Areaware Cubebots 

Donald Rattner WA-AS-TA-HX-CU-1_1

Wiley Prefab Architecture

April 22nd, 2013

Angelrox thewrap Transformable Apparel

It’s a wrap, people! Thewrap by Angelrox is a Brooklyn designed, reconfigurable knit that gives the term versatility new meaning. It’s a skirt, a dress, a tunic, a shawl, a vest, a kimono, a top – come to think of it, it’s all of them. Which means you could take a trip and just pack one thing. Okay, maybe a few more, but not that many more!

Bucking the outsource trend rampant in the apparel industry, thewrap is crafted in the USA. Meanwhile, riding the eco-commerce trend, it’s made from bamboo and rayon, which are sustainable, biodegradable plant-based fibers made from trees. The knit is quite comfortable and smooth on the skin, and creates an elegant drape and flow. Just ask our mannequin.

Thewrap comes in one size that will fit just about everybody (and we mean every body), thanks to its very flexible material and clever shape.

Check out this video to see all the ways to wear thewrap, then make up a few of your own.

Comments (0)
February 7th, 2013

Modular Jewelry by Mike Årsjö

There’s nothing like a good back story to add extra depth to the work of an already accomplished creative artisan like jewelry designer Mike Årsjö. Recognized as one of the top new innovators in the field, Årsjö was born in Puerto Montt, Chile and then brought to Sweden by adoptive missionaries working in Papua New Giuinea. Interestingly, the hunter-gatherer tribe in which Årsjö grew up — the Sawiyano — considers decorative adornment a fundamental part of life. Nearly every aspect of the clan’s existence, from their homes to their bodies and clothing is subject to decoration, a sensibility which appears to have had an impact on the younger designer.

Thus the link — if you’ll pardon the pun — between Årsjö’s background and his journey into craft seems like a logical rite of passage facilitated by enormous talent, a connection he himself acknowledges. “I’ll try to maintain some of the methods or associations to my childhood, so I don’t forget where it all started,” he says.

Graduating from Stockholm’s Konstfack university in 2012, Årsjö has hardly had time to rest since, racking up collaborations with a few of Sweden’s more directional labels, including V Ave S.R. and Erik Bjerkesjö.

As a designer, Årsjö finds himself often drawn to aluminum. “There’s something about it,” he says. “While it’s not the easiest material to work with if you put the time and effort into it it’s one of the most appealing visually. It takes on this incredible glossy shine.”

For his master’s project, “The Illusion of Protection,” Årsjö examined the illusionary elements of jewelry through time with the intention of showing the links (pun again) between material selection and illusion. The upshot is a collection encompassing chainmail and intricate, interwoven construction. “The work was looking to show how this kind of jewelry could give the illusion that, if it was worn, could truly offer protection,” Årsjö says of his armor-inspired design. For us, it’s not so much the work’s associations with medieval garb as it is the use of repetitive, interlocking forms in potentially extendable arrays — in other words, its modularity.

For more information visit the designer’s website.

Images courtesy of Mike Årsjö

via Cool Hunting

Comments (0)
August 6th, 2012

New Stuff Mondays: Buzzi KidzPuzzle Cushion

Modular Kids' Furnishings Buzzi KidzPuzzle Cushions-MODULE R

This is the first of our new series “New Stuff Mondays” where we showcase pieces that have recently been added to our catalog of customizable and interactive art and design. Look out for special pricing and  sales events accompanying these new items, details of which can be found on our Facebook page.

The Buzzi KidzPuzzle Cushions are fun new kids’ furnishings that make sitting a pleasure for adult eyes and kids’ bottoms. Although who says grownups can’t have fun plopping down on them either? Like Buzzi’s other delightfully soft products, Buzzi Cube and Buzzi Puzzle Rug, these poufs are made from gorgeously colored recycled felts and environmentally safe foam cores. They are beautifully made to order in Belgium by Belgian people and will last longer than it takes for your kids to grow up.

Each cushion measures 33 1/2 x 21 5/8 x 11 3/4 inches and interlocks with other cushions, so you can use them individually or in groupings that you can change as the need or whim strikes you. Flexible, versatile, fun-ky kids furnishings: this isn’t a puzzle, it’s a no-brainer!

Comments (0)
June 26th, 2011

Modular Masters: Studio Aisslinger

Studio Aisslinger in Berlin. Man on left is in detention. Woman on right is watching a company ping pong game. The hex screen in foreground gives us  a taste of the eponymous designer’s predilection for modular design.

