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Serving the public interest, the biennial was founded in 2021 by the Association for Sustainable Design. Following the success of Frugal (2021) and Amour Vivant (2023), which welcomed more than 30,000 visitors, the Association has become a leading reference in the world of contemporary design in France, unveiling—through exclusive previews—talent and exemplary creative practices.

Neither a trade fair nor a gallery, Bâtir Vivant stands as a manifesto for the design of the future. Led by Hélène Aguilar (founder and chief curator) and Marie-Cassandre Bultheel (founder and curator of the artistic selection), this unprecedented exhibition is the first in the world dedicated to material innovations free from any plastic footprint.

Why? Science is sounding the alarm. While we spend 90% of our time indoors, indoor air has become more toxic than outdoor air. The culprits? Our sofas, curtains, wall paints, which silently release their particles day after day.

In response to this reality, the Bâtir Vivant team has chosen to move from raising awareness to taking action. The exhibition becomes a platform for designers and researchers who are already inventing the materials of tomorrow. Their credo: to put their talent at the service of living systems and prove that it is possible to create desirable, durable objects that are entirely free of plastic.

The biennial is the must-attend event for those curious about sustainable beauty. A tangible immersion into the future of our interiors.

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D’intérêt général, la biennale a été fondée en 2021 par l’Association pour un Design Soutenable.

Avec le succès de Frugal (2021) et Amour Vivant (2023), qui ont accueilli un visitorat de plus de 30 000 personnes, l’Association est devenue en France une référence dans le monde du design contemporain, en révélant – en avant-première – les talents et les pratiques créatives vertueuses.

Ni salon professionnel, ni galerie, Bâtir Vivant s’impose comme un manifeste pour le design du futur. Portée par Hélène Aguilar (fondatrice et commissaire générale) et Marie-Cassandre Bultheel (fondatrice et curatrice de la sélection artistique), cette exposition inédite est la première au monde dédiée aux innovations matérielles sans empreinte plastique.

Pourquoi ? La science alerte. Alors que nous vivons enfermés 90 % de notre temps, l’air intérieur est devenu plus toxique que l’air extérieur. Les coupables ? Nos canapés, nos rideaux, nos peintures murales, qui relâchent silencieusement leurs particules au fil des jours.

Face à ce constat, l’équipe de Bâtir Vivant a choisi de passer de l’alerte à l’action. L’exposition devient une caisse de résonance pour les designers et chercheurs qui inventent dès aujourd’hui les matériaux de demain. Leurs credo : mettre leur talent au service du vivant pour prouver qu’il est possible de créer des objets désirables, solides et totalement exempts de plastique.

La biennale est le rendez-vous incontournable pour les curieux d’un beau soutenable.

Une immersion concrète dans le futur de nos intérieurs.

ROSSANA ORLANDI

In 2002 she decided to abandon the fashion world that had been her domain for 30 years to open an art and design gallery. From the moment she made the leap, it became a veritable mecca for Design.

It was in the early years of the new millennium that, while looking for a place in Milan for her children, she came across the site that she would transform, through love and passion, into the Gallery that the international press would name one of the eight most important in the world.

She began with small pieces that were presented as an aesthetic dialogue where objects communicate with each other outside of place and time. The curious intelligence that has always been her compass led Rossana to travel around the world to what we now call Design Weeks. She was particularly fascinated by the Dutch school, and it was here that she discovered the names which would later make her one of the most significant figures in Design. Marteen Baas, Formafantasma, Nacho Carbonell, Piet Hein Eek: these are just a few of the artists who, from their first shows in the basement of her Gallery (now an iconic lucky charm among the design community), are now guests of private museum collections.

ROSSANA ORLANDI

In 2002 she decided to abandon the fashion world that had been her domain for 30 years to open an art and design gallery. From the moment she made the leap, it became a veritable mecca for Design.

It was in the early years of the new millennium that, while looking for a place in Milan for her children, she came across the site that she would transform, through love and passion, into the Gallery that the international press would name one of the eight most important in the world.

