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Discovering Salvatori and The Carrara Marble Quarries

Our visit to the Tuscan marble district with Gabriele Salvatori

Paolo Ferrarini

13 February 2024

As a material, marble has defined architecture and design, art forms and historic periods. We stepped into this world first-hand when we visited the Carrara marble quarries, the surrounding Tuscan lands, and the Salvatori company. Guido Salvatori founded his namesake company in 1946 in the small town of Querceta, a few kilometers from the Northern Tuscan coast and not far from the world-famous Carrara quarries. Salvatori is now run by third-generation family members who have transformed the company from a small local business into a flourishing internationally-renowned brand, recognized for its love for craftsmanship, its close relationship with design and experimentation around innovative processes.

Salvatori’s elective materials are natural stones and marbles, including Bianco Carrara, Gris du Marais and limestone. The brand focuses on a small color palette that ranges from white to black, cream, light gray and dark gray. This is mainly for a technical reason: these materials withstand processing under blades, a technology that distinguishes the company from peers. That said, Salvatori also produces small, colorful objects, such as the photo frames and vases of the new Precioso collection by American designer Stephen Burks.

CEO Gabriele Salvatori loves design, as demonstrated by the Burks collaboration, as well as partnerships with Michael Anastassiades, Kengo Kuma, Piero Lissoni, John Pawson, Yabu Pushelberg, Patricia Urquiola, Vincent Van Duysen and many more. 

“A beautiful project originates from a great designer sitting at the same table alongside a great craftsman,” Salvatori tells us. “The craftsman puts the experience on the plate, and the designer brings a naive, unpolluted eye that helps you look sideways. It comes as if the designer were a child who turned things upside down.”

Color and collaboration aside, Salvatori’s specialty is the processing of white Carrara marble. To reach the quarries, we venture onto dirt roads full of curves, stones and white dust. Once at the top, we are captured by the majesty of the Apuan Alps mountain range and the centuries-old work that dug them. Their intrinsic value is such that, since 2011, the Tuscan Mining Park has been part of the UNESCO Global Geopark network. That’s not to mention all the Renaissance sculpture masterpieces that were made with this marble, and the great artists that we all know came here in person to choose the best blocks. Today, this work is coordinated by a consortium and carried out in 150 quarries by skilled workers who work with gigantic machinery as well as their bare hands.

White marble is primarily mainly for sculpture and architecture but has several other usages. It is, in fact, a very precious material made up of 95% calcium carbonate. It is expensive, porous and easy to work with; it is used for cosmetics, toothpaste, paint and even dietary supplements. We ask our guide if the material that is likely to run out. “I don’t think so,” he tells us, “we are digging at over 1000 meters above sea level, but below us, the marble reaches up to three kilometers below sea level. Since the ancient Roman times, we have only scratched the surface.”

Back at the Salvatori factory, we visit production. Here, we observe the many steps that are meticulously executed by hand. The colors of the stones, which may seem the same to an inexperienced eye, actually have variations in hue. For large orders, it becomes necessary to maintain a uniformity of color, and until now, only human experience allowed this.

Salvatori says this may change. “For the white Carrara, one of our specialized craftsmen comes to make 23 to 24 choices of tones with their naked eye. We are nerds, but after eight hours of this work, even the human eye goes haywire. This is why we have been studying AI for years and, in recent times, also generative AI. This is a passion of mine,” he says.

Neural networks can also come in handy in the design process of a traditional material. “We also know Midjourney well, but it’s the tip of the iceberg,” Salvatori says. “I don’t want to tell you that AI will draw me the next texture, but it will give me a great hand in visualizing an idea without wasting time and material for prototyping. Maybe it can give me some ideas, like that ‘looking sideways’ that maybe will make me find something that I like that we can then develop.”

Podcast Design

Maximilian Büsser: Design Tangents Episode Eleven

The punk rock provocateur of Swiss watchmaking on creating to fulfill your own desires

Josh Rubin, Evan Orensten

7 February 2024

Our latest Design Tangents podcast guest, Maximilian Büsser (who we have known for more than 15 years) is nothing less than a renegade in the very traditional Swiss watch world. As the founder of MB&F he’s continued to surprise and delight watch and clock collectors globally with his visionary pieces—and draw attention to historic partners. In 2014, Büsser was the subject of a COOL HUNTING Video, and one year later we collaborated with the pioneering provocateur on a COOL HUNTING Edition Starfleet Machine. His work manages to be both futuristic and nostalgic—bound by a sense of wonder. Celebrating Swiss watchmaking, human craftsmanship, and mechanical art, MB&F’s creations are much more than time-telling machines (though they do that too).