In our gathering of modular product designs from all the world, it’s hard not to notice that many of them emanate from Italy. Just think Magis, B-Line, Kartell and already you’re talking about a slew of top-flight and enduring interactive pieces. Maybe it’s the climate, the food, the culture – who knows why such a regional concentration exists for this type of design? Still, it would be hard to develop a convincing theory on Italian supremacy without having to explain why, just a few hundred kilometers to the frozen north, the modular meter spikes again as we approach the Berlin studio of Werner Aisslinger.

Aisslinger is a very talented, multi-media and prolific designer who has generated some of the world’s most innovative product, interior and architectural design for brands such as Mercedes Benz, Swiss furniture company Vitra, adidas and Bombay Sapphire (Bombay Sapphire?). He’s got offices in Berlin and Singapore, so we’re talking about a global reach of considerable dimension. That’s good news for aficionados of customizable design.

Aisslinger’s chairs and chaise on display inside the Berlin studio. Below is his Plus Unit for Magis.

The company’s artistic philosophy focuses on making sophisticated new designs from novel materials and technologies, whether modular or not.  Fortunately, this is not the stuff of geeky sci-fi fantasies devoid of the human dimension. Rather, the design firm says it wants to change the paradigm of modern product design by looking beyond purely functional capacities to integrate a “dialogue between emotions and technology”. Progressive? We’ve just barely scratched the surface. In an estimated 5 to 10 years the firm has plans to install a small chip inside every product that will generate product information (producer, designer and distributor) and an opportunity for instant purchase when scanned with any type of wireless communication device.

 

Aisslinger’s deep interest in repetitive, modular design is evident in some of the product displays in his Berlin office. On the left is Mesh, a 2007 concept design for a lightweight semi-opaque screening system (more on Mesh below). On the right is a 2008 modular bookcase made out of, what else, books!

We aren’t the only ones with an interest in this portlfolio: Aisslinger has had his furniture and product design featured at world-class museums such as  MoMA (where he has a permanent exhibit on his chair design ), the MET, the French Fonds National d’Art Contemporain in Paris, the Musuem Nue Sammlung in Munich and the Vitra Design Museum in Weil, Germany.

What follows is just a sampling of the modular designs to have come out of his offices over the years.

Coral Seating and Lighting

TOP: Coral seating cushions lay on the beach as if they’ve been washed up from the sea. BOTTOM: Translucent Coral lights using a similar hex unit.

Inspired by  the micro organisms emanating from the deep depths of the ocean floor, these modular seating arrangements and lighting fixtures from 2009 are composed of flexible hexagon funnels made from a mix of felt and polycarbonate that create a coral shape when joined in multiples. The sea-inspired pieces come in varying color schemes and, being modular, can be scaled to suit.

NetWork

Embroidered design enters the Age of the New Industrialism.

Perhaps you were under the impression that crocheting was culturally retrogressive. No more. Aisslinger managed to transform this traditional, old-school craft into a progressive, interactive and contemporary design form using high-technology and software. Its 2-dimensional embroidery designs are directly programmed into ‘smart’ machines that stitch the pattern together to make 3-dimensional objects.

Mesh

 

Your request for privacy should not result in staring at stark white walls!

Gone should be the days of the opaque wall divider or cubicle. For subtle separation with visual appeal, Aisslinger designed a lightweight textile structure evocative of honeycombs. The units interconnect to form customizable interior dividers with the potential to be bent into 3-dimensional shapes – distinctly unlike most separators, which are typically confined to straight planes. Made with three different types of relief structures, the hex motif and ribs were inspired by a blow-up of a vegetable organism. The color contrast of the fibers and directional changes in the weaving pattern add perforation, depth and texture to the dividers.

PLUS Unit for Magis

Stack up or down with the playful storage design unit by Aisslinger.

Similar to UP’s, the PLUS unit is a modular storage system that allows for customizable configuration of shelving units. Traditionally stacked or stacked side-by-side like a staircase, the aluminum drawers add a dimension of fun to functional design. Check them out at our store.

 

 

UP’s for RS Barcelona

Here’s how Studio Aisslinger explains the UP’s design:
“UP´s is a totally new modular block-system which integrates the open space between the attached boxes for the scheme: UP´s can generate endless modular sideboard landscapes or shelves always including the “free” space between the box-elements. These box-elements are offered in various types, such as the standard open box, box with sliding doors or boxes with folding wings. All these front-options can be later attached to the basic steel box-element. The visual “architecture” of the UP´s system is a rhythm of closed volumes with airy gaps in between”.

