We will never tire of the positive effects of nature. Its calming, soothing and inspiring influence will never go out of style.
The more we rush, the more time we spend indoors staring at our screens and devices, the more urban our lifestyles become, the more we crave and need time away from it all.
It has been amazing to follow the newest solutions to the old dilemmas: How to bring more green space to cities; how to reclaim underused urban land for recreational and other "green" uses; how to provide more and more people the opportunity to enjoy the benefits of spending time in nature.
Lately, we have seen fantastic examples of how designers and architects, urban planners and citizens' organizations have accomplished both large and small-scale projects, from bringing a bit of greenery, and open space to otherwise bleak surroundings, to large-scale neighborhood-changing undertakings.
The most prominent of these large-scale projects in the past few years has probably been New York's Highline, the "park in the sky" that reclaimed a deemed-to-be-demolished industrial transportation structure for recreational and other uses.
It has been a massive project in all aspects of the word, and it has also become a poster-project whose publicity is helping other projects get off the ground. We hope it will continue to give citizens' organizations, city officials, designers and architects encouragement and inspiration as they tackle smaller projects, or even ones bigger than Highline.
We expect much more reclaiming of industrial and transportation lands, more green roofs, more natural features replacing concrete and asphalt, more walking and hiking paths, more waterways for recreational use, more spectacular viewing areas, more urban sanctuaries, more trees.
Getting back to nature is not a new phenomenon. For hundreds of years, wealthy city dwellers have travelled to summer residences and summer resorts, and withdrawn to their cottages and lakeside retreats. They've enjoyed fresh air in their gardens and hunting estates.
Of course, the need for recreational options has escalated since the industrial revolution. People, even ordinary citizens, now needed a place to catch their breath. They lived in more and more urban environments and also had the previously unknown luxury of a few days off per month.
Children went to summer camps, adults went hiking and camping, entire families went on long drives in recreational vehicles. Tourism boomed and being in nature became the vogue thing to do. And it has remained so ever since.
As we seek balance in our hectic lives today, we see solutions outdoors. "Green space" in the widest sense of the word in cities and surrounding areas is beneficial from recreational, ecological, economical, social and health purposes, but mostly we love it because it is just plain beautiful.
We love gardens and parks, ponds and water features, playgrounds and sports fields, open plazas, avenues and boulevards. We want more of it because even the smallest green feature lifts our spirits, while the wide open spaces can change our lives. - Tuija Seipell
First we fell in love with the city-ready look of Skora, a new “natural” sneaker brand from Portland, Oregon. Then we fell in love with the shoe itself.
Since we received a pair, it is pretty much all we’ve been wearing around town, on the beach or running, to the gym, to work, to yoga. They are super comfortable and light, and they make us feel like we’re floating or walking on clouds. They feel totally natural, almost like being barefoot, only better! And that is just what the designers intended.
Skora was founded by David Sypiewski, a well-funded entrepreneur and formerly injured runner.
His shoes, like so many of the new, minimalist running shoes crowding the market today, are based on the notion that humans were designed to run shoeless, and that most running shoes overcorrect the human foot’s natural ability to adjust and function. Rather than piling up more features, more support, more cushioning and more everything, the minimalist or natural shoe designers start from the bare foot and its inherent abilities.
Skora’s first two models are based on a last that is shaped like the natural arch, and they have no height drop from heel to toe. The mid-foot hits the ground first, not the heel as with most running shoes.
In addition to loving the look of the shoes and loving the amazing feeling of wearing them, we also love their branding. The website is easy to navigate and the entire brand works. We are definitely fans. - Bill Tikos
Not being big meat-eaters, we may never become regulars at Yakiniku Master Japanese barbecue, but we do love the design of the chain’s latest, its third, restaurant, opened late last year on Shanghai’s Tianyaoqiao road.
The 300 square-meter (3,230 square-foot) restaurant seats 130 people. It was designed by Beijing-based Golucci International Design, lead by the Taiwan-born, London-trained designer, Lee Hsuheng, with team members Zhao Shuang and Ji Weng.