She began with small pieces that were presented as an aesthetic dialogue where objects communicate with each other outside of place and time. The curious intelligence that has always been her compass led Rossana to travel around the world to what we now call Design Weeks. She was particularly fascinated by the Dutch school, and it was here that she discovered the names which would later make her one of the most significant figures in Design. Marteen Baas, Formafantasma, Nacho Carbonell, Piet Hein Eek: these are just a few of the artists who, from their first shows in the basement of her Gallery (now an iconic lucky charm among the design community), are now guests of private museum collections.

RALPH PUCCI International is a luxury furniture and lighting company headquartered in New York City that began as a family business repairing mannequins in 1954.

RALPH PUCCI International represents preeminent European and Americans designers, many of which are collaborators for nearly three decades, while also sculpting and manufacturing in the heart of Manhattan in the same home as the Manhattan flagship; there are also locations in Los Angeles and Miami, and a London pop-up from 2022-2023.

The furniture chapter began in 1989 because of a mannequin created by French interior designer Andrée Putman, who then urged Pucci to represent her furniture in the US. Today, RALPH PUCCI International collaborates with the world’s leading artists and designers, and is particularly drawn to pieces that highlight “the hand of the artist.”

Now in its third generation, with siblings Michael and Nicole Pucci steering RALPH PUCCI International into its seventh decade, the company continues to pioneer in-house collections, pivoting the manufacturing skills of the mannequin craftsmen into new designs still made in the Manhattan headquarters on 18th Street. These include both creations with our long-term designer portfolio including Elizabeth Garouste, John Koga, Patrick Naggar, Eric Schmitt and Paul Mathieu, as well as the Ralph Pucci Collection. While remaining committed to the excellence and artistry of noble materials made in European and American ateliers, RALPH PUCCI believes in always looking for what’s next.

Salon Art + Design showcases the pinnacle of design, presenting the world’s finest vintage, modern, and contemporary pieces alongside blue-chip 20th-century artworks. Featuring leading art and design galleries from around the globe, as well as cutting-edge makers, the fair highlights the evolving trends of collectible design. For more than a decade, Salon has integrated both fine and decorative arts within the context of contemporary life, reflecting the belief that today’s designers and collectors shape environments rather than merely accumulate objects. Salon’s success lies in the exceptional quality of its exhibiting galleries, diverse international representation, and vetting, which are highly sought after by today’s collectors and tastemakers. Appealing to seasoned connoisseurs and emerging collectors alike, Salon offers a comprehensive yet carefully curated collection, ensuring there is something to captivate every discerning taste.

« Throughout the Park Avenue Armory…an array of environments created by curation of each booth evoke myriad feelings, and implore us to consider design objects in the context of fine art. »  – Forbes

« More than 50 galleries tease the lines between function and decoration, in a year when the fair has a far reaching mission: to give more artists a chance to be seen. » – The New York Times

« The chief collectible design and art fair offers an all-encompassing, global perspective, with new Executive Director Nicky Dessources selecting an array of experiential installations and unique design presentations for an unforgettable fall show. » – Whitewall

A New York landmark since 1901, Bergdorf Goodman represents the global pinnacle of style, service and modern luxury. With its rich history of showcasing leading and emerging designers, the iconic store at 5th Avenue and 58th Street – the crossroad of fashion – is a singular destination for discerning customers around the world.

Across 5th Avenue, Goodman’s Men’s Store is an unrivaled standalone luxury specialty store. BG.com expands on Bergdorf Goodman’s heritage, showcasing coveted collections for men and women in in paralleled online shopping experience.

FRANCE

International Spotlight

French design by (clockwise from top left) Ateliers Courbet, Aurelie Hoegy, Ronan Bouroullec, Jean-luc Le Mounier at Maison Gerard.

« While French design has long been synonymous with luxury, even some design enthusiasts may not be up to date on the many innovations emerging from the French design scene. But the nation’s connection to historic techniques and unwavering quality is part of the recipe that makes contemporary French design so cutting edge. French culture is generally well represented in the New York scene. Note significant art exhibitions—from the medieval to the contemporary—among our world- class museum collections. What’s more, the nation’s contributions to literature, philosophy and even dance are well represented at the city’s learning and performing arts institutions. Mia Fierberg, on behalf of the French Embassy, tells us she thinks that French design and craftsmanship deserve to be similarly recognized. For example, eminent American architects including Peter Marino, Gensler, and Ingrao are all working closely with French creators on major projects.