Büsser began in the traditional watch industry. As a child, he thought he’d be a car designer and studied engineering. However, he ended up at the prestigious maison Jaeger-LeCoultre, back when it was a small brand and at a time when the world did not know what to do with mechanical watches. After seven years at Jaeger-LeCoultre, several as its CEO, he moved to luxury powerhouse Harry Winston, where he began to amass considerable success. “Watchmaking saved me,” he tells us. “It gave me a family. It gave me a life. It gave me a purpose,” he says.

However, there was a disconnect between his success at Harry Winston, his relationship to his own father, and his desire to do what he believes in and be proud of it. He started to imagine a small, disruptive company of his own. In 2005, he stepped away from the mainstream and began to redefine what watches could be. “MB&F is a life decision,” he tells us. “It is not a business decision.”

Büsser is full of advice. “Stop creating to please people. Try to create for yourself,” the entrepreneur says. “That’s not something you’re brought up on. I want to create something that I love.” Büsser adds that, at first, he didn’t know what he loved and part of the process with MB&F has been uncovering it. To learn more about what’s inspired him, how he has upended the industry and what he hopes for the future of the brand, listen in to Design Tangents now.

Subscribe to Design Tangents on all major podcast platforms, including Apple and Spotify, so that when each episode comes out it’ll be ready and waiting in your player of choice.

Design Tangents is presented by Genesis and produced and edited by SANDOW Design Group. Special thanks to the podcast production team: Rob Schulte and Rachel Senatore and to Amber Lin for creating our show art. Discover more design podcasts from SURROUND at surroundpodcasts.com.

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Interview: Zona Maco Founder Zélika García

Insight on the twenty years of developments that have led to the acclaimed art fair’s 2024 edition

David Graver

5 February 2024

As international artists, art collectors and gallerists arrive to Mexico City for the 2024 edition of Latin America’s leading art fair, Zona Maco, they’ll continue a cultural conversation that began when one artist asked one question more than twenty years ago. Upon her graduation from the University of Monterrey, with a degree in the arts, Zélika García wanted to know why Mexico no longer had an international art fair. Refusing to accept the answer she commonly received—that there wasn’t a market—she founded her own. What began as Muestra in Monterrey transformed into Mexico City’s Zona Maco. Over the last two decades, García has established Zona Maco as an inspiring stop on the annual arts calendar and introduced the world to the strength of Mexican and Latin American art, artists and galleries. To learn more about the exponential growth of the fair, the Mexican contemporary art scene, surprises from the 2024 edition and her dreams for the future, we sat down with García for further insight.

Looking back, twenty years in, can you share your path from artist to art fair founder?

It wasn’t planned. I was really happy producing art. That’s why I visited Guadalajara Art Fair, to go see the galleries and to go to the program and the talks. That art fair opened my eyes to a new world. It was the first international fair I ever visited. After I graduated college and after I just had a baby, I tried to go back to the Guadalajara Art Fair but I heard that it closed. I kept asking why there were no other international art fairs in Mexico. No one believed that people would buy art in Mexico. So, I tried to start my own.

I started Muestra en Maco México Arte Contemporáneo in Monterrey. It was a success, though most of those galleries were from Mexico, with maybe one from London and another from New York. We then moved to Mexico City. I had met Pablo del Val, who is now artistic director of Art Dubai. He started helping us with our VIP program and later became our artistic director. The fair got a selection committee. We hired curators to help with the overall vision. We changed the name to Zona Maco to make it an official art fair and not just an experiment. That’s how it all began in 2004.

Why is it important to showcase international art alongside work by Mexican artists? Are both integral to your vision?

We have such an interesting art scene in Mexico. We have for many, many years. We also have all these museums and private collections. There are so many galleries, too. These galleries have changed our culture. Some, which are no longer around any longer, started in the 1950s. Some were the first to show Frida Kahlo and Diego Rivera and all of the artists that are now famous around the world. I

t’s important to support the local Mexican galleries—but I also know that international collectors who go to art fairs love to see international galleries and international art. A lot of these collectors are also interested in seeing Mexican artists that they cannot see elsewhere. Some of our galleries only show at Zona Maco. It’s a good mix for our visitors.

The world is looking toward Mexico for cultural guidance and inspiration—from food and drink to art and design. Have you observed this change—where the world once overlooked Mexico and now all eyes are on Mexican culture?

A few people—collectors, and galleries—have been with Zona Maco since the beginning, all twenty years. But more and more attention has come to Mexico and the fair. I think it has to do with the platform that the fair created, where Mexican galleries started building relationships with international galleries and curators. This has allowed Mexican artists to present in other art fairs and museums around the world. Our own galleries started to bring international artists to Mexico for residencies and projects.

