Naoto Fukasawa est un designer de renom qui a déjà collaboré pour de nombreuses marques (Boffi,Driadre, B&B, Artemide..).

Il a été appelé par la maison Issey Miyake et Seiko pour réaliser une collection de montres.

Le nom de code de ces produits : Trapezoid.

The BaObab desk, designed by Philippe Starck for Vitra, provides a refreshing approach to office furniture. It’s curved shape, created as a single piece, shields the user and provides a pleasant feeling of security. As a sculptural element, BaObab embraces the user, supports them in an unconventional manner in their work and ultimately gives the office a new feel. Its warm colors are inviting and its organic form challenges the conventional world of right angles and allows it to be positioned freely. $5,290.00

 

I want this!!!!!!

Comme il ne doit sortir que le 21 juillet ils échappent au cd de Carla.

STARCK O'ring black leather

El reloj estrella de la colección de Starck se viste de piel para una nueva versión más sofisticada. Cuero negro y dial amarillo resaltando la lectura digital de este reloj. Un ejemplo de que segundas partes también pueden ser buenas.

Philippe Starck è un artista.
Nella vita di ogni artista c'è una fase in cui la fama supera la genialità.
Però passa.

[Philippe Starck]
Table gun, Flos

Es el modelo Veiled de Starck presentado por él mismo. Starck fue el primer diseñador industrial que utilizó su propia imagen para promocionar su trabajo. Despues han venido muchos Karim Rashid, Stefano Giovanonni o el catalán Martí Guixé. Ahora, Starck, siempre lírico y juguetón, nos hace un guiño en sus diseños ocultando burlonamente su imagen. Lo mismo que hace con el tiempo en este magnífico reloj.

STARCK Gap Black

Un reloj de Starck que se adelantó a su tiempo. El modelo Gap pasó un tanto desapercibido en el momento de su lanzamiento pero el tirón de ventas que de él hacían algunas tiendas de referencia en el mundo de la moda lo mantuvieron en producción. No es la primera vez que un diseño de Starck "inspira" a los fabricantes de relojes para marcas de moda.

STARCK Tailgate

Un diseño hiperfemenino de Ph. Starck a medio camino entre un complemento de moda y un reloj. Una verdadera lección de estilo donde la sofisticación más acusada mantiene un inequívoco rasgo de aparente sencillez.

STARCKore Analog brown

El reloj, es una idea de Starck que nosotros compartimos, en su concepción actual, una cinta que rodea nuestra muñeca sosteniendo un recipiente hermético que contiene una maquinaria y un dial, empieza a ser un objeto de carácter suntuario sin valor utilitario ninguno. Quizá por ello Starck juega con ese carácter elegante y diferenciador que siempre se atribuye a un buen reloj pero otorgándole la suficiente transparencia y liviandad para que este proceso de desaparición quede simbolizado en nuestra muñeca.

STARCK Tailgate

Un nuevo modelo de Starck quien, finalmente, ha decidido pensar también para las chicas. Un fleje de acero, enfundado en piel, configura con la caja una pulsera abierta que podrá desplazarse, elegante y femenina, por el antebrazo de su propietaria. En blanco total o en un, característico Starck, gris con la caja rosa.

lundi 11 février 2008, par astuce déco dans décoration d'intérieur

Philippe Starck apporte sa renommée mondiale à une conception de la vision d’immeubles de luxe de résidence dans la ville de New York du centre ville.

En plein festival de Cannes, on regarde plus spécifiquement les acteurs. On les remarque parce qu' ils ont du talent et on en oublie complètement leur particule (Chiara Mastroianni, Vincent Cassel, Mathieu Kassovitz, ...).

Dans le monde de l' art, je vous invite à découvrir la fille 'de'... Philippe Starck.

Du 22 mai au 19 juillet, Ara Starck expose, une peinture à l' huile revisitée par une technologie moderne le lenticulaire, au sein de la galerie Artegalore.

Encore une fois... on oublie le succès planétaire de son père!

Here two different restaurants from Philippe Starck‘s universe. The first one is Parisian and accessorizes tradition with refinement in a very beautiful space: the Cristal Room Baccarat. And the other one is recent and Beijiner: the Lan, a baroque delirium of three thousand meters by square, where the best is mixed with the worst of the designer. By the worst, I mean, something already seen: Starck’s best sellers of his previous designs and constructions. I’ve still enjoyed his space’s dramatization. Always dramatic.

Girls diners in the small room with the famous black chandelier. After the fun surprise of the giant chair in the big hall, near the huge stairs leading to the restaurant, you’ll notice those heavy imposing chandeliers. A vertigo of chandeliers and beautiful restroom.

