Thursday, 5 August 2021

Very Simple Kitchen by Riccardo Randi

Very Simple Kitchen by Riccardo Randi

Dezeen Showroom: Italian designer Riccardo Randi has launched Very Simple Kitchen, a modular and colourful metal kitchen that can be customised via an online tool.

Very Simple Kitchen consists of freestanding stainless steel modules – including drawers, shelves, sinks, ovens, hobs and dishwashers – that can be tailored to fit any space.

Very Simple Kitchen by Riccardo Randi
The kitchens are made entirely of stainless steel

Minimalist in style, the kitchens can be finished in brushed steel or powder-coated in different colours with a choice of ten standard options or a custom hue.

Worktops are available in natural materials such as marble and quartz alongside acrylic composites like Fenix.

Very Simple Kitchen by Riccardo Randi
The kitchens can be customised in different colours

The modules are durable and can be moved and modified over time to extend the kitchen's lifespan and the stainless steel can ultimately be recycled.

Randi's kitchens are made in Italy using an efficient metal-bending process and joined by bolts.

Product: Very Simple Kitchen
Designer: Riccardo Randi
Contact: hello@verysimplekitchen.com

About Dezeen Showroom: Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen's huge global audience. For more details email showroom@dezeen.com.

Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership content here.

The post Very Simple Kitchen by Riccardo Randi appeared first on Dezeen.



from Dezeen https://ift.tt/3AeuCU4

UCL accuses Bartlett discrimination whistleblower of causing "undue distress to staff"

The Bartlett

The Bartlett School of Architecture has refused to respond to a barrage of freedom of information requests by a former student investigating alleged racial and sexual discrimination, claiming the requests were "vexatious" and had "little obvious value".

Emails seen by Dezeen show that University College London (UCL), which the school is part of, denied a series of requests from Eleni Kyriacou seeking details of grades and dropout rates sorted by gender.

Requests placed "significant burden on UCL"

According to UCL, the numerous Freedom of Information (FOI) requests from Kyriacou placed "a significant burden on UCL" and caused "undue distress to staff".

"Your requests will not be processed further because they are being treated as vexatious under section 14(1) of FOI," wrote UCL in an email received by Kyriacou on 24 March 2021.

"The reasons are that the above requests are the latest in a series of 19 requests that impose a significant burden on UCL, cause undue distress to staff and have little obvious value in terms of the wider public interest," it continued.

The final request submitted was to see the breakdown of grading by gender for seven tutors at the Bartlett along with the dropout rates and failure rates for the past 13 years divided by gender.

Kyriacou, who studied at the school from 1998 to 2002, was gathering the data as part of her investigation into claims of racism and sexism at the school, which were first revealed in the Guardian on 31 May.

The allegations from 21 former students include reports of sexual harassment of female students, and non-white students being subjected to racist comments.

A representative of UCL requested to see a copy of the dossier of allegations collected by Kyriacou, who is now a fashion designer most noted for designing the costumes worn during the lighting of the flame at the Rio de Janeiro Olympics in 2016, as part of its investigation into the allegations on 7 June.

Issues already "fully considered by UCL"

UCL said it determined that the requests were not legitimate as the information was not in the public interest and the issues she was raising had already been considered.

"We are concerned that the requests appear to be a forum to raise repeat issues which have already been fully considered by UCL," said the email.

"We believe that your long and frequent series of requests are placing a significant strain on UCL's resources and these recent requests are contributing to that aggregated burden," it continued.

"This email therefore serves as a refusal notice."

The Bartlett confirmed to Dezeen that it had refused the request on the basis that it covered similar ground to previous requests.

"As a public body, UCL receives a substantial number of Freedom of Information requests every year which require significant resourcing by the university," it said.

"In line with our commitment to transparency, UCL endeavours to answer any request it receives," it continued. "However, the Information Commissioner’s Office guidance makes clear that public bodies are not required to provide advice and assistance in response to repeated requests on similar issues."

Ex-students hire lawyer

The allegations first came to light in May when The Guardian published details of a dossier compiled by Kyriakou containing allegations by 21 former students claiming "systemic" problems at the school.

One student reported being told "your work is very sexy and so are you" by a staff member and another student of colour recalled being told she "acted and spoke like a white person".

The following week, the school announced it was investigating the allegations.

Kyriakou accused the school of running "a pretend investigation, announced only to appease members of the press." She claimed the school had not contacted her to obtain a copy of her dossier.

However, the school said it had asked the Guardian for a copy of the documents but its request had been declined. It wrote to Kyriakou saying: "If it is appropriate for you to share a copy with us, we will then share it with the investigator to support their review."

Since the claims were first made public, several more allegations have come to light. In response to a perceived lack of action from the leadership of The Bartlett and UCL, a group of former students have hired a solicitor to further examine the claims.

Named Bartlett United, the group has instructed lawyers to determine if and how the university has breached its code of conduct and its care of duty towards students.