NYC being home to the largest number of French design professionals outside of France means that voices representing the spirit of French design are already a part of our vibrant design community. But during NYCxDESIGN, Villa Albertine’s Oui Design! will highlight 30 of the city’s top design galleries and workshops—including work by dozens of established and emerging French makers. For the first time this year, they will also host a cohort of up- and-coming artisans traveling from France with the support of Albertine Grants. These grantees, selected through a competitive application process, will participate in a week-long immersion in the NYC scene to gain a better understanding of the ecosystem and build connections for future opportunities. Grantees will also lead demonstrations of their crafts at Oui Design! Résonance on May 17th, 4pm–11pm.

Presented by Villa Albertine and Mobilier national in association with Par Excellence, Oui Design! Résonance will be an interactive evening hosted by Ateliers Jouffre. The event will highlight the know-how of six emerging French craftspeople. Live craft demonstrations will immerse visitors in a range of historic and contemporary skills including marquetry, embroidery, cabinetmaking and textile design. This will be followed by a reception and disco with cocktails and a DJ set.

People tend to think of Olympic years as great showcases for the international identity of all participating nations, but that may be most true of the host nation. “Of course we’re very excited for the Olympics this year, as

Paris will be hosting,” adds Fierberg. And while the focus at NYCxDESIGN may lean more toward collaboration than competition, NYCxDESIGN has plenty in common with the Olympics. “To a certain extent, we aim for Oui Design! to also function as a forum and host for intercultural exchange and future collaboration.”

By what metric, then, will Villa Albertine’s Oui Design! measure the fruits of their efforts for NYCxDESIGN 2024? Fierberg explains that “the markers of success will be everywhere—from increased visibility for French galleries and artisans among American architects and interior designers to new ideas discussed over a workbench and future partnerships toasted with a glass of champagne. »  Grid Official Guide NYC Design Week.

Heritage textiles are alive and are at the perfect scale: The Human scale. It felt urgent to bring together this community in an inspirational setting, celebrate this unique diverse language, share our love and inspire the world at large, as humanity needs this more than ever.  Hopeful and ambitious , XTANT is an invitation to all.

Putting down roots

 Each year the show adopts a different title; for the fifth edition, set for 9-13 May 2024, the leitmotif is ROOTS. The event’s two fearsomely dynamic organisers, Kavita Parmar and Marcella Echavarria, are keen to draw all possible meanings from the term. ‘Far from looking fondly at the past as an isolated article, the examination it undertakes seeks to understand roots for what they truly are,’ explains Echavarria. ‘Not just origins, but continuous parts of a living organism, of coming to a closer holistic understanding of ourselves as both “everything” and “forever”.

 The theme will be explored through a series of events, including talks, workshops and exhibitions. ‘Fostering Roots’ is the title of one talk led by Li Edelkoort and Suzanne Sugg, and another is called ‘Modern Wisdom, Ancient Roots: Remigio Mestas’, featuring Shamji Bhai Vankar being interviewed by Kavita Parmar. The workshops are also set to be a primary point of attraction for visitors; ‘Bandhani’ with Maestro Abdullah Khatri, ‘Weaving from Waste’ with Maria Sigma and ‘Nuno Silk’ with Laurine Malengreau are particular highlights.

 As with the 2023 iteration, the event will take over several heritage patios throughout the heart of the historic and beautiful streets of Palma de Mallorca. Last year, there were a series of textile exhibitions, an interactive 3D textile weaving, and the main event where many makers were showing work.

 XTANT aims to inspire new generations to value sustainability, personal identity, tradition and responsible consumption over commercial tendencies based on unbridled consumption. Parmar says, ‘The event offers many moments of reflection and communion with the unique, the beautiful and the long-lasting.’ With enriching conversations, workshops, meetings and rituals, XTANT’s community values foster a sense of togetherness and purpose in the fight for keeping textile traditions alive and promoting responsible making.

Words by COVER magazine

 https://www.cover-magazine.com/2024/05/08/putting-down-roots-at-xtant/

Invitation by Andrea Cesarman, Amaya Ducru & C Cúbica Arquitectos

Presentation of the first piece of Wild Side new collection

Wild SideTable

L 160 x l 70 x H 40

Bamboo, Tiger Rattan, Stainless steel

This unique collectible art design piece is the first of a new vibrant collection. Wild Side Stool interweaves a collaborative symbiosis between two organic and sustainable fibers both from the tropical forest of Indonesia and Latin America’s neotropical ecozone.