Loft Cube

TOP AND BOTTOM: Get sweeping views of any city with the 360 panoramic views of the Loft Cube. It travels anywhere you go and comes with a handsomely coordinated interior design. Will not fit into an overhead compartment.

Meet the modern day mobile home. This architectural piece is so cutting-edge that it may still belongs in the future. Composed of four walls of either translucent, transparent or opaque material, the structure forms a mobile living cube with 360 degree panoramic views. Custom interior design options are available so that lucky  cube-owners can turn the Loft Cube into any type of living or working space, anywhere they would like. Made with the highest quality lightweight materials, the Cube Loft takes only a few days to set-up.

Light Wave

Bombay Sapphire sets the mood blue with their lighting fixture designed by Aisslinger.

Created for Bombay Sapphire, this large-form lighting structure created the ultimate mood lightning for one of the gin brand’s events.  Made of 50 x 50 cm modules, the communal lighting object can be arranged in a variety of pixel-like configurations to create larger formats. Each individual module is designed to create a 3-dimensional shape that allows for an infinite number of additional modules. When shaped together, the overall product is an installation of fluid movement among convex and concave shapes (that’s fluid, in case you didn’t see the connection).

And this just in:

Hemp House at DMY Berlin 2011

TOP AND BOTTOM: A structural system made from the cannabis plant. A modular Mary Jane anyone?

Exploring sustainable materials, Aisslinger presented his Hemp House at DMY berlin 2011. The structure is made of more than 70% natural fibers, such as hemp and kenaf, bound together with acrodur, a water-based acrylic resin from german chemical company BASF.

The compression of renewable raw materials forms a new environmentally-friendly composite that is lightweight yet durable. Says Aisslinger, “Design history is driven by new technologies and material innovation. For us designers, the advent of these technologies has always been the starting point for new objects and typologies in design”.

Like we said…thanks Mr. Aisslinger.

Comments (0)
June 22nd, 2011

All in Stitches: Customized Floor Coverings

The units that make up Stitch Interlocking Rug system come in vibrant color shades suitable for both young folk and color-inclined grownups.

Finding the perfect sized rug to work in a space can be a challenge, especially when you’re also trying to find just the right color scheme AND find a pattern you like.  Sure, your basic white rug is a convenient away to steer around at least the last two problems, but where is the fun in that? White is so…vanilla. Not to mention a bear to keep clean unless you force people at gunpoint to walk around in their socks.

Answer? Make your own rug, of course. Okay, so you don’t know how to operate a loom. Or fleece sheep. Big deal! Modular design comes to the rescue, as it often does. In fact, we’ve got two solutions to offer: the Stitch Interlocking Rug from Lithuanian designer Nauris Kalinauskas, and the Buzzi Puzzle Rug from our friends at BuzziSpace.

The Stitch Rug also comes in grays, blacks and neutrals for a more subdued palette, which can nevertheless be intermixed with strong stronger accent colors for some visual pop.

Stitch works pretty much the way the name suggests: you purchase rug components in 10-piece packages that you then join together to create the finished rug.  This allows you to build whatever size floor covering you want and mix colors in whatever proportion you desire. Is your space irregular, open or complex in plan, meaning not a pure rectangle or circle? Egads, this really is your lucky day, because the contours of the Stitch rug modules lend themselves particularly well to making a rug with a non-rectilinear outline.

 

The Stitch Rug palette embraces a wide range of hues, so you can make sure it goes with your dog. Or child.


Our other customizable floor covering, the Buzzi Puzzle Rug, goes in the opposite direction in terms of shape; in fact, the modules are based on a square, which goes pretty well with the straight walls and rectangular perimeter that characterizes the large majority of interior rooms or areas. The pieces measure about 39 inches across, not including the tabs, which gives them a fun, generous scale. The palette tends toward neutral grays and off-whites. Made from up-cycled PET waste, you’re not only doing your toes a favor when you go this route, you’re helping the environment. And the rug has sound-absorbing properties to boot (get it, to boot?).

The Buzzi Puzzle Rug comes in four colors and is a cinch to put together. Even a grownup could do it.

Don’t know about you, but we’re positively floored by the idea of making cost-effective rugs to suit.

