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Darren Morgan, Director of Designer Kitchen
Tell us a little about your background in design (education, experience, etc)
Design is not necessarily something you learn, it is a way of thinking and a way of expressing yourself. Design ideas can manifest themselves physically by empathetically understanding the World and the people around you. For that reason I believe that my formal education in the field of economics and sociology has allowed me to appreciate the mechanics of society and this has helped to lay the foundation for the practical side of my approach to design.
I spent many of my formative years working and traveling as a musician and I feel that the cultural and personal experiences I had along the way may have helped to form my artistic approach to design. Music and art can affect people differently, becoming an intrinsic part of who they are. Personal style, cultural identity and social ideology can be driven by music allowing individuals to form a sense of identity; understanding this can allow a designer and client to connect and this in turn can produce results.
My introduction to design has been unconventional but maybe that is what makes my approach a little different with life experiences and my educational background teaching me that design is about people and that without this constantly evolving and subjective input from others design would lose its soul and designers would become nothing more than introverted and frustrated artists.
My work ensures that my educational training will continue as it is only through human connections that ideas and therefore design can flourish
LUXURY CONTEMPORARY KITCHEN DERRY
This classically styled in-framed kitchen has drawn upon art deco and contemporary influences to create an evolutionary design that delivers
microscopic detail at every turn. The kitchen uses exotic finishes both inside and out with the cabinetry posts being specially designed to feature
mirrored collars and the inside of the larder unit being custom lined with a specially commissioned crushed glass.
CONTEMPORARY KITCHEN GILFORD
The client wanted a kitchen that expressed their passion for contemporary design and architecture asking specifically for a walk in larder and some casual seating. Whilst they appreciated the ergonomic attributes of high level units they wanted to exclude them from the design. The architecture presented a long and narrow space punctuated by several key entry points and a small room of to one side. These features dictated the movement throughout the space. Given the restrictive width of the architecture a peninsula island allowed functionality to be optimised by creating more storage and worktop space, it also presented an opportunity to create visual impact and artistic interest along various entry point sight lines. The peninsula island also helped to define the functional position of the kitchen and the social interface between the kitchen and living space.
OAK AND PAINTED KITCHEN ARMAGH NORTHERN IRELAND
The brief dictated a timeless kitchen with classical styling, a signature design that would bear the weight of influence within an expansive architectural space. The client wanted a multifunctional, family friendly space with extraordinary design features. Individuality and subdued opulence defined the brief.
The latest from James Stumpf, this series of appliances (toaster, mixer, and blender) utilizes sustainable and unconventional materials to make each not only more eco-friendly but stylistically different than examples currently on the market. The series is characterized by its heavy usage of steam-bent bamboo plywood and glass as well as visibility to the inner workings of each machine. The result are beautiful appliances almost completely redefined as we know them!
Part one of the series is a toaster designed using steam-bent bamboo plywood, glass toasting trays, a 2″x1″ touchscreen and quick-cooling coils embedded within the glass toasting trays. Gone is the bizarre popup mechanisms of toaster’s past – the toaster features wide, easy access slots. The heating coils feature quick-cooling technology and the UI tells the user when its safe to grab their toasty treats. Bamboo and glass are both sustainable and renewable and the design uses no plastic and minimal metal.
Part two of the series is a kitchen stand mixer designed using a steam-bent bamboo plywood frame, glass mixing bowel and pulleys and an exhibition belt drive system. The steam-bent bamboo plywood frame exposes the motor, the belt drive system and the gear-train in the mixing head. The motor speed is controlled with the knob mounted in the back on the electric drive motor. The belt design was inspired by a vintage watchmakers lathe and is guided on two glass idler pulleys. Bamboo and glass are both sustainable and renewable and the design uses no plastic and moderate amounts of metal.
Part three of the series is a kitchen blender designed using a machined bamboo frame, a glass blending chamber and an exhibition belt drive system visible through a glass base. The electric motor is concealed in the machined bamboo cylinder and connects to the blending chamber through a belt drive system that gears the motor up to a 2:1 ratio. The belt design was inspired by a vintage watchmakers lathe and is concealed behind a thick glass base/platform for the blender. The motor’s speed is controlled with the aluminum knob above the bamboo cylinder. The blending chamber is made entirely of glass and features a low-profile stainless steel chopping blade. Bamboo and glass are both sustainable and renewable and the design uses no plastic and moderate amounts of metal.
