December 19, 2011

Artwork by Daniel Diaz-Tai Featured at DZINE

DZINE is pleased to work with San Francisco art gallery, Cain Schulte Contemporary Art, to showcase the talented artist, Dainel Diaz-Tai.  His large scale artworks will be on display at DZINE for several months. 

"My artwork is inspired by a continuous dialogue between subconscious writing and spontaneous movement manifested through non-representational images.

My multicultural background as a male Asian-Latino has had a significant influence in my creative development. Although I grew up moving around between Venezuela, Shanghai, Jakarta, Hong Kong, and the U.S, I identify with Latino customs and traditions. However my multicultural background can be easily perceived in the expressions of my artwork.

At the moment of creating an art piece, my thoughts and feelings are depicted through my own movement. The writing in my art does not translate into English, Spanish or Mandarin. Instead, there is an abstract interpretation of these three languages, allowing the art to express itself through a medium that has no specific language. My primary intention is for the viewer to relate to the movement of my writing. I accomplish this by creating my own asemic script, which allows the viewer to interpret the writing by reading its fluidity.

The moment I begin an art piece, I do not have specific images in my mind, rather my subconscious creates a momentum and a repetition of dialogue. While doing a mixture of writing and washing, I create layers upon a medium. My limited color palette allows me to remain connected with my concept. I prefer bold tones such as black and white, which creates a visual medium through my emotions providing a clear understanding of myself."

–Daniel Diaz Tai, 2011


December 17, 2011


by Jean Lin

from "Design Gossip".

We eat with all five of our senses.  This makes the design and lighting in a restaurant especially important, a concept we will explore in a new, regular column entitled Light & Food.  Piccino, a lovely restaurant in San Francisco, has recently moved to a new, larger location.  I spoke with Piccino owner and architect Loring Sagan about the convergence of food, design and lighting.

My wife, Margherita is from Lucca, Italy, and had opened Piccino 6 years ago in a very small (600 sq. ft.) location at the other end of the sidewalk.  The neighborhood was changing and lacked any great food, coffee, wine, etc. so, the small place was an instant success.  With lease going up for renewal, and a very challenging landlord, Margherita and her partner Sher Rogat were receptive to a change.  And I had time to take on a smaller project as there was not a lot of design and development work 2 years ago.

One of their regular customers was a wonderful Italian woman whose family was from Lucca, and she and her cousin owned a beautiful old yellow building at the other end of the sidewalk - and there the story begins.. (and by the way, Margherita's brother is her new landlord's family doctor in Lucca!)

To keep the personal warm comfortable neighborhood feeling from the former location, be respectful of what the building is, while at the same time creating a light, open, modern feeling.

Using warm natural materials, such as recycled cypress for the tables and countertops, and black oak for the floors and soffits.  There was no pretense in the old cafe, and the same goes for the new one.  It is what it is, but with thought.

The food is elemental and consistent with our design aesthetic - Margherita and Sher, and our chef Rachel Silcocks make food which is clean, clear, and do as little as possible to fresh ingredients.  The vegetable, fish, and meats are all vibrant.  My partner at my architectural firm, Sagan Piechota, Daniel Piechota and I took the same approach with the materials and space - do as little as possible and let the space shine.

The menu is not huge and it changes weekly depending on what the farmers bring us.  It is intentionally kept uncluttered with a balance of a few special items in each category.  We also kept it simple in design, but strived to do simple well.  Knowing where to stop and draw the line is an art: Whether in architecture, interior design, or food.

Because a restaurant is active at night, lighting is an integral aspect of the experience, both in terms of being able to see, and feel the environment!  The space itself is a three dimensional palette to be appreciated.  Being somewhat asymmetric, the FLOS Glo-Balls do this beautifully.  My partner Daniel chose them.

They are simple and beautiful!

I enjoy the far corners looking back at the entry, as well as the counters and communal tables.  All of them have their contribution to the experience.

Salads are extraordinary! Pastas too!

December 12, 2011

Nicole Hollis designs the window for FLOS San Francisco at DZINE

For the launch of FLOS San Francisco, DZINE asked Nicole Hollis to design the first window display featuring the newly released Piani lamp by Erwan and Ronan Bourellec, available exclusively at DZINE.

The talented designer and her team at Nicole Hollis Design created a terrific installation.  Watch her interview below where she describes the concept of her window display for "Piani" the latest light by the Bourellec brothers for FLOS.

Flos Lighting: Custom Display by Nicole Hollis from DZINE store on Vimeo.