Comments (1)
March 28th, 2011

REPEAT AFTER ME: The Power of Many

BeadBrick: A Modular Building System by Rizal Muslimin. Ancient building technology in the modern world. (Click on images to enlarge and play slideshow.)

A few recent projects remind us how powerful and cost-effective modular design can be in creating aesthetic effect by means of pattern-making, both in terms of hard costs (physical production) and soft costs (design effort).

Let’s start with a just concluded design competition exploring the innovative use of brick, one of mankind’s oldest modular systems. The very idea of looking for fresh thinking in a building technology now some 7,500 years old is in itself an intriguing concept; not surprisingly, the various solutions offered by the entrants feel both emphatically contemporary and deeply grounded in traditional sensibilities.

That duality is most evident in the programmatic requirement that design solutions be environmentally sustainable. Only in a culture that has lost some of its connection to nature would such a requirement need to be imposed from without. It’s particularly ironic in the context of a re-examination of brick construction which, by its very “nature”, was a “green” building method long before green meant anything but the color of leaves. But we suppose it’s better that we have to re-discover what our ancestors knew thousands of years ago than to disregard it altogether, as had been the case until relatively recently.

Two winning entrants to the 2011 Brickstainable competition embody the new synthesis of past and present. MIT student Rizal Muslimin’s proposal calls for a roughly triangular brick system that can form 2- and 3-dimensional assemblies by variously joining the bricks along vertical and horizontal axes. Bricks are fabricated using both digital and analog fabrication methods, another reflection of the dual character of the project brief. A second team comprising Kelly Winn, Jason Vollen and Ted Ngai of CASE New York was awarded a prize for their Climate Camouflage system. Drawing on recent developments in biomimicry, their submission explores the potential value of applying the age-old art of ceramics to addressing issues of thermal dynamics, self-shading, moisture reduction and other techniques needed to reduce our carbon footprint.

Winning entry to Brickstinable by Jason Vollen and Kelly Winn of CASE (New York). Once again one of nature’s signature modular geometries – the hexagon – is successfully applied to architectural design. Architects are drawn to this pristine geometry like bees to honey!

Beyond their shared ecological investigation, the Muslimin proposal is notable in expanding the traditionally humble, human scale of modular brick to the urban dimension. Unlike the banal repetitive grids of International Style architecture, or the scale-less wrappings applied to many contemporary skyscrapers, however, his imaginative eco-brick generates architecture that appeals to human sensibilities visually as well as empathically, in large part by the repetition of scalar, modular elements.

The newly launched DIY software Repper is as emphatically 2-dimensional as the Brickstainable proposals are 3-dimensional. If the name of their product doesn’t make it obvious, their tagline certainly does: “Everybody Loves Patterns”. They apparently like them so much they’ve developed the software for you (and us) to generate patterns  of your (and our) own making that can then be applied to websites, products, interior design components and graphic design. Particularly appealing is that they don’t just leave you hanging with some pretty pictures on your screen, but have set it up so you can take your designs into production by linking up with various manufacturers and production facilities able to turn your visual patterns into a 3-dimensional reality.

We have no idea what this video is about, but it’s on the Repper site so we thought we’d share it with you anyway.

One of the marvelous things about modular pattern-making is that if the originating designer has done the job well, it’s rather difficult for the likes of us (and you) to generate patterns that are, well, downright ugly or mis-conceived. That’s because an aesthetic safety net is, in effect, built into the design unit, whose positive aesthetic qualities are retained when multiplied into a larger assembly. Coupled with the democratizing capabilities of mass customization, the promise of modularity as a tool for broadening the reach of good design continues to be fulfilled.

Comments (0)
February 27th, 2011

On the Verge of Something Big: Part 1

Jason Green, “Recurrent 2″, hand-cast and glazed terra cotta units, wall-mounted, 6 1/2 x19 x 2 in. (2008). Click on images to enlarge and play slideshow.

On Thursday, March 3rd, we will be opening our booth at the Verge Art Fair in Dumbo, Brooklyn. This is rather a significant undertaking for us, as it represents the first time we’ve participated in an organized collective art-related event. Perhaps more significantly, we’re bringing together five contemporary artists whose work investigates the theme nearest and dearest to our heart which, of course, is modularity. Now, we’ve come across other recent shows with the term modular in their title or description, but honestly, we were consistently hard pressed to recognize just how the concept related to the work being shown. So perhaps our brief showing at Verge is the first time this particular aesthetic preoccupation is being examined among multiple artists from the post-Minimalist generation since, well, since the heady days of modular machinations when people like Sol LeWitt, Carl Andre, Dan Flavin and Donald Judd were doing their seminal work.

