GIBSIDE PAVILION VIDEO
A short video capturing the construction process of the Gibside Pavilion, by Jardine Couture. Shot as a series of stills, the assembly within the historic walled garden took place over one day.
FORMICA GROUP HQ
“Building upon its 100 year legacy, Formica Group’s investment is about increasing its UK market share and providing stability both in terms of pricing and manufacturing. Made in Britain is part of the support story for stability and we are pleased to help Formica Group in the provision of a network and community to help sales”. John Pearce, Chief Executive, Made in Britain
As part of a major re-design by Contents Design, Jardine Couture have provided new furniture pieces for the Formica European headquarters.
Customised versions of the Regular John table are used within break-out spaces, along with CV Shelving System panels, produced in birch plywood with Black Formica HPL.
The project is part of a £40m investment in the North East-based HQ, which opened in June 2017.
‘SEEDS’ PAVILION, GIBSIDE
Part of an ongoing series of collaboration projects between National Trust Gibside Estate and the Interior Architecture programme at Northumbria University.
Following a range of proposals by Year 2 students for a small pavilion, structure or installation within the walled garden at Gibside, the scheme by Allard Newell was selected to be taken forward.
Bringing the project closer to realisation, Jardine Couture have been working for The National Trust to interpret the scheme, whilst engaging with Allard to retain the essence of a modular, flexible space.
Above slides show a range of work in the development of the design. More on this project soon.
WORK IN PROGRESS: MANSIO
Current design and development work in progress for a touring exhibition kit-of-parts. Exploring a range of lightweight materials and composites, along with simple assembly details.
More about the Mansio story on the project website here.
NBS EXHIBITION PROCESS
For the recently completed NBS Memory Box exhibition, a range of images above show parts of the process behind the exhibition design and planning.
Employing both handmade and 3D CAD modelling, to explore spatial and display ideas both at small scale and 1:1.
Completed project photos can be seen here.
A fleeting glance at some projects from the past year, looking at an enjoyable variety of scales and project types.
The beginning of 2017 shows promise, with an interesting mix of design, exhibition and spatial projects set to start.
NORTHERN DESIGN FESTIVAL 2016
Jardine Couture are pleased to announce the inclusion of some furniture pieces at this years Northern Design Festival. The event, hosted each year in Assembly House, Newcastle, celebrates the best of northern creative design in a wide range of fields.
Jardine Couture also produced a limited number of booklets titled ‘Various Etc.’ to accompany the furniture on show, containing a series of images, writings and sketches with a focus on scale and materiality in practice.
The event runs 7 – 16 October, at The Assembly House, 55 Westgate Road, Newcastle upon Tyne, NE1 1SG
DANIEL HEATH / IN THE WINDOW
Jardine Couture were approached to design and produce an exhibition for online design curators, In The Window as part of Top Drawer. The event takes place in Olympia, London and features a live workshop by renowned screenprinter and designer, Daniel Heath.
The concept for the design focusses on the ideas of craft, revelation and framing. An intricate, lightweight system was designed to showcase Daniel’s work, and also provide select views into the space. The proportions of the structure are informed by the width of industry-standard wallpaper size, 540mm.
To experience the live workshop, Register for the event for free here. Running until 5pm Tuesday 13th September 2016.
Completed photographs have now been added to the Work section here!
Any colour, as long as it’s Ordning&Reda. Charles Eames, Henry Ford & a Swedish brand.
I recently read a letter that Charles Eames penned in 1954 to Henry Ford. He was writing to request that a particular spec of car could be made, after being unsuccessful in his pleads to Ford dealers. It was not an extraordinary request; just the model of car he liked and was used to, but with basic interior trim (simple neutral tan leather or good neutral colour synthetic material, no two-tone) and minimal branding/badges – that was all. A polite request from a man who believed strongly in standard production, and had been driving Fords since 1929.
The letter evoked a timely twinge of resonance, as I’d been writing about the small Swedish brand that make my diary.
My first encounter with Ordning&Reda products was seven years ago, in London’s Oxford St. Selfridges – Christmas shopping. In a distracted, self-indulgent moment, I bought a 2010 diary – justified by the idea it would be good to be organised for the year ahead, using the old-fashioned method rather than the mobile phone calendar. At twenty-something pounds, (more expensive than a Molskine) I needed a little convincing.
The inside swayed me to part with the cash. The typeface was clean, minimal, legible, beautiful. The pages a very easy-on-the-eye ivory white (who wants to eyeball gleaming bright white as the first thing you look at in your working day?) and the layout open, inviting, yet orderly.
Seven years on, time has revealed that it was actually very good value (my 2016 costing £26.90). I use this product almost every day of the year, and I don’t mind if it is nearby even on weekends. It is made incredibly well – withstanding being stuffed into bags, site visits, sometimes being used as a makeshift tea tray when walking to the garden office. The leather always feels good to carry, it opens well – and the elasticated band holds it all together and carries a pencil perfectly. (It also puts up with being repeatedly stabbed, as I push the nib of the retractible pencil back into place before holstering).
I will go on, just a bit more.
Finally, it’s about the colours. If the products by Ordning&Reda are recognisable for one thing, it is the range of colours; limited in choice, but each one a strong contender. You can tell that somebody put a laborious amount of time into getting the right tone, shade, strength of colour. I say this even though the first one I bought was black. At the time I didn’t pay attention to the other colours, because I wanted black, a good no-nonesense diary colour. But then one year I was too late, and they sold out of my colour, so I strayed over to a rich dark brown (channelling the Ron Burgundy within, as we all must do from time to time) This year, it was strong green – a tough choice over a bold pillar box red, and a mightily nice dark blue.
