At Salon Art + Design in 2018, Galerie kreo presented a piece that quietly shimmered from its corner: Alessandro Mendini’s Poltrona White Gold. Unlike some of the louder, more colorful Mendini works, this chair relied on subtlety — and sparkle — to draw viewers in.
Covered entirely in tiny reflective mosaic tiles, the chair appears almost liquid in its surface treatment. The white-gold finish catches light gently rather than dramatically, giving the piece a soft glow that shifts as you move around it. From a distance, it reads as a single luminous form; up close, the meticulous craftsmanship of the miniature tiles becomes apparent. Continue reading Eye On Design: Poltrona White Gold By Alessandro Mendini→
Restaurant owners spend hours refining menus and fine-tuning prices. But here’s the thing: guests rarely remember what the font looked like on the menu. They do remember how they felt sitting in your space.
If the chair was hard.
If the table wobbled.
If they couldn’t wait to stand up and leave.
I’m always drawn to chairs that feel like they’re doing more than just sitting there — and the Tucroma dining chairs by Guido Faleschini are exactly that kind of piece. This set of six installed around a rectangular glass dining table is one of those perfect 1970’s design moments where everything clicks: material, form, color, and space all working together without trying too hard. Continue reading Eye On Design: Guido Faleschini’s Tucroma Dining Chairs for i4 Mariani→
On the top floor of Damien Hirst’s Newport Street Gallery in Vauxhall, London, Pharmacy2 is less a café than a fully immersive extension of the artist’s worldview. Drawing directly from Hirst’s long-standing fascination with medicine, the space translates the cool precision of his Medicine Cabinets series into an environment where visitors can sit, sip, and linger inside the artwork itself. Continue reading Eye On Design: Pharmacy2 Cafe at Newport Street Gallery→
Different designer’s experiments with new materials have marked important, turning points in the history of design. Gaetano Pesce never stopped experimenting with them – in particular with residence. As one could infer fro its name, 1984’s Pratt Chair (3) is one of nine he produced as part of a project for the Pratt Institute, are renowned art, and design school in New York. Continue reading Eye On Design: Gaetano Pesce Pratt Chair (3)→