A lot has changed since then, of course, including the way in which the post-Minimalist modulartists approach their chosen theme. It’s our intention to discuss these changes in a series of subsequent posts. For now, we’d simply like to present images of a few pieces in the upcoming show by each of the participating artists, all of whom we’ll profile in greater depth in the later pieces.

Show Information:

Location:  1 Main Street, Dumbo, Brooklyn
Booth:  Number 1
Dates/Times:  3/3-5 12 to 10pm, 3/6 12 to 6pm
Telephone:  (718) 360-9305
Email:  us@art-rethought.com
Fair website: www.brooklynartfair.com

ABOVE: Susan Weinthaler, “FIX”, wood, paint, epoxy, magnets on steel. 48 x 48 in. (2011). Each colored wood unit has a magnet mounted on its back side, which allows it to be moved to any position on the steel “canvas”. The images above show the same work, but with the pieces re-arranged into different patterns.

ABOVE: Moshé Elimelech: “Cubic Construction #25″, twenty-five hand-painted wood cubes in velvet case with brushed aluminum frame, 25 in. sq., 4 in. d. (2010). Another example of interactive, customizable module art: both images are of the same piece. The cubes are removed by hand from their case and rotated to display one of six variously painted faces. We previously discussed Elimelech’s work here.

ABOVE: Donald Rattner, Studio for A.R.T. and Architecture, “Tapestry NO-2-1 in Red and Black”, wool felt modules, 48 1/2 x 58 1/2 in. (2010). This modular tapestry is assembled by connecting individual felt modules together by means of interlocking slots and tabs. Hanger pieces permit the piece to be hung on a wall-mounted rod.

ABOVE: Trevor Elliott, “Untitled Number 29″, reclaimed wood and magnets, 12 x 34 x 3/4 in. (2011). Magnets are particularly amenable to interactive modular art because of their connective (and dis-connective) qualities. Elliott has used them for innovative product design as well, such as his GrowFrame modular picture frames.

.


See you there!


Comments (0)
June 28th, 2010

Flor: Modular Floor Coverings

Flor carpet tiles, Alexander Girard, designer. Girard is best known for his contributions to American textile design while working for the Herman Miller Company from 1952 to 1975.

Co-creative design hits bottom with modular carpet tiles from the company Flor. The concept is elegantly simple: users create customized area rugs and carpeting by joining together square carpet tiles in a design of their choice. Tiles come in a broad array of colors and patterns, so there’s a pretty wide range of expressive possibility available. In addition to the company’s own tile designs, there are a few collections from guest designers, including Martha Stewart, famed textile designer Alexander Girard and, yes, Walt Disney (or at least, his eponymous company). Hey, kids deserve nice floors too! (And if you surround them with beautiful things when they’re young, maybe they’ll grow up to make the world an even more beautiful place than we did.)

In case you’re wondering how the tiles stay together…well, we did too. Dots. Or more specifically, adhesive dots that are applied to the underside of adjacent tiles sticky face up. When placed on each tile they knit the whole into a pretty tight mesh that isn’t susceptible to movement any more than a conventional rug would be.

Most of the face fibers in the tiles are made from nylon, while others are composed of natural fibers like wool or PLA (polylactic acid, a natural derivative from corn). The backings are a vinyl composite, some of which are made from recycled materials. According to the company, the carpet tiles meet or exceed the Carpet and Rug Institute’s Green Label Plus standards for VOC emissions (Volatile Organic Compounds) and are recyclable.

Looking at this product we are inevitably drawn to make comparisons with the traditionally crafted textiles of bygone eras. At the highest reaches of artistic refinement are the great rugs of the Islamist cultures, marvels of intricate patterning and quality of weave. Right alongside them we can place the best wall tapestries from the Middle Ages and the later classic rugs from Aubusson and other European centers of production. One can only imagine the time and effort that went into these pieces, both in terms of their actual production and the years of learning that it took to develop the craft and train the craftsmen who did them.

Then there’s Flor. In place of the strand-by-strand approach of traditional weaving we have pre-fabricated squares of material. Instead of specialized craftsmen we have a product design company teaming with non-specialist users to create pieces of aesthetic and practical value. Instead of great works of art accessible only to the very affluent, we have a widely distributed article of embellishment available to large numbers of people. Such are the consequences of economic and artistic democratization.