Aurelie Hoegy has meticulously crafted and coiffed rattan lianas, one of the world’s longest natural fiber, together with “green steel” speckled bamboo, known to be the strongest species in the world. She let herself be guided by their natural dynamic patterns and by the native curves of the fibers themselves, to finally fold it as a lively textile drapery. By listening closely to such expressive materials, the designer is able to bring them to life in a powerful animistic way.

Everything becomes a conversation between matter, patterns, craftsmanship, traditions and cultures. Her collections breathe new life into the fibers and contemporary vision to this craft heritage.  With her design, anchored in the history of the dialogue between man and nature, the designer is aiming to keep traditions alive, valuing and honoring them by creating new ones.

The MFAH, Museum of Fine Arts, Houston, is among the 10 largest art museums in the United States, with an encyclopedic collection of more than 70,000 works of art, created throughout the world, from antiquity to the present. 

The Nancy and Rich Kinder Building, devoted to the Museum′s international collections of modern and contemporary art, opened November 21, 2020. Designed by Steven Holl Architects as the third MFAH gallery building, it is the final component in the eight-year project to expand and enhance Museum’s Susan and Fayez S. Sarofim Campus. The Kinder Building stands in complementary contrast to the existing gallery buildings—the Caroline Wiess Law Building and Audrey Jones Beck Building—and in dialogue with the adjacent Lillie and Hugh Roy Cullen Sculpture Garden.

The soaring spaces feature displays that span media encompassing painting and sculpture, craft and design, video, and immersive installations. The third-floor galleries are devoted to thematic exhibitions, with installations of art from the 1960s onward.

Line into Space examines how artists explore line in multiple dimensions and media, from works on paper to jewelry, three-dimensional constructions, and furniture. This installation features works by Gego, including drawings, sculptures, and watercolor, presented with selections by artists including Ruth Asawa, Jean Tinguely, Georg Dobler, Naum Gabo, Joris Laarman, Agnes Martin, and Tone Vigeland.

Art Highlights

The Kinder Building is dedicated to presenting works from the Museum’s international collections of modern and contemporary art.

The building opens with the first comprehensive installation of these works, drawn from the collections of Latin American and Latino art; photography; prints and drawings; decorative arts, craft, and design; and modern and contemporary art.

A flexible black-box gallery at the street-level entry is devoted to immersive installations, with inaugural presentations of the work of Gyula Kosice and James Turrell.

A windowed street-level gallery features work by artists including Jean Tinguely and Pablo Picasso, and an installation of suspended lights by Spencer Finch hangs in the café space.

The second-floor galleries are organized by curatorial department, with each gallery highlighting collection strengths.

The third-floor galleries feature Contemporary Art at the Museum of Fine Arts, Houston—five thematic installations that present art from the 1960s onward.

Site-Specific Commissioned Artworks

Major, site-specific commissioned artworks serve as portals that connect the Kinder Building with the other components of the Sarofim Campus. Located at strategic points, the works are designed to mark moments of transition on the campus and to activate public spaces. These works of art have been commissioned from a roster of renowned, international artists such as El Anatsui, Byung Hoon Choi, Carlos Cruz-Diez, Ólafur Elíasson, Trenton Doyle Hancock, Cristina Iglesias, Jason Salavon and Ai Weiwei.

Architecture Highlights

The Kinder Building comprises two floors and more than 100,000 square feet of exhibition space circling a three-level atrium space, with the distinctive roof allowing natural light to flood the central spaces.

Gathered under a “luminous canopy” roof, the concave curves reference the billowing clouds that fill the “big sky” of Texas.

Vertical, translucent-glass tubes clad the facades.

The galleries increases overall MFAH exhibition space by nearly 75 percent.

New destinations include the 215-seat Lynn Wyatt Theater, a restaurant, and a café.

Seven gardens and six reflecting pools are inset along the building’s perimeter.

https://www.mfah.org/about/nancy-and-rich-kinder-building