietary clamping system that makes installation quick, economical and practically waste-free.

Tom Sandonato, cofounder and designer of Kithaus, will join us in our Atlanta Studio to demonstrate the simple assembly and the greener aspects of this smart building system. DWR is excited to be the exclusive distributor of Kithaus K3 in 2008. Visit DWR for more information on Kithaus.

Matt Soorikian has twenty years of experience as a woodworker and is an architect. Karen Soorikian has been an architect for ten years and studied clothing design and construction under couturier Nina Gleyser for four years. Although both are trained and licensed architects, their passion is the hands-on design of useful and beautiful objects to enrich the experience of everyday spaces. This unyielding desire to have a connection to the process of making is what forms the central core of the Soorikian Furniture philosophy.

Soorikian Furniture’s current line of modern furniture focuses on solid materiality and simple form. The incredible figure and color of walnut is the primary ornament. Solid boards, however, give way to translucency where function warrants, like on the breathing face of their woven door console where air and remote signals are allowed to pass.

Legs are straight forwardly utilitarian but sometimes go beyond their mundane function. The triangulated supports of Soorikian Furniture’s new conference table have evolved beyond the primitive plank to resist the substantial forces imposed by this chunky 50 square foot table top. The leg, which was designed to resist each axial force with a light open structure, allows no vibration or sway while eliminating the need for steel or excessive material consumption.

Soorikian Furniture continues to use only sustainable domestic woods and attempts to use scrap as well. Some of their most distinctive details are actually made from wood strips that would otherwise be thrown away. Pieces that are too thin to be used for conventional purposes are reconstituted in the production of their media consoles’ doors and faces. Conservation follows form, increasing wood yield by about 15%. By using only sustainable domestic hardwoods, Soorikian preserves American jobs. By refusing wood from Asian suppliers that rely on the deadly practice of massive unsustainable deforestation, Soorikian does their part to reduce global warming.

Cantilever Media Dresser - A solid wood dresser in our cantilever series is available which offers a pair of doors in addition to drawer space. This unit can be used as an entertainment center and dresser.

Long Bench - This low slung media console provides space for electronic components and recorded media. This piece is currently offered in the Florida showrooms Minimalista, Ft. Lauderdale and Nicoletti Italia @ DCOTA.

Conference Table - A 54” x 10’ Conference Table

Woven Door Console - This unit is 72” long x 16” deep and provides three adjustable shelves. It is well-suited for stereo components that need to be accessible and allowed to breathe.

For more information or to purchase Soorikian Furniture visit http://www.soorikian.com/

Models and renderings will be displayed during the MA08 Design is Human Launch Party from the following architects and firms:

Dencity Design - www.dencitydesign.com
House Walker Architecture - www.houserwalker.com/
AlloyProjects - www.alloyprojects.com
West Architecture - www.westarchitecture.com
Philip Babb Architecture - http://www.philipbabb.com
TaC Studios - www.tacstudios.com
Phobos7 - www.phobos7.com
Cre/8 - www.cre8atl.com
Lightroom - http://www.lightroom.tv
G+G Architects - http://www.gg-architects.com
C&A - www.caimiasnaghi.com
Magdalena Bach Architect

So what was the rest of the eco-conscious global community and I to do? Give up on the world and adopt a nihilistic attitude towards life and be miserable? Or set fire to our homes and clothing, move into the forest, and revert back to the pre-civilized humans whose only knowledge of a carbon footprint was that of a bare foot that had just walked through an extinguished fire pit? While I was sure more than a few had adopted the former, I dared to venture in wondering if a radical handful had quite possibly embraced the latter as well. With such polar extremes, I felt that for the rest us, who chose to exist in a modern civilization and wanted to live a happy fulfilling life, there was a considerably wide swath of middle ground between the two from which to choose.

Having been an artist all of my life, and a renovator/builder for the past four years, I had done little outside of my own daily routine to contribute to the greater good of the environment. I did all of the things one would expect an average eco-conscious person would do. I recycled my trash, replaced my incandescent bulbs with CFLs, bought local organic food, educated my friends and family on being green, and had a general consciousness about the daily choices I made and their effect on the environment; but I still felt like the positive effect my actions had were minute at best. In fact when it came to the first two houses I built, I felt like I was more a part of the problem than the solution due to the amount of waste I was generating and the energy inefficiency the overall design of the houses embodied. After a frustrating completion to these homes, the solution to my dilemma became clear. I needed to do what I had initially wanted to do from the beginning of my new construction career, but others had said was an “unwise” and a “crazy idea” for Atlanta: build very progressive, and very green, modern homes on spec. Probably not the most insane thing one could do, I certainly didn’t think so, but given the housing market I could understand how people may have thought it to be a risky endeavor. Nevertheless, I felt I was obligated to travel this new modern green path. So I founded Concourse E, a design/build firm that would be structured around the belief that modern design not only entails a progressive aesthetic, but also an environmental consciousness as well. Being a modernist, as well as an environmentalist, my entire life, the formation and direction Concourse E would take seemed almost inevitable.