Designer: James Stumpf
KINGSTON UPON HULL, ENGLAND – In a world of instant messaging and video calls, what is the use of paper anymore?
The texture of an embossed card from a far-away loved one, the smell of a favourite book, the heavy thud of dictionary covers falling open at precisely the correct page. As a publisher and lover of the printed word, we may be biased – but over us and our people, paper still holds a sensual and emotional power.
Is it then any wonder that Paper City is an exhibition that really speaks to us as a spatial design magazine?
Together with G . F Smith, a century-old creative paper company, eight leading UK creatives came together to create an exhibition of colourful paper installations in various locations throughout the city of Hull. Informed by the fields of contemporary art, architecture and design, the temporary artworks range from enormous sculptures to cut paper designs – all made with G . F Smith’s Colorplan range.
Apeiron Flow by Adam Holloway
Capturing the expressive potentiality of paper, Holloway applies principles from nature in the construction of Apeiron Flow. Inspired by the way plants grow ruffles and folds to increase the stiffness and surface area of their leaves, the Holloway and his team developed an algorithm for the 120-cubic-metre paper structure, which is able to support its own weight. The expansive and fluid installation has an organic feel, with an intricate form that invites exploration and examination from all angles.
A fully transparent kitchen – Do we need it? | MVRDV
A fully transparent kitchen; what does that mean? Well, it means that everything that we keep inside our cupboards that are overhead or below the counter or anywhere else in the kitchen would be visible! Yes, everything. MVRDV has come up with ‘ Infinity Kitchen ‘ for a satellite event Kitchen Home Project at the 2016 Venice Biennale that focuses on the living and home environment.
Weng Ling of the Beijing Centre for the Arts (BCA) is responsible for coming up with this project; it also displays works by Kengo Kuma and Au Yeung Ying Chai, a Hong Kong based media artist. The Kitchen Home Project on display at the Università IUAV di Venezia Ca’ Tron can be seen until September 30, 2016.
The design by MVRDV explores the possibility of how we would deal with our kitchens once everything is on display, and there is literally nowhere that one can hide any mess or clutter. Everything from counters, shelving, cabinets and faucets would be made of glass. Apparently this all embracing transparency will make users highly aware of how they keep their kitchen, what foods they choose to keep in their kitchens and ultimately, in their bodies and heighten the entire culinary experience.
“The Infinity Kitchen wants to make better cuisine, better food preparation practices and it wants to raise awareness for the one room that we all rely so heavily on, and the processes that go on inside of it.How much food do we have hidden away? How much waste is really being created? Is the kitchen really as clean as we like to think it is? But [the Infinity Kitchen] also wants to do one main thing: celebrate food and cooking.”
“If we imagine everything is transparent clear and clean, doesn’t it mean that the only thing that is colourful and visible is our food,” says MVRDV co-founder Winy Maas. “Doesn’t it then imply that we are encouraged to love the food, in that way, and that maybe it even becomes more healthy, if not sexy?”
“I see this as part of a wider dream, this kitchen. it is part of an environment, if not a city, that is transparent and therefore accessible, imagine if not only our kitchens were transparent, but the walls through to the neighbor and the next neighbor even. this would create infinite perspectives in our cities. it would make within our claustrophobic environments possibly a view, into the direction of the mountains or the sea.
The project would make us aware of wastage, it aims at eliminating the possibility of anything unnecessary, and for food to become a celebration. MVRDV seeks to challenge the kitchen industry but what I can imagine looking at this kitchen is precious hours of our lives devoted to cleaning the entirety of this space each day, just to make it look squeaky clean. The kitchen is unquestionably fascinating, and the fact that MVRDV has not only though of, but made possible something that couldn’t have been thought of, must be celebrated. Conceptually it stands for everything that MVRDV has intended it to be. However, do our lives really need this kind of transparency? ; or will this new technological intervention instead create further problems for users? Nevertheless, the project is sure to inspire further design intervention in the industry.
By: Sahiba Gulati