Dîner entre filles dans la petite salle au lustre noir. Passé l’entrée et la surprise amusée de la chaise surdimensionnée près du superbe escalier qui mène à l’étage du restaurant, il y a ces lustre lourds imposants. Un vertige de lustres qui perlent de mille reflets et toilettes improbables.

LAN

Discovered when I interviewed Caroline Deleus, the fashion designer and owner of Mushi. Mongolian fanciful yurts, as private spaces, finest nomadic luxury. Restroom, big mirrors cubes, atmospheric red.

Découvert lors de mon interview de Caroline Deleus, la créatrice de la marque Mushi. Fantasques yourtes mongoles, comme des espaces privés, suprême luxe nomade. Les toilettes de vastes cubes de miroirs, rouge atmosphérique rappelant celles du Cristal Room Baccarat.

Google has now officially launched the iGoogle Artist Themes and they got lots of great designers and artists on board for the release. In their first offering you can find themes by Dolce & Gabbana, Oscar De La Renta, Nigo, Jeff Koons, Starck, Tezuka Osamo and many other well respected artists.

We also love the Bapex watch that you can place now on your iGoogle page. Check out other themes after the jump and the complete gallery here.

iGoogle Themes by Jeff Koons

iGoogle Themes by P. Starck

Milan's everything. High and low.
Rikke H

Bubble Club & Prince Aha

Originally uploaded by CleverGirlBek

OK. So this photo doesn’t really *have* to be in black and white... The stools are in “Pigeon” (dark gray) and the Bubble Club chair is in Light Gray... I decided to make our Lanai more like an outdoor living room because with just a little dining table and chairs nobody was using it and I’ve finally admitted to myself (and my family) that the kitchen table will always be my work table (it’s indestructible and a little industrial but still curvy and a little antique-y looking. Um. Kind of like me these days?)...

Anyway, I still have a love of color, but my lust for color and patterns changes frequently, so the furniture on the lanai is like a blank canvas. Splashes of color will be added shortly for optimal punch and versatility.

Please excuse me, I do have to go back to sitting on my lanai (what we call a screened-in-porch here in Florida) and sipping my tea while enjoying a rambunctious game of hi-ho-cherrio with boyo and baldguy....

I’ll keep updating...

Oh and for out-of-this-world service please visit Circa50 (they carry the Bubble Club series and the Prince Aha stools...there service and expertise is unparalleled)

"I write of Starck in the past tense because the increasingly cynical vibe of his creations seems to have caught up with him." Allison Arieff reflects on the always whimsical Phillipe Starck, sustainability, and stuff. [via link]

STARCK Dual case brown & light brown

Ph. Starck vive en Venecia. El lugar perfecto para quien quiere establecer puentes entre lo nuevo y la tradición. El componente artesano, el gusto por la materiales, por los engarces y acabados, presente en toda la producción de Starck, se hace muy evidente en los dos acabados en piel marrón de este reloj.

Bei diesem Entwurf von Starck bin ich mir noch nicht so sicher ob das wirklich gefällt. Seinem Anspruch ein möglichst dynamisch Gebäude zu schaffen, wurde er aber in jedem Fall gerecht.

• Baumhaus...

Eher rückwärtsgewandt ist die Architektur des Steamtreehouses und ihr ahnt es ... Steampunkcontent ( wer brauch schon Katzen). Das Ding stand als Skulptur auf dem diesjährigen Burning Man Festival und jetzt zum Verkauf.

Wem das mit der künstlerischen Aussage usw. schon zu viel ist, der kann mit einer ähnlichen Konstruktion mit Sicherheit die eigenen Bratzen und den nächsten Schrotti glücklich machen.

• Neues von Segway

Ja das sind die mit dem seltsamen Roller, den man nur auf irgendwelchen Messen mal zu Gesicht bekommt. In den letzten Tagen ist Material zu einem neuen Gefährt aus diesem Haus aufgetaucht. Es hat 4 Räder, die so konstruiert sind, dass es sich damit in jede beliebige Richtung bewegen kann. Gesteuert wird segwaytypisch mit Gewichtsverlagerungen

• Mecanum Wheel

So ganz neu ist die Idee mit den seltsamen Rädern am neuen Segwayspielzeug garnicht. Die technische Basis ist das Mecanum Wheel, das ursprünglich für die schwedische Firma AB entwickelt wurde. Inzwischen liegen die Patente bei der US-Navy, es gibt jedoch auch eine zivile Nutzung der Technologie in einem Gabelstapler (youtube) von Aitrax.

STARCK Cross digital green

El Cross digital ahora en verde. En Italia los relojes de Starck para caballero se venden en blanco tanto como en negro. En España las ventas de relojes blancos para chico es casi anecdótica. Veremos que pasa con el verde.