Below the various "personalities":

The Architect

The Fashionista

The Jetsetter

The Gardener

The DeeJay

The Writer

December 9, 2011

RUPTURE by Thierry Dreyfus - FLOS Soft Architecture

We have a crack on our wall here at DZINE, a very big one, called Wall Rupture designed by Thierry Dreyfus.

Wall Rupture appears as a fault within a wall’s surface, releasing a beam of jagged, radiant light produced by concealed LED lights. Evocative of a volcanic eruption or earthquake, Dreyfus has drawn on the world of contemporary art to create a striking sculptural light installation. Wall Rupture has two finishes: gold and silver, and, like all the Soft Architecture range, it uses LED powered lighting units.

This striking light installation adds a bold and unexpected artistic flourish to any interior space.

Wall Rupture has just been awarded best Lighting Product at the FX International Interior Design Awards.  The Lighting Product Award celebrates interior luminaries, lamps and exterior lighting products for use in the workplace, retail, leisure, exhibition, public or commercial settings.

December 8, 2011

FLOS San Francisco launches at DZINE

DZINE is proud to announce the launch of the FLOS shop-in-shop.

On November 30th, 2011 Piero Gandini, owner of Flos, together with Ron Gilad, designer of the "Piercing" fixture, were in San Francisco for the unveiling of the first installation of Soft Architecture in the US.


FLOS is showcased at DZINE in a dedicated space and throughout the floor, as well as exhibited in the central window where a FLOS display will be curated by a local Bay Area designer on a quarterly rotation. The inagural window is designed by San Francisco based Nicole Hollis Design.

Classic FLOS lights such as Arco, Taraxacum, and Toio by Pier Giacomo and Achille Castiglioni, as well as new favorites Ktribe by Philippe Starck, Glo-Ball by Jasper Morrison, and Skygarden and Zeppelin suspension lights by Marcel Wanders, are just some of the products featured in the showroom.

Along with a wide range of residential lighting, DZINE will showcase several unique and innovative lights appropriate for contract and hospitality settings. FLOS' Soft Architecture line features lighting that seamlessly fuses with the surrounding architecture. Created using an innovative composite material which is both light weight and high strength, Soft Architecture delivers performance, durability and perfect integration with normal plasterboard false ceilings. It also complies with the latest international safety and eco-compatibility regulations. Wall Rupture by Thierry Dreyfus, Wall Piercing by Ron Gilad, and Spun by Sebastian Wrong are some of the stunning Soft Architecture products that are on display.

November 11, 2011

Season by Piero Lissoni

Piero Lissoni's new creation, Season, for Viccarbe was recently published in the Spanish design magazine Diseno Interior.  See the images and sketches by Piero Lissoni below. 

See DZINE's Viccarbe installation in the Boffi Studio.

November 10, 2011

21st Century Salon

by Brian Anthony from CA Home & Design
Photography by Philip Harvey

Established & Sons 'Wrongwoods', designed by Richard Woods and Sebastian Wrong
Established & Sons is represented at DZINE

In 2009, while searching for a new home in San Francisco, newlyweds Aditya Agarwal and Ruchi Sanghvi were becoming frustrated because the good ones kept being snatched up as soon as they came on the market.  The tech-savvy couple (early employees of Facebook who are about to start their own company) decided to play to their strengths: Agarwal developed a computer program that scoured the MLS and notified him the instant a property with their criteria hit the market.  They found their Noe Valley flat before the paint had dried on the For Sale sign.

The open living area provided the perfect space for entertaining, but the drab taupe paint and generic fixtures throughout were definitely lacking in the personality department.  Although Sanghvi had intended to decorate the space on her own, the realities of her work schedule and her husband's desire to have a finished home led the couple to seek help.  When a techie friend recommended Lauren Geremia, it turned out that the couple, without knowing it, was already a fan of her work.  Having frequented two SF establishments designed by Geremia - Bloohound and Coffee Bar - they were impressed with her ability to create bold spaces that didn't feel alienating or impersonal.  The warm, unrefined materials used by Geremia provided the look that the couple was hoping to achieve in their new home.  "Many of our friends were upgrading from Ikea to the next big-box store up the chain," says Agarwal.  "We weren't interested in following suit."

Geremia had gained a reputation in SF for designing buzz-worthy hotspots (her projects also include Umami, Taverna Aventine, Citizen's Band and Churchill), but she was eager to expand her residential portfolio.  "I love doing commercial spaces, but the turnaround time on those projects is often rushed," she says.  "A residential space allows me to slow down and focus on every detail."  A graduate in fine arts from the Rhode Island School of Design, Geremia fills her projects with custom pieces she creates herself or commissions from a select stable of local artisans and friends.  "A home is very personal, and input is crucial," says Geremia.  "I don't want to show people how they're supposed to live.  I want them to show me how they want to live."