By the way, the concept of modular floor coverings goes back quite a ways, and is not confined to the western hemisphere. The Japanese placed straw mats on the floors of their dwellings for centuries. Known as tatami, their approximately three foot by six foot proportion corresponds to the outlines of a person lying down – an interesting contrast to the abstract square geometry of the Flor tiles. A whole tradition of how to lay out the tatami inside a room evolved over time; in some cases the size of the room was even determined by the arrangement of the mats. Much of the tatami tradition has now disappeared from common use, but maybe a little of its spirit continues in its modern incarnation at Flor.

Company website:
www.flor.com

References:
Carpet and Rug Institute’s Green Label Plus

Comments (2)
June 12th, 2010

Mia Cullin: Modular Textiles

“Lily”. Carpet formed from star-shaped leather modules. Produced by Mia Cullin.

We greatly admire the ‘soft’ work of Mia Cullin, a Swedish designer and interior architect. She designs what might be described as modular textile systems in traditional and modern materials. Her palette includes felt, Tyvek (a modern synthetic often used as a wrap in building construction), leather and wool. Cullin’s modules have the appearance of multi-lobed geometric figures suggesting flowers, snowflakes and other centralized figures drawn from organic nature. The undercutting of the shapes forming the perimeter allows the textile units to be joined together by folding and interlocking adjacent lobes. Together they weave a tapestry of repetitive forms whose uniformity is relieved by the play of light and shadow among the variously raised pieces of fabric. The natural wave of the assembled pieces, a judicious use of cut-out figures within some of the modular designs, and the natural surface texture of the materials adds to the visual play.

“Flake”. Star-shaped Tyvek modules joined together to form drapery and screens. Produced by Woodnotes.

Cullin’s work is conceived in the context of interior design, which is unsurprising in light of her professional training and activities. Variously described as ‘screens’ and ‘draperies’, her textile work bridges the realms of product and interior design, art and craft.

We recently enjoyed seeing one of her designs featured at the Cooper-Hewitt Design Triennial in New York. She is a regular contributor to design fairs and exhibitions in Europe.

“Four Leaf Clover”. Leather carpet formed from clover-shaped modules. Produced by Mia Cullin.

From the designer’s website:
“Mia’s design is described as simple, poetic and elegant. Visualizing the object’s construction plays an important role. Many of her products contain a textile feeling where handicraft, folding and origami are sources of inspiration. Her works with assembled modules creating surfaces with relief patterns discerns a fascination for geometry.

Among her clients are Woodnotes, Nola, idea, Habitat, Ateljié Lyktan and Asplund.”

Designer’s website:
www.miacullin.com

Photography:
Top and bottom by Mathias Nero. Middle row by Sameli Rantanen.

Comments (0)
June 1st, 2010

Blank Label: Bespoke Tailoring

The story of Blank Label is a reminder that the power of the traditional press hasn’t entirely disappeared, despite the gradual disintegration of the industry’s historic business models. This start-up venture in customizable men’s dress shirts recently received a pretty glowing review in The New York Times. As a result of the avalanche of customers that ensued from the article, the fledgling company (launched with about $10K in seed money if you can believe it) is running fast to keep up with the new orders.

The first step in the customization process on the Blank Label website. This software is an example of a ‘configurator’, which is the principal digital tool used to guide the customer through the design process.

The article also touched on a number of themes associated with mass customization and co-creation, of which Blank Label is a classic – if we may use this term – example in action. Bespoke tailoring used to be the exclusive province of the affluent; now pretty much any person of male persuasion who can afford the shirt on their backs can tailor them to their specifications. Colors, sizing, details are all customizable via easy-to-use software on the company’s website. The price? Less than the cost of ready-made items in many department stores. It’s that democratization of the marketplace thing all over again. Holy shi(r)t!

Company website:
www.blank-label.com

Comments (1)

Mission

MODULE R is a concept store focused on transformable art and design. We collect pieces from all over the world that are customizable, reconfigurable, expandable, stackable, interchangeable, interactive and modular. Our catalogue includes accessories, books, furniture, children’s playthings, cookware, jewelry, lighting, storage systems, space dividers, floor and wall coverings, and artwork. In bringing this collection together – and authoring this blog – we hope to promote flexible design as an ideal way of making things in an age that prizes personalization, multi-functionality, economy and experience.

Pages