"Legendary designer Philippe Starck -- with no pretty slides behind him -- spends 18 minutes reaching for the very roots of the question "Why design?"" - TED

Read the transcript >>>

You will understand nothing with my type of English. Is good for you because you can have a break, after all these fantastic people. I must tell you I am like that [shakes hands], not very comfortable, because usually, in life, I think my job is absolutely useless. I mean, I feel useless. Now, after Carolyn [Porco], and all the other guys, I feel like shit. And definitively, I don't know why I am here, but -- you know the nightmare, like you are an impostor, you arrive at the opera, and they push you, "You must sing!" [gasp!] I don't know.

So! So! Because I have nothing to show, nothing to say, we shall try to speak about something else.

We can start, if you want, by understanding (it's just to start, it's not interesting) how I work. When somebody comes to me and ask for what I am known, I mean, yes, lemon squeezer, toilet brush, toothpick, beautiful toilet seats, and why not, a toothbrush. I don't try to design the toothbrush. I don't try to say, oh, that will be a beautiful object or something like that. That doesn't interest me.

Because there is different types of design. The one, we can call it the cynical design, that means the design invented by Raymond Loewy in the '50s, who said, what is ugly is a bad sale, La Laideur se vend mal, which is terrible. It means the design must be just a weapon for marketing, for producer to make product more sexy, like that, they sell more, it's shit, it's obsolete, it's ridiculous. I call that the cynical design.

After, there is the narcissistic design; it's a fantastic designer who designs only for other fantastic designers. [laughs]

After there is people like me, who try to deserve to exist, and who are ashamed to make this useless job, who try to do it in another way, and they try, I try, to not make the object for the object but for the result, for the profit for the human being, the person who will use it. If we take the toothbrush -- I don't think about the toothbrush. I think, "What will be [finger in mouth] the effect of the brush in the mouth?" And to understand what will be the effect of the toothbrush in the mouth, I must imagine: Who owns this mouth? What is the life of the owner of this mouth? In what society this guy live? What civilization creates this society? What animal species creates this civilization? When I arrive --- and I take one minute, I am not so intelligent -- when I arrive at the level of animal species, that becomes real interesting.

Me, I have no power to change anything. But when I come back, I can understand why I shall not do it, because today, it's more positive than "do it," or how I shall do it. But to come back, where I am at the animal species, there is things to see. There is things to see, there is the big challenge. The big challenge in front of us.

Because there is not a human production that exists outside of what I call the "big image." The big image is our story, our poetry, our romanticism. Our poetry is our mutation, our life. We must remember, and we can see that in any book of my son of 10 years old, that life appears 4 billion years ago, around -- 4 billion point 2? [voice off] Yes, point 5, OK, OK! I'm a designer, that's all, of Christmas gifts.

And before, there was this soup, called soupe primordiale, this first soup [bloop bloop bloop!], sort of dirty mud, no life, nothing. So then [pshoo-shoo] lightning [pshoo] arrive [pshoo-shoo], makes life [bloop bloop], and that dies. Some million years after, [pshoo-shoo!] [bloop-bloop] wake up! At the end, finally, that succeeds, and life appears. We was so, so stupid. The most stupid bacteria. Even, I think, we copy our way to reproduce, you know what I mean, and something of -- oh no, forget it.

After, we become a fish; after, we become a frog; after, we become a monkey; after, we become what we are today, a supermonkey, and the fin is, the supermonkey we are today, is at alph of the story. Can you imagine? From that stupid bacteria to us, with a microphone, with a computer, with an iPod, 4 billion years. And we know, and especially Carolyn knows, that when the sun will implode, the earth will burn, explode, I don't know what, and this is scheduled for 4, 4 billion years? [looks offstage] Yes, she said "something like that." OK, that means we are at alph of the story. Fantastic! It's a beauty! Can you imagine? It's very symbolic. Because the bacteria we was had no idea of what we are today. And today, we have no idea of what we shall be in 4 billion years. And this territory is fantastic.

That is our poetry. That is our beautiful story. It's our romanticism: Mutation. We are mutants. And if we don't deeply understand, if we don't integrate that we are mutants, we completely miss the story.

Because every generation thinks we are the final one. We have a way to look at Earth like that, you know [raises hand over head] "I am the man. The final man. You know, we mutate during 4 billion years before, but now, because it's me, we stop. Fin For the end, for the eternity, with a red jacket ..." I am not sure of that. Because that is our intelligence of mutation and things like that. There is so many things to do, it's so fresh.

And here is something: Nobody is obliged to be a genius, but everybody is obliged to participate. And to participate, for a mutant, there is a minimum of exercise, a minimum of sport ... The first, if you want, there is so many, but one which is very easy to do, is the duty of vision. I can explain you. I shall try.