The interior of Yakiniku Master Japanese barbecue is a harmonious combination of minimalist modern design and references to both Japanese and Southern Chinese architecture and traditions.
We love the use of the wood frame structures of traditional Japanese architecture, and in particular, the oak lattice work or screens that simultaneously divide and unite the restaurant’s various sections.
We love the half-moon shaped ceiling light fixtures designed by Golucci and referring to small, traditional Chinese boats.
The seemingly random, rectangular patches of meticulously arranged pebbles create cool interest on the floor and resemble a typical Zen-like feature in a Chinese garden.
We like the large, black-and-white mural behind the bar area that shows the beautifully curving silhouettes of typical Chinese roofs.
But most of all we love the stunning, ink-black wall of stacked traditional Japanese barbecue coal. It is absolutely beautiful.
All of these quietly elegant elements are not just beautiful to look at, but tactile and interesting, with texture and life and stories to tell.
Lee Hsuheng established Golucci International Design in 2004. Its portfolio includes a number of high-end restaurant and hospitality projects. - Tuija Seipell
At first glance we thought this was a campaign for sunglasses, but no. This campaign of massive vinyl stickers hit the bathrooms of Beirut’s trendy spots to draw attention to Riviera Privé. It is an exclusive beach, pool and bar and lounge area in one of Lebanon’s most famous hotels, the Riviera Hotel.
Riviera is located right in Beirut city, facing the Mediterranean. The hotel has been a favorite destination of jet-setters since 1956.
The Riviera Privé area has seen several reiterations of glamour and luxury, as has the hotel itself, but it is definitely the place for beach-loving locals who want to see and be seen. The sticker campaign created by République Beirut plays cleverly on this theme by implying reflective sunglasses and evoking the sense of being watched. -
Our guess is that not so long from now, a sunglass company will use this same idea. Bill Tikos
Intercontinental Hotel and Thalasso Spa - Bora Bora
Blue Lagoon, Reykjavik - Iceland
Positano, Amalfi Coast, Italy
The Dunes in Peru
Pongua Falls, Vietnam
Lady Musgrave Island, Great Barrier Reef, Australia
Kaieteur Falls - World's Largest
5 Star Taj Exotica Resort - Maldives
Elafonisi Beach, Crete
Casa Kimball - Dominican Republic
These minimalist, slightly retro — and dare-we-say cute – lamps come from New Zealand. They are the result of cooperation between veteran craftsman Douglas Snelling and his artist daughter Rebecca Snelling.
They established their company, Workroom, in 2008 and its collection currently includes tables, stools and lamps. In 2010, Rebecca and her partner Paul Dowie opened a physical retail store Douglas + Bec on St. Mary’s Road in Ponsonby, Auckland. It sells not just Workroom pieces but also others that fit their sensibilities of natural raw materials, clean lines and craftsmanship. Douglas + Bec sells also online. - Tuija Seipell
Wood is both universal and unique. No other material is as deeply embedded in the history, culture and life of humans worldwide as wood, yet every single piece of wood is unique.
The color tone, texture, durability, flexibility and even sound qualities of different tree species have puzzled and challenged artists, architects, designers, builders and artisans for thousands of years.
Still today, nothing matches wood in versatility or beauty, so it is great to see how today’s designers and architects continue to face the challenge of wood, and use it creatively to interpret sleek, modern designs.
They use wood to meet their current needs and desires for which wood is ideally suited. People seek calm surroundings, simplicity and minimalism to soothe their frayed nerves and to counter the constant visual overload they face. Wood’s warmth and natural beauty works wonders for creating a sense of balance and calm.
People also look for sustainable alternatives, eco-friendly options, greener solutions. When harvested, managed and used sustainably, forests are still the source of the greatest material on earth.
We especially love the influence of Scandinavian and Japanese traditions that we can detect in today’s wood architecture and design. Minimalist, functional, beautiful, and light in both color and weight.