"We spoke with our barrister at length about our experiences and concerns," said Bartlett United in a statement on Instagram.

"Counsel identified breaches of a serious nature – spanning sex discrimination, race discrimination, breach of contract and negligence in the accounts we have collected."

The Bartlett School of Architecture describes itself as "one of the most influential, exciting and innovative architecture schools in the world, setting the agenda for what architecture is and could be".

Based in Bloomsbury, London, within a Hawkins\Brown-designed building (pictured), the architecture school forms part of the Bartlett Faculty of the Built Environment.

The prestigious architecture school, which has 300 permanent members of staff and 1,600 students has been rated as the UK’s best by the magazine Architects' Journal for the past 11 years.

It is ranked as the second-best Architecture and the Built Environment department in the world in the QS World University Rankings 2021.

The post UCL accuses Bartlett discrimination whistleblower of causing "undue distress to staff" appeared first on Dezeen.



from Dezeen https://ift.tt/3ftvrQX

Herman Miller and Knoll announce new name MillerKnoll

Herman Miller NYC showroom

Furniture brands Herman Miller and Knoll will henceforth be known as MillerKnoll, following Herman Miller's acquisition of Knoll.

The $1.8 billion purchase was finalised on 19 July, 2021, following approval by both of the companies' shareholders at special meetings.

While Herman Miller will now use the corporate name MillerKnoll, the Herman Miller and Knoll names will continue as distinct brands, as will its subsidiaries including Hay, Maharam, Muuto and Design Within Reach.

Brown leather sofas with a black wire frame next to a coffee table with an egg shaped top in a book-lined living room
The Wireframe sofa designed by Sam Hecht and Kim Colin and Rudder Table designed by Isamu Noguchi are two well-known designs manufactured by Herman Miller. Photo courtesy of Herman Miller.

"We are excited to introduce MillerKnoll, a collective of dynamic brands coming together to design the world we live in," said MillerKnoll president and CEO Andi Owen.

"Our industry – and the world in general – is changing rapidly," he continued. "Design is the way we imagine and shape a better future. In coming together, we will define and lead this transformation, like we have other transformations in our histories."

MillerKnoll explained that it would continue to support and grow its existing contract and retail channels, and that it aims to use its complementary brand portfolio to "catalyse the transformation of the home and office".

It also said it will be organising its global operations so that teams serve the entire enterprise, which means that jobs are likely to be cut. This will affect areas including manufacturing, digital, technology, marketing, strategy, finance, human resources and legal.

"We are a group of people and brands guided by a shared vision, common values and a steadfast commitment to design," said Owen. "As MillerKnoll, we'll push and inspire each other to innovate and design the future for all the places where life happens."

Owen is the continuing CEO and president from HermanMiller, while Knoll's chairman and CEO Andrew Cogan left the company with the closure of the acquisition.

A modern white dining table set in white plastic with pedestal bases in a classic home interior
Eero Saarinen's 1957 Pedestal Collection is among Knoll's designs. Photo courtesy of Knoll.

The acquisition took the form of a cash and stock transaction valued at $1.8 billion, which saw Knoll shareholders receive $11 in cash and 0.32 shares of Herman Miller common stock for each share of Knoll common stock they owned.

Herman Miller shareholders now own approximately 78 per cent of the company, with Knoll shareholders owning approximately 22 per cent.

Independently, the US brands were two of the most prominent names in modern design, with histories dating back to 1938 in the case of Knoll and 1905 for Herman Miller.

Some of the iconic designs made by Herman Miller include the Eames lounge chair and the Aeron chair by Bill Stumpf and Don Chadwick, while Knoll had Marcel Breuer's Wassily chair and Mies van der Rohe and Lilly Reich's Barcelona chair.

Together, they have 19 brands and a presence across more than 100 countries, with 64 showrooms.

The name change is subject to approval from Herman Miller's shareholders, who will consider the proposal for a formal change of corporate name at their upcoming annual general meeting. Herman Miller will continue to trade on the Nasdaq under the ticker symbol MLHR for now.

The post Herman Miller and Knoll announce new name MillerKnoll appeared first on Dezeen.



from Dezeen https://ift.tt/3lvq3QX

Thukral and Tagra design Rado watch with 37 hands for different timezones

Over the Abyss watch by Thukral and Tagra for Rado

Dezeen promotion: New Delhi artist duo Thukral and Tagra has designed Over the Abyss, a watch for Rado with an "enchanting firework" of multi-coloured hands at its centre.

Created as part of the brand's True Square Collection, the automatic watch shows the local time superimposed on a range of time zones around the world.

Over the Abyss watch by Rado
Over the Abyss is a watch by Thukral and Tagra for Rado

"Our inspiration was to feel connected with a lot more time zones and we wanted to bring something unique to the experience of reading time," Jiten Thukral said in the video filmed by Dezeen at the artists' studio in New Delhi.

The timepiece has 18 different hour hands and 19-minute hands that signify different timezones.