It is frustrating when businesses offer too much choice, more-so in the design-product industry. If this Swedish brand began offering their goods in a whole myriad of colours, there would be something lost. Their choice is limited because it has been considered. And it is evident that the choices have been made by someone, or people, who know their stuff.
And so, last week I was looking for inspiration, a brand with a simple but well-designed product that I could use to create a retail concept that used one of my own products. The company seemed a perfect fit to test an idea that set rules for a common design language – letting the space be recognisable through its actual merchandise. The concept uses balance and clear spacing in the layout, and calls upon a purposefuly-limited set of materials; concrete-grey composite, black cloth, black leather and cherry-veneered plywood. More images can be seen here.
Now, back to the start – did The Eames’ get the quality understated Ford they wanted? Well, no – apparently not, and from then on only bought Mercedes Benz. Writing a letter to the top can sometimes bear colourful fruit (please, no two-tone), but even people like Charles Eames can be unsuccessful.
Thankfully for me, I don’t need to write a letter to Ordning&Reda. Since 2003 they have been a subsidiary of the BODUM Group (the folks who make nice glass coffee pots) and now operate in 14 counties through independent franchises and concessions. Their range of products still remaining close to the core values; design, quality, simplicity & inspiration. Long may it continue.
Letter reference: An Eames Anthology: Articles, Film Scripts, Interviews, Letters, Notes and Speeches. 7 Apr 2015
by Charles Eames (Author), Ray Eames (Author), Daniel Ostrfoff (Author
‘Seeds of an Idea’ opened this week within the walled garden at Gibside. The temporary installation displays ideas for small-scale interventions and pavilions, proposed by year 2 Interior Architecture students from Northumbria University.
Jardine Couture were pleased to produce these simple display boxes for the models – made from birch plywood and acrylic. Scroll the images above to see more about the process.
SHOE BENCH/LOW TABLE
Images of a new design, currently in progress. Two variations will use the same leg components, for a hallway shoe bench and a slightly larger coffee table. The form is derived from the Regular John desk, but features a new handmade connecting piece cut from solid oak.
Current sizes: shoe bench L 110 x W 44 x H 40 cm / low table L 120 x W 55 x 4o cm / birch plywood & oak.
REGULAR JOHN DESK
The above gallery captures a range of processes used in the making of a new product, primarily the development from concept to prototype.
Alongside continuous sketching, paper and card created the first 3-dimensional ideas. Computer modelling tested the angles/junctions and was revisited often once the physical prototype began.
Using a series of custom-made jigs, the full scale model was produced with a plunge router (from 18mm birch plywood) Various MDF and lesser-quality plywood parts also formed test pieces.
The outcome was successful, and now the design is being developed and refined further to allow to for batch production! Versions will include laminated plywood, in grey and white, alongside the original birch plywood version.
DESIGN MILK FEATURE
Some excellent publicity recently for the CV Shelving System, featuring on the internationally-popular design blog, Design Milk.
The write up is simple and explanatory, focusing on the advantages and aesthetics of the design, alongside product images. On their Instagram feed, the image received over 10,000 likes.
We are most thankful to Design Milk for the feature and have since noticed increased interest in the system and other Jardine Couture projects.
DESIGN STUDIO STORAGE
A recently completed set of low storage units, for London design agency, Campaign. Comprising a combination of flush door units with push-release function, and 7-drawer tray units, for organising material samples.
The made-to-measure cabinets were fabricated off-site from m/f MDF and 18mm birch plywood, using both CNC machining and hand router details.
Spain can claim its share of today’s exemplary new-build modern architecture, but in Madrid however, some of the most stand-out buildings are creative re-use projects.
In addition to the warm climate and vibrant food scene, the evident investment into design and culture makes Madrid one of the best European cities to visit, on many levels.
AUSTIN STUDY – DESIGN PROCESS
The design process for this small work-space project, was a culmination of rational spatial planning and careful construction detailing. The client and end user, James Austin, had a clear image of how he wanted the space to work for him, and how it should feel to work in. From this a simple design solution was created.
The production involved a combination of off-site manufacturing (such as CNC cut unitary & powder coating) with site-specific details carried out on site as part of the installation.
The end result allows a hard-working space, whilst retaining the visible proportions set out in the original design.
For anyone with a love of design, a visit to the Danish capital will always be a mix of work and pleasure.
The accessibility and general quality of design is hard not to notice, in everything from small retail spaces, to cafes and the excellent museums.
The Arne Jacobsen petrol station (first 2 images above) is a fine example of how something normally utilitarian can become a highlight of a trip. Opened in 1936, it still functions as a filling station, with added coffee and ice cream sales.
ALDO RISE – PRODUCTION
Aldo Rise epitomosed just how bespoke a project can be. In its simplest form it was a pop-up shop; two department store concessions which would exist for a few months, before making way for the next fashion brand.
The high level of design quality, envisioned by Pentagram partner Daniel Weil, required all aspects of the production to be individually crafted yet to come together as a whole.
A cumulative approach was taken to unite the project, with Jardine Couture managing and integrating the various production elements, which would come together for the installation over a series of nights in Selfridges, London.
The structure of the main seating/display units were made from CNC-cut MDF, allowing a hollow carcass construction. A combination of solid and veneered oak acts as the timber finish, which once assembled was finished with additional components including solid surface material, lightweight mirror glass and leather upholstery. The ‘heel’ detail was turned from a glued block of solid oak.
Removable wall panels were laminated and CNC machined before being delivered to the printing specialist for graphic wrapping in high-quality black vinyl and white lettering. The project also involved working with metalworkers, acrylic fabricators and digital audio/visual specialists.
The successful launch led to subsequent projects for Aldo shoes and Selfridges.