Industrial Facility
 
 

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Project

Equipment

 

Client

Whirlpool, Italy

 

Production

2004 (not in production)

 

This project coincided with a pragmatic philosophy developed in the studio at the time and termed ‘voluntary simplicity’. Euipment attempts to break the notion that luxury means larger kitchen spaces with ever bigger appliances. Measuring 2.3m high by 1.6m wide, Equipment appears as an oversized fridge-freezer yet it contains a small, compact kitchen. A purposefully straightforward, precise and contained appliance in and of itself, conceived as a single product rather than the agglomeration of several appliances.

Three cooking options are provided in Equipment – an electronic induction cook top, a microwave and a steam oven. Controls are located on a panel that slides in and out from the work surface. A dishwasher is engineered as part of a lower section of the sink and features a 3-minute economic program.

Consistent with the philosophy of ‘voluntary simplicity’, the design of Equipment is very ‘matter of fact’, avoiding flamboyance and pretence. Flexible and multi-functional, this design addresses the main need of saving space for the user.

Awards

Red Dot Award, 2005

 

Exhibitions

100% Design, London, 2004

The European Design Show, Design Museum London, 2005

InKitchen, Milan, 2005

 

International Sales

Whirlpool Italia

 
 
 

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Project 

Issey Miyake Kiosk

 

Client

Issey Miyake Parfums, France

 

Production

2009 -

 

The kiosk project for Issey Miyake Parfums sets perfumery inside a more solid, receptive and also mutable environment. The display is an exercise in balance, where permanence is offset by lightness and movement. The design used the historical context of market stalls to provide a simplistic approach to the function of selling, rather than the ephemeral and aesthetic that are often the staring point for this type of project. Each functional element of stock, wrapping, transaction and display are visible and inform the whole design. The result is that the interaction between beauty consultant and customer is now on the same level - rather than from behind a counter. The design was first launched at Galleries Lafayette in 2009, and from its success has now been rolled out globally.

 
 
 

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Project

Issey Miyake Display

 

Client

Issey Miyake Parfums, France

 

Production

2009 -

 

The kiosk project for Issey Miyake Parfums was accompanied by a design program for the method of displaying products. The feeling generated was of a curated collection of items. Box displays, perfume stands, test placements, and trays were combined to create a fresh and informal presentation. The designs were first launched at Galleries Lafayette in 2009, and from its success have now been rolled out globally.

 
 
 

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Project

Some Recent Projects

 

Client

Design Museum London, UK

 

Production

2008

 

Curated by Gemma Curtin this was Industrial Facility's first exhibition within the UK. It covered the studios designs and their position in the landscape of life, exploring how it has pushed the boundaries of materials and methods. Two simultaneous exhibitions were presented. 'Some Recent Projects' focused on recent works. 'Under a Fiver' presented almost 100 objects from around the world, collected and edited from the past 15 years, that influenced the studio's thinking, and brought into question the very nature of what we consume. Exhibition graphic design and signage were executed by Graphic Thought Facility. A bookshelf at the entrance to the exhibitions doubled as a practical means of storing and dispensing the gallery guide, while also acting as a surface for the title graphic for both shows.

Exhibitions

Now! Design Vivre, Paris

 

Further Reading

Graphic Thought Facility

 
 
 

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Project

The Artist and Engineer

 

Client

Intramuros, France

 

Production

2003

 

This exhibition put the two radically different approaches of Ron Arad and Sam Hecht together under the title The Artist and Engineer. It resulted in a two-tiered exercise: Ron Arad’s spatial calligraphy alongside Sam Hecht’s more intimate writing. The supple shapes of Ron Arad’s furniture put ideas and design foremost, whilst Sam Hecht’s rigorous and critical approach is applied to the standard formalism associated with mass consumerism, his preferred field of creativity.

Philippe Boisselier’s exhibition design, in collaboration with the designers, placed the work of each opposite one another – a podium for Ron Arad, and a window display for Sam Hecht – furniture and objects presented on the same level that showed the blurred lines between activities linked to research and creation. The designers met again when Ron Arad, professor at the Royal College of Art, asked Sam Hecht to form a teaching platform in 2009.

 

Exhibitions

Now! Design Vivre, Paris