Frame #92 May/Jun 2013

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Tough times and internet shopping mean retailers must reinvent or die.

This issue, Frame talks to shoe brand Camper about its three-pronged store design strategy and visits My Boon, a singular shop in Seoul that’s conceived as an interior garden – only without the plants. Then it’s back to nature with artist Paula Hayes and off to São Paulo to sample the design delights of Brazil’s biggest city. And Ronan and Erwan Bouroullec tell us why they’ve published a volume of drawings.


Thinking inside the box, with Brinkworth, OMA, Zaha Hadid, Manço Architects and more

New projects by March Studio, Foster + Partners, Raw Edges, Shed, Moment, Elenberg Fraser, Brinkworth, Wilson Brothers, ADVVT, IwamotoScott and windows for Selfridges and Hermès.

Nature’s Networker: The living microcosms of Paula Hayes
Fancy Footwork: Three Camper case studies – but do they work?
A Sanctuary in the City: A house full of gardens, by Hiroshi Nakamura
Shaping Space in Seoul: Retail as a journey, at My Boon
São Paulo: In search of the style beyond the sprawl


Laufen: Bathroom experts join forces with Kartell
Vipp: The classic bin company unveils – a kitchen
Kinnarps: Looking for office solutions of the future
Cascade Coil Drapery: Pushing the boundaries of woven wire
Update: The latest design-company news from 3form, Figueras, Armstrong, Caesarstone, Miyo Studio. Plus a roundup of Cevisama
Catalogue: Our selection of the latest lighting products to shine

Talk: Learning from the lengthy career of Vladimir Kagan
Introducing: Form, fashion, fame and Krzysztof J. Lukasik
Failures and Fortunes: Eero Koivisto on setbacks and serendipity
Process: Mathieu Lehanneur makes a meditative object for terminal patients
One Shot: The marketing case study for Patrick Frey’s Nea Chair
Process: How to transform the traditional bentwood chair, courtesy of Thomas Feichtner
One Artist, One Material: Leonardo Ulian makes the mandalas of the machine . . 
Design Art: Like clockwork? Not exactly, when it’s Humans since 1982
Books: Ronan and Erwan Bouroullec tell us why they’ve published a volume of drawings

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