Today, less than a year later, I am pleased to say that Concourse E has begun construction on the first two LEED Platinum homes in the Southeast and only the 14th and 15th in the entire country respectively. Because Atlanta still has one of the highest rates of new construction in the country, and so little of that development is either modern or green, it was crucial to have our first projects stand out as groundbreaking models of what can be done on spec, not only in modern architecture, but in green building as well. These projects primarily focus on green features and components that address a home’s daily functional impact on the environment, namely, a home’s water and, most importantly, energy consumption. I believe these two areas of green building and design to be the most important and effective in combating the enormously negative effects buildings have on the environment.

Most people do not realize that buildings account for the majority of greenhouse gas emissions into the atmosphere, emissions that have been proven to be the main culprits of climate change. The main contributor of these emissions are the thousands of fossil fuel based (coal burning) power plants around the globe used to supply homes, schools, and other buildings. with the energy they need for their cooling, heating, lighting, and other electrical-based needs. In the United States alone, buildings consume 76% of the energy produced by coal-fired plants. While there undoubtedly needs to be a paradigm shift in how we use and produce energy, one of the most immediate solutions to the problem is to take what we have now and make it work better.

The 2030 Challenge, created by Architecture 2030, addresses this solution with a series of design/construction benchmarks that target successive energy consumption performance standard reductions for all newly built and renovated structures over the next 23 years. In other words, The Challenge is a series of energy efficiency targets for all newly constructed and renovated homes. The current target is an energy consumption performance standard of 50% of the regional average for the particular building type being measured. By 2030 the benchmark will be 100%, meaning a house consumes zero energy from outside sources. The 2030 Challenge goes far beyond the highest levels of almost every green certification program out there today and really gets to the point when it comes to providing real actionable guidelines that, if used and followed, will have a substantial impact on reversing climate change. It is for this reason that Concourse E has adopted The Challenge for all of our current and future projects.

Our two current residential projects are located next door to each other in Reynoldstown and consist of a two-unit town home and a single-family residence. Both homes have dozens of green features not only in the systems installed, but also integrated into the design of the homes themselves. For example, the duplex project has been designed to have a vegetated rain screen that covers the center half of the front façade of the structure. This vegetated wall will serve not only as a thermal barrier to the structure, but will also produce oxygen and capture storm run off as well. The duplex will also generate 25% of its power from solar panels on the roof, while reducing 50-65% of its energy needs through the implementation of such features as Biobased spray foam insulation, solar hot water, ultra high efficiency HVAC and Energy Star rated Bosch appliances just to name a few.

The single family home, next door to the duplex, incorporates many of the same features with one obvious difference: a vegetated green roof. While seen more and more on commercial structures, green roofs are still extremely rare for residential projects and Concourse E’s homes are the first in the Atlanta area to offer such a feature. Green roofs not only act as an insulating layer, thereby saving energy, but they also absorb the majority of rainwater that falls on the roof, clean the air and decrease the heat island effect a typical shingle roof causes. All of these systems and design features work in conjunction with one another to greatly reduce the overall daily energy needs of the homes.

Even though reducing greenhouse gases through structural energy efficiency lies at the core of these projects, it was important to address an even more immediate and larger problem facing the Atlanta area: water storage. While the majority of the attention on solving the water shortage crisis has been primarily focused on keeping more of the water we have by preventing the Army Corps of Engineers from releasing it downstream, little attention has been given to ways we can reduce our water needs. Because the vast majority of water usage goes toward outdoor watering (over 60%), it is important to implement steps that either significantly reduce this need or eliminate it entirely. Our Reynoldstown projects have eliminated the need for any municipal water use for outdoor watering by employing rain harvesting systems that capture roof run off and xeriscaping. The plants and materials used to landscape the yards of both projects will be self-sustaining and require no additional watering and very little maintenance. We are also taking measures to reduce indoor water needs as well. Using clean drinking water to fill toilets is not a necessary or wise use of a scarce resource. The installation of graywater recovery systems in each of the homes will utilize the drain water from the bathroom sinks and showers to fill the toilets in the house. This system, in conjunction with low flow showerheads, faucets and toilets, will reduce the home’s indoor water usage 40-50%.

While it could be argued that these projects are not as absolutely green as they could be, the only reason they are not is simply due to budget. Being that they are homes on spec, we are somewhat bound to the fact that in the end, we are a business, and businesses need to make money in order to survive. If it were economically viable to build all of our projects with zero energy requirements and material waste, we most assuredly would be doing so. Though the Reynoldstown homes could be considered a compromise in some respects, they are still a compromise that is more environmentally friendly and energy efficient than 99% of what is being built today, so I don’t beat myself up too much.

Now that construction has finally begun on these projects, that low-grade feeling of guilt and anxiety I used to get everyday has, in large part, dissipated. While I still think about my daily actions and their relation to the environment, I don’t dwell as much on the negative as I do the positive. Granted I’m not curing cancer or changing the world overnight by building these projects, but I take comfort in the fact that my positive contribution to the home in which we all live, as small in scale as it may be, is a positive contribution nonetheless.