Over the Abyss watch by Thukral and Tagra for Rado
It features 37 hands for different time zones

Meanwhile, the hands showing the local time are marked out by dots of phosphorescent SuperLuminova paint.

The hands themselves are painted in a gradient of colours ranging from blue to pink, which according to Rado creates the impression of an "enchanting firework in the middle of the dial".

Over the Abyss watch by Rado
The face is a rounded square and sits in a matt blue ceramic case

The watch face is housed inside a square, matt blue ceramic case with rounded corners and a diametre of 38-millimetres.

This offers a modern update to Rado's distinctive shape developed in the 1970s, which is the distinctive feature of the True Square Collection.

The back of the watch includes a Thukral and Tagra painting, which resembles a pixellated space invader video game.

"On the back of the watch, we are embedding one of the images from our ongoing series of paintings called Dominus Aeries, which explore the boundaries between civilisation and science fiction," said Thukral.

Over the Abyss watch by Thukral and Tagra for Rado
An artwork from Thukral and Tagra's Dominus Aeries series is emblazoned on the back

According to Rado, Over the Abyss reflects Thukral and Tagra's penchant for socially motivated design, which has previously seen the duo tackle topics from migration to Indian mythology.

"Jiten Thukral and Sumir Tagra's work focuses on something that is intrinsic to humans but sometimes forgotten in modern societies: the relationship of us individuals to our communities," the brand explained.

"This is why their work is often described as social design."

Over the Abyss watch by Rado
The watch is available via Rado's website

The artist duo previously teased the release of the watch in a live talk streamed on Dezeen as part of Rado Design Week.

Designer Tej Chauhan and Italian studio Formafantasma were among others featured in the event, which took place over a week in November 2020.


Partnership content

This article was written by Dezeen for Rado as part of a partnership. Find out more about Dezeen partnership content here.

The post Thukral and Tagra design Rado watch with 37 hands for different timezones appeared first on Dezeen.



from Dezeen https://ift.tt/3Cs8vLV

Wednesday, 4 August 2021

Giant concrete roof shelters home in Indonesia by Andramatin

IH Residence in Bandung, Indonesia, by Adramatin

Architecture studio Andramatin has used a large, overhanging concrete roof to protect the glass-walled IH Residence in Bandung, Indonesia, from heavy rainfall and direct sunlight.

Designed by Andramatin as a reinterpretation of Dutch colonial manor houses, the home creates contrasting connections to the site's sloping gardens through a series of sunken pools, ramps and bridges.

IH Residence in Bandung, Indonesia, by Adramatin
IH Residence is topped with a large concrete roof

At the centre of the plot sits a narrow, concrete-framed block, with the living spaces and children's bedrooms housed in a largely glass-walled ground floor and the main bedrooms above.

With Bandung receiving high levels of rainfall and to shield the glass walls and shade the pools below, a vast concrete roof with eaves of up to five metres tops this central block. The roof is elevated slightly to create a shadow gap between the two.

Concrete house in Indonesia
A pool is positioned alongside the concrete house

Creating different degrees of openness, the home has been exposed to the west with glass walls overlooking a series of pools. To the east and on the first floor it is more closed-off to bring greater privacy to the bedrooms.

"The house has quite an abundant amount of functions, but still retains the vastness of the landscape," said the studio. "The large mass of the building is balanced with an optimal size of terraces, and wide pools built all across its perimeter."

Interior of concrete house
The living room is positioned alongside the pool

To the south is the large living and dining area, wrapped entirely by glass walls that are framed by the structure's concrete columns and overlook the pools and ponds that surround it.

At the back of the home to the north, a double-height library sits above a sunken koi pond, crossed by a wooden patio that leads to further garden spaces.

Simple interior finishes focus attention towards the exterior, with pale wood, shiny concrete floors and unfinished concrete ceilings.

At the centre of the home are the children's bedrooms, accessed via a series of large wooden doors running along a sheltered external corridor on the home's eastern edge.

Kitchen in concrete house
An open-plan kitchen space is surrounded by glass walls

Above, concrete walls surround the more private main bedroom level, with a balcony extending over one of the pools and sheltered by the home's large roof.

Connecting to the living and dining, the kitchen is part of a sunken "facilities area" to the south containing five rooms for the home's staff.

Concrete house in Indonesia
A separate block on the other side of the pools contains guest rooms and entertainment spaces

This section sits alongside a large garage and parking area. A thin ramp provides access to the home through a small gap in a concrete wall that visually separates the facilities block from the main home.

Crossing the pools alongside the main home leads to an independent block at the west of the site, which contains guest spaces alongside a gym, salon and billiards room.

Other recently featured concrete homes include a holiday home in Argentina by Estudio Galera and The Rock, a home dug into a rocky outcrop in Canada by Gort Scott.

The post Giant concrete roof shelters home in Indonesia by Andramatin appeared first on Dezeen.



from Dezeen https://ift.tt/37qqi7y