Not only are Awarwal and Sanghvi happy with the results, they have become vocal advocates for Geremia and the other artisans who worked on the project.  It's no surprise that the former Facebook couple's home is now a regular venue for social networking, not unlike a Paris salon in the early 20th century - but here, when potential patrons and artisans discuss the art on the walls, the light fixtures overhead and the custom furnishings surrounding them, they're exchanging contact information with iPhone bumps rather than calling cards.

November 4, 2011

Ron Gilad - Creations of Poetry and Chaos

NEW YORK — It wasn’t quite the response he was expecting. When Piero Gandini visits young designers in their studios and invites them to work for his company, they generally say yes, very quickly and very enthusiastically — but not Ron Gilad.
“Ron’s studio was inspiring, filled with precious little things he had made with incredible details: poetic and subversive,” said Mr. Gandini, who is president of Flos, the Italian lighting company that has championed a succession of great designers in the past 50 years, starting with Achille Castiglioni.

“So I said: ‘Don’t you want to turn these fabulous ideas into real products?’ And Ron said: ‘I’m not interested in doing real products.’ ‘But if you don’t do real products, how can you be a real designer?’ ‘I don’t care about being a real designer.’ ‘But surely you need money.’ ‘I don’t care about money.’ So we sat on the floor and talked. There was something so precious about the place and about him, that I had to try to do something.”
Eventually Mr. Gilad relented. The visually stunning, technologically ingenious lights he has designed for Flos were among the most talked-about products at the Milan Furniture Fair last year and at the one last month. He has since been bombarded with offers from other companies, but his reaction seems equally ambivalent.
“I am a little bit confused about it all,” he said. “I don’t want to take on too many projects. I work with two assistants three days a week and really need to be by myself the rest of the time. I don’t want to do the same thing for this company and that company with minor changes, as some designers do. Unless I have a good personal relationship with the people, I just don’t care.”
All of this could sound coy coming from anyone else, but Mr. Gilad is only willing to work on his own terms. A 38-year-old Israeli with long hair bundled into a ponytail, he sits in his Brooklyn studio smoking cigarette after cigarette, and stubbing them out in a broken wine glass. “It’s very hard for me to get rid of things,” he explained. “When the glass broke, it could no longer contain liquid, but it could contain ash, so I kept it. And everything breaks around here.”
“Here” is the eighth floor of an old warehouse where he lives and works with panoramic views across the industrial rubble of the Brooklyn Navy Yard to downtown Manhattan. Mr. Gilad spends almost all of his time there, except for work trips to Italy and a month in Israel each winter.
“It’s really, really hard for me to leave,” he said. “Once a week I go out to buy cigarettes and food. Once every three months I go to Chelsea to see exhibitions. And that’s it. I’ve never liked New York. I want to leave as soon as possible. But I’ve been saying that for 10 years. This space and the things in it are who I am — living on the edge of everything.”

The studio is filled with models, sketches, prototypes and finished objects. There are splashes of surrealism in his work — notably in the mirrors shaped like brushstrokes — but the dominant style is minimalism. Chairs, tables, bowls, even model houses have been reduced to linear silhouettes of archetypal versions of themselves. The contents of his studio act as a diary of his life there, down to the three planks of wood standing beside a pile of glass shards. The planks were shelves, which held his prototypes until they collapsed one night. The broken glasses were among the casualties.
Having studied design at the Bezalel Academy in Jerusalem, Mr. Gilad moved to the United States in 2001 to start a company, Designfenzider, with a friend. They manufactured his furniture and objects, until he quit last year. “There were too many responsibilities,” he groaned. “Design. Development. Production. Sales. Marketing. You need to take care of all these things. It took all my energy and every little bit of happiness. Never ever again.”
His work caught the eye of Paola Antonelli, senior curator of design at the Museum of Modern Art in New York. “It is so perfectly balanced and surprising,” she said. “Wry sense of humor and killer elegance. Very close to sublime.” It was she who suggested that Mr. Gandini consider commissioning him for Flos.
The timing was perfect. Lighting is being transformed by developments in energy-efficient sources, such as the tiny spots produced by light-emitting diodes or, LEDs. These new technologies offer opportunities for designers and manufacturers to produce radically different new forms of lighting, which Mr. Gilad has exploited with relish.
“As a super-minimalist by nature,” he said, “the reduction of the light source to something so small was heaven. You can do whatever you want with shape. It’s like being a kid in a candy shop. But there are limitations. As much as the technology has evolved, the light it provides is not as romantic as the old incandescent bulb. For me, it was crucial to keep some kind of poetry.”
For the Wallpiercing lighting panels he developed for Flos last year, Mr. Gilad created small circles of LEDs and positioned them super-precisely, but seemingly randomly, to create delicate layers of light. He produced a series of larger LED circles for 2620, a chandelier unveiled by Flos in Milan last month, and clustered them together in what looks like a vortex.