The Collection
“Something Blue stands for funky, up-to-date clothing for the public. The collection is mainly aimed at women and girls. “Our team consists of young, creative fashion designers, coached by celebrities in the fashion world making them perfectly suited for this kind of revolutionary project”, says Oorts, who also serves as communication manager for the brand.

something blue collection

The manufacturing is done in the studio and everyone has a hand in the creative process being constantly on the lookout for inspiring ideas and existing resources. The collections are smart and distinguished as a pioneering concept and major sustainable initiative within the Belgium fashion industry. Something Blue consciously remains clear of the second hand market in all areas, because the niche is already served abundantly. Being socially responsible and applying such a mindset communicates a thoughtful design-philosophy that is desirable on different levels as in the case of environmental consciousness where in the case of Something Blue,

Environment
No new resources are produced. Various fabrics and garments are carefully researched and sought. The fabrics are then sent through quality control before being recycled into a new collection branded with the Something Blue namesake. Something Blue’s basic materials are unused thus distinguishing the label from the niche of the second-hand and thrift market, served by other initiatives. Remainders of new fabrics, material from overstocks, designers who have fabrics left of a previous collection, and can all be used, making Something Blue the first fashion label in Belgium operating in this manner.

Socially Responsible Fashion
The sustainable design philosophy also extends to employment opportunities for people lacking certain skills needed for regular employment. They are taught additional competences to help them become productive citizens. Specialized creative talent needed to design the collection, are in part recruited from Belgium’s dwindling textile industry.

Economical Excess Value
Success for Something Blue means a smart consumer who is aware of green alternatives in fashion. They can dress in a sustainable way knowing they have not compromised their sensibility to fashion and looking their best.

www.somethingblue.be

something blue collection

d.sign21’s Foldboy, the shelf that is foldable. Flat packed, it is easily delivered and can also go with you whenever you move. It can be quickly assembled in two minutes, providing storage for books, CDs and much more. The shape allows combining several ‘foldboys’ at the wall or even for use as a partition wall. Foldboy materials consist of wood, textiles, and acryl glass.

About d.sign21

Simone and Christoph Völcker, the young team of creative interior, product, and furniture designers is d.sign21. Both designers are from Stuttgart, Germany where they met and studied interior architecture in Stuttgart, Paris, and Glasgow.

Since 2006, d.sign21 has presented products to manufacturers at trade fairs in Cologne, Milan, London, and Tokyo.

d.sign21
http://www.d-sign21.de
Fronhof 1
70378 Stuttgart
Germany
t. 49 711 658 44 99
info@d-sign21.de

In August 2007, Fontier released his own collection of wallets, bags, and toiletry cases for the modern nomad and urban-adventurer. Made using the finest non-leather materials, Malcolm and his team combed the globe and sourced the finest materials that fit their needs for style and performance, without compromising his conscience for protecting the environment. The obvious choice in high-end has always been leather, but Fontier insisted that there were vegetarian alternatives that would perform just as well and change people’s impressions of non-leather accessories. This endeavor challenged everyone involved, but the process was rewarding and guilt-free, resulting in a fusion of unique materials like PU synthetic leather and coated canvases.

Shop online at www.malcolmfontier.com

Beginning at 6:30pm, saunter through the promenade to Artefacto’s stunning showroom for a presentation on modern furniture design in today’s market.

Visit between both open showrooms from 7-9pm for drinks and hors d’oeuvres, Brazilian rhythms, and German techno beats.

Look for both SieMatic and Artefacto installations at MA08 Design is Human Launch Party at Mason Murer, and on the Modern Home Tour.

Artefacto

SieMatic

Linda O’Keeffe, Director of Architecture and Design at Metropolitan Home, is guest moderator of MA08 Design Is Human Architect’s Forum which will be held at Mason Murer Fine Art on Saturday, 10 May.

Metropolitan Home is the premier media sponsor for the MA08 Design is Human event.

Domus is a co-sponsor of MA08 Design Is Human Belgium Design and Fashion Weekend Fundraiser for Darfur; and will also be hosting a co-sponsored MA08 Design Is Human event at their Atlanta showroom.

Extremis is a co-sponsor of the MA08 Design is Human Belgium Design and Fashion Weekend Fundraiser for Darfur.

Jeffrey is a co-sponsor of the MA08 Design is Human Belgium Design and Fashion Weekend Fundraiser for Darfur.

Mason Murer is the sponsor and location for the MA08 Design is Human Opening Night Event and the MA Architect’s Forum.

The Atlantan is the Atlanta-based media sponsor for the MA08 Design is Human Belgium Design and Fashion Weekend Fundraiser for Darfur.

Design Within Reach is the primary sponsor of the MA08 Design is Human Architect’s Forum which will be held at Mason Murer Fine Art on Saturday, 10 May.