If you walk like that [looking straight down, small steps], it's OK, it's OK, you can walk, but perhaps, if you walk with the eyes like that, you will not see, oh!, there is a hole. And you will fall, and you will die. Dangerous.

That's why, perhaps, you will try to have this angle of vision [looking forward 45 degrees] OK, I can see, if I found something [whistle, steps around imaginary obstacle], and they continue, up up up. I raise the angle of vision, but it's still very selfish (selfish? egoiste? yes, selfish). You, you survive. It's OK.

If you raise the level of our eyes a little more [looking straight ahead] you go, "I see you, oh my god you are here, how are you, I can help you, I can design for you a new toothbrush, new toilet brush, something like that, I live in society, in community." It's OK. You start to be in the territory of intelligence, we can say. From this level, the more you can raise this angle of view, the more you will be important to society. The more you will rise, the more you will be important for the civilization. The more you will rise, to see far and high, like that, the more you will be important for the story of our mutation. That means intelligent people are in this angle [75-105 degrees off the ground] That is intelligence. From this [105 degrees] to here [180 degrees], that, it's genius. Ptolemy, Eratosthenes, Einstein, things like that. Nobody's obliged to be a genius. It's better, but nobody.

Take care, in this training, to be a good mutant. There is some danger, there is some trap. One trap: the vertical. Because at the vertical of us, if you look like that, "Ah! my god, there is God. Ah! God!" God is a trap. God is the answer when we don't know the answer. That means, when your brain is not enough big, when you don't understand, you go, "Ah, it's God, it's God." That's ridiculous. That's why -- jump, like that? No, don't jump. Come back. Because, after, there is another trap. If you look like that [205 degrees], you look to the past, or you look inside if you are very flexible, inside yourself. It's called schizophrenia, and you are dead.

That's why every morning, now, because you are a good mutant, you will raise your angle of view. Out, more of the horizontal. You are an intelligence. Never forget: like that, like that. It's very, very, very important.

What, what else we can say about that. Why do that? It's because we -- if we look from far, we see our line of evolution. This line of evolution is clearly positive. From far, this line looks very smooth, like that. But if you take a lens, like that, this line is ack-ack-ack [makes jagged motion]. It's made of light and shadow. We can say light is civilization, shadow is barbaria. And it's very important to know where we are. Because some cycle, there is a spot in the cycle, and you have not the same duty in the different parts of the cycle.

That means, we can imagine, I don't say it was fantastic, but in the '80s, there was not too much war, like that [a little], it was ... we can imagine that the civilization can become civilized. In this case, people like me are acceptable. We can say it's luxus time. We have time to think, we have time to I-don't-know-what, speak about art and things like that. It's OK. We are in the light. But sometimes, like today [dives down] we fall, we fall [diving sounds] so fast, so fast to shadow, we fall so fast to barbaria. With many, many many face of barbaria. Because it's not, the barbaria we have today, it's perhaps not the barbaria we think. There is different type of barbaria. That's why we must adapt. That means, when barbaria is back, forget the beautiful chairs, forget the beautiful hotel, forget design, even, I'm sorry to say, forget art. Forget all that. There is priority, there is urgence. You must go back to politics, you must go back to radicalization, I'm sorry if that's not very English, you must go back to fight, to battle.

That's why today I'm so ashamed to make this job. That's why I am here, to try to do it the best possible. But I know that even [if] I do it the best possible (that's why I'm the best!), it's nothing. Because it's not the right time.

That's why I say that, I say that nothing exist if it's not in the good reason, the reason of our beautiful dream, of this civilization. And because we must all work to finish this story. Because the scenario of this civilization, about love, progress, and things like that, it's OK, but there is so many other different, other scenarios of other civilizations. This scenario, of this civilization, was about becoming powerful, intelligent, like this idea we have invented, this concept of God. We are God now. We are. It's almost done. We have just to finish the story. That is very, very important. And when you don't understand really what's happened, you cannot go and fight and work and things like that. You go to the future back, back, back, back, like that. And you can fall, and it's very dangerous. No, you must really understand that.

Because we have almost finished, I'll repeat this story. And the beauty of this: in perhaps fifty years, sixty years, we can finish completely this civilization, and offer to our children the possibility to invent a new story, a new poetry, a new romanticism. With billions of people who have been born, worked, lived, and died before us, these people who have worked so much, we have now bring beautiful things, beautiful gifts, we know so many things. We can say to our children, OK, done, that was our story. That passed. Now you have a duty. Invent a new story. Invent a new poetry. The only rule is, we have not to have any idea about the next story. We give you white pages. Invent. We give you the best tools, the best tools, and now, do it. That's why I continue to work, even if it's for toilet brush.

http://www.philippe-starck.com/