“It’s based on a childhood memory of a window display in a Tel Aviv flower shop,” Mr. Gilad said. “The plant pots were placed inside rings, which were connected to pedestals at single points, and positioned at angles so they seemed to be dancing. For me, seeing it as a child, it was magic. If you look at the 2620 from the bottom, you see a perfect flower, but from any other angle it seems chaotic. Complete chaos from perfect order.”

Published: May 22, 2011

November 3, 2011

Logomo Cafe` - Artek art installation

From Abitare - Photos by Bo Stranden

German artist Tobias Rehberger has created in collaboration with Artek a comprehensive art installation called Nothing happens for a reason at the Logomo café.
This is not the first cooperation by Rehberger and Artek. In 2009, Tobias Rehberger was awarded with a Golden Lion for Best Artist at the Venice Biennale for the permanent installation he created for Palazzo delle Esposizioni in cooperation with Artek. “I like the idea of creating a visual art project which is about ‘not seeing something’.

The painting method of battle ships in the first and second World War, the so called dazzle painting, in a way for me perfectly represents this paradox. The sculpture I created for Turku is based on the same concept as the one in Venice.

It applies a completely different pattern to the space, but despite its very different look, it should have the same dazzling effect,” says Rehberger. “The Venice Biennale installation is a wonderful example of how art, architecture and design all come together in an outstanding international project.
Artek’s cooperation with Tobias Rehberger has been continuous as Artek is quite at home in the world of art, where new visions and bold actions create strong impressions and dialogue,” says Artek’s Managing Director Mirkku Kullberg.
Tobias Rehberger (b. 1966) began his career in the early 90’s and has exhibited widely world wide ever since. Rehberger is interested in the conflict between functionalism and aesthetics, and likes to question and play with the notion of art and its various strategies.
Using several media and different approaches, Rehberger’s conceptual work break traditional boundaries with exceptional combinations of painting, sculpture, architecture and design.

Artek can now be purchased at DZINE. 

September 20, 2011

DZINE Introduces Matteograssi and Bonacina

DZINE is pleased to announce the arrival of the new Matteograssi and Bonacina products to our showroom.  DZINE is excited to be the exclusive representative for these two great furniture companies, both under Matteograssi Spa, that have a rich history and heritage in fine furniture making.

The history of Matteograssi began in Mariano Comense, a small town situated in a small area called Brianza, located in Lombardy, a region of northern Italy, where the head of what was to become a dynasty of leather craftsmen opened a workshop in 1880.

The sign over the entrance read “Saddlery”. Inside, the Grassi family - Matteo and his wife, and later on, his sons - would carefully craft articles made of coach hide, such as saddles, bridles, reins and the full harness which horses need for work and transport. At the time, the Brianza district was mostly a farming area, and the Grassi family business adapted to the needs of an agricultural economy in which the ability of the craftsman, and his skills in coming up with solutions, were the key to success.

At the end of the Second World War, the family business took on a different character. Brianza started to become one of the liveliest industrial furniture areas in Italy, and the Grassi family paid close attention to the changes that were occurring. From the 1950s to the ‘70s, thanks to their lengthy experience crafting fine saddlery, the family began producing coach hide components for other companies and their many customers included almost all of the most celebrated names in furnishings. As this work was performed, contact was made on a daily basis with designers and architects who would follow the various steps in the production process. Thus, the family developed a passion for design, along with a special talent and style, which ultimately led to the decision to found the Matteograssi company in 1978 and create its own line of furnishings.

The first item bearing the company’s name was the ‘Korium’ armchair by Tito Agnoli, an immediate success that brought the creativity of this small, dynamic firm under the spotlight. Since then, Matteograssi has enjoyed uninterrupted success and growth. After more than hundred years in business, its name is now found at international airports such as Dubai, Kiev, Rome, Paris, Athens, Beijing and Djakarta, amidst millions of people travelling daily. Although the old saddlery seems to have little in common with a company that is known the world over, there is a strong bond between the two. That bond is coach hide itself...and much more. The 19th century farms in Brianza and today’s futuristic airports in steel and glass are linked by the production skills of craftsmen who intelligently follow changes in taste and in the economy adapting their knowledge and experience to the needs of the present.