Scandinavian building and design traditions are based solidly on the use of wood. Finnish modernist master, architect Alvar Aalto, stunned the world with Living Wood, his design for the Finnish Pavilion for the Paris World Exposition in 1937. In the pavilion, he combined both traditional and modern architecture and showcased his functionalist design sensibilities. It was considered one of the boldest and most innovative pavilions of the Expo.
Earlier, Aalto’s exploration of the limits of bent wood and mass production had resulted in the Paimio chair (1931) and other furniture classics, and had a permanent impact on how furniture looks even today. Aalto’s work influenced many other modernist masters including Charles and Ray Eames and Eero Saarinen.
The use of wood in Japanese architecture and design is characterized by austere construction methods, the lightness of materials, the connectedness between indoors and outdoors, and the way in which buildings merge with their surroundings.
With hardly any furniture used inside, Japanese master craftsmen were able to focus their skills on the buildings themselves, on skilful joining of sections without nails, and on revealing, rather than covering or adorning, the original texture and tone of the wood.
Wood as a material has held a charmed place in architecture and design for both its simplicity and complexity. It lends itself to imposing, bulky structures, yet also yields to delicate, undulating forms that seem lacy and transparent.
We love this lightness and elegance, the play of light and shadow, the countless tones of color that can be achieved with skilful use of wood both structurally and decoratively.
In more and more residential projects, both big and small, architects and designers are finding new, creative ways to reveal and highlight the beauty and versatility of wood. They manage to create structures that appear current and cool, yet also exude a classic, timeless elegance.
Every day, we come across images of fantastic single-use residences, recreational cottages, furniture, decks and patios, where the qualities of wood are perfectly matched with the users’ needs and the requirements of the surroundings as well.
In retail and hospitality, wood is also making an impact. We love the blocky, clean look of the Aesop stores. At the other end of the spectrum a good example is the lightness and playfulness achieved in RDAI Architects’ use of wood-slat “huts” as departments in the Paris Hermès store built inside an old hotel swimming pool.
In not just eco-lodges, but also in luxury resorts, spas and hotels, wood is becoming the material of choice. As guests are looking for a retreat, a sense of being back in nature, a quilt-free, tranquil vacation, resorts are responding with wood-frame structures, wood interiors and sustainable solutions that also look fabulous.
Wood is not trendy yet it is incredibly cool. It is a demanding, noble, ancient, living material that we have the privilege to use and enjoy. In wood, the architect, designer and builder face the exhilarating challenge of the sculptor — to reveal the character of the specific species, the individual tree. And we, the viewers and users of their work, have the opportunity to discover it for ourselves. We are looking forward to more. - Tuija Seipell.
At TCH, we are so obsessed with wood that we even created Treelife, an event to showcase the most innovate work using wood in the design of Treehouses.
Complicated is easy, minimalist is difficult. Even more difficult is minimalist design that stands out. That is why we love this little contact lens shop in Tel Aviv, Israel. It is a store concept for Adashot by EyeCare designed by Lee-Ran Shlomi Gidron of Tel Aviv-based Miss Lee Design.
It is apparently the first and only store in Israel that sells nothing but contact lenses. And that posed the main challenge of this project: How to display something as tiny and indistinguishable as contact lenses?
To start, Miss Lee created a word cloud to describe contact lenses: Cleanliness, Transparency, Clarity, Reflection, Gliding, Lightness and Tension between black &white. From that, the two main design elements emerged: The embossed-digits-wall inspired by sight tests, and the six light fixtures with concave mirrors. Minimalist, beautiful and stunning. - Tuija Seipell
'L'Odyssée de Cartier' which premiered worldwide on March 5th is a three and a half minute film celebrating the jewellery house’s 165 years of history.
According to the Telegraph, Cartier UK’s executive chairman Arnaud M. Bamberger said at a preview at Cartier’s London HQ: “This project has been treated like a real movie, we wanted the best special effects, a big director, an incredible model and props to intertwine with our incredible history.”
The stunningly dramatic film follows the brand’s iconic panther on a worldwide journey from St. Petersburg to China, India and Paris. L'Odyssée’s 110-member team was directed by advertising film director Bruno Aveillan. The original score was composed by Pierre Adenot. - Bill Tikos