A lot of artists have also moved to Mexico. International galleries who have been working with us for years have also opened spaces up in Mexico. This has meant that Mexican galleries have had to improve because there’s more competition. The big Mexican galleries, the spaces that visitors tour now, they didn’t exist seven or 10 years ago. These are recent developments. The art was always good, but having a proper space to exhibit the art lets the artist present bigger and better projects.

Can visitors expect something different for the 2024 Zona Maco?

Every year we try to do something different. In 2021, we couldn’t do the fair at the convention center so we presented Zona Maco art week in different galleries and smaller venues and design spaces around Mexico City. We had one location where everyone could get together because it was an outdoor space, Casa Ortega, a house by architect Luis Barragan. We invited different artists to collaborate in the outdoor garden.

Last year, we created Art Baja California and we did the Zona Maco Patio to try to repeat the success of the outdoor exhibition we organized in 2021. A project we planned for this year with the artistic director of Zona Maco, Direlia Lazo, is called Forma. It is inspired by Patio. Direlia invited the galleries that have participated in most editions of the fair to install special interventions and site-specific works inside the fair, not in booths but hanging from the ceiling or hiding somewhere or right in the middle of everything. They were either made for the fair or will be exhibited in Mexico for the first time. This will be a surprise for viewers. We are also working with Cuervo—1800 Tequila has been our sponsor for 20 years. They give an award every year, where they acquire a piece from new artist. They are doing a special exhibition inside the fair to showcase some of the works that they’ve bought over the years. Some of those unknown artists that they acquired 18 years ago are very well known today.

What are your goals 20 years in? Or is there a new dream for the fair?

When I started Zona Maco, I did not imagine it would grow so much—but it did. After the early success of the art fair, we started to see a need for design. We created another fair, Zona Maco Design. A few years later, we had all the antique galleries in Mexico looking to join, so we created another fair dedicated to antiques. Finally, we debuted the photography fair. We now have four fairs simultaneously in the convention center, separate and yet in the same space. We want to maintain the quality. We do not want to make a bigger fair, we want to make a better fair.

Would you bring Zona Maco to another city in the way that other fairs have multiple locations?

As of now, I’m not interested in doing the fair somewhere else. I think there are enough art fairs. We need to focus on making this one better than ever, but not do more. Art Baja California is a new idea. It’s not an art fair. It’s a festival. There are different galleries and different artists. It’s fresh. I feel like we are producing it like how I began Zona Maco in Mexico City 20 years ago. It will take more than a few years but I believe it can become very important for the local community, the Baja California community, where there are already so many local artists and visitors.

Is there guidance you’d offer to someone visiting Zona Maco for the first time?

I would plan to spend an entire day there. We have 15 restaurants inside the fair because we are in a city with so much traffic that leaving for lunch is too crazy. To make it fun, we will have DJs on the terrace. There is tequila and champagne. I would also attend as many gallery openings around Mexico City as possible because they’ve planned so many special events. They’ve been working on them for a year. All the spaces are so different. You could drive to San Miguel Chapultepec and walk to all of the galleries. Then go to Condesa and walk. On another day, I would go to all the museums. We have so many important museums—Tamayo, Jumex, Artes, the Museum of Modern Art, Anthropology, MUAC. It’s endless.

Is there anything about the fair that people might not know that you hope they’ll pay attention to?

We have a selection committee in the main section with all of the galleries. Each of the rest of the sections have a dedicated curator. Looking at these sections is not just looking at the galleries within, but it’s having the opportunity to see 20 or 40 artists in one section that have been chosen by one person who has dedicated a lot of time to together one vision. It’s like going to a museum show but in booths throughout a fair. It’s particular interesting in the young artist section. You have a preselected body of work by a renowned curator who is putting this in front of you—and then you have the opportunity to buy it.

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Mercedes-Benz Classic and The Inn at Mattei’s Tavern, Auberge Resorts Collection

For our drive up the coast from LA to Los Olivos, the quintessential California convertible—a pristine Signal Red 1984 380 SL—was an easy choice

Andrew Maness

31 January 2024

Over the past decade the town of Los Olivos, CA and the greater central coast region that encompasses Santa Barbara, San Louis Obispo and Monterey counties has seen a great deal of growth. Long held in esteem by the “if you know, you know” crowd, Los Olivos and the many small towns that dot the landscape on either side of the 101 Freeway from Solvang to Paso Robles have welcomed more visitors, residents and businesses in the last five years than they have since viticulture first came to the region. One could certainly point to social media as giving the central coast an economic boost, certainly the quality of wine produced, increased diversity of styles being produced and production methods has helped as well. Dining has long been a draw too with “Santa Maria BBQ,” fresh-as-it-gets seafood and exceptional beef from local ranches leading the way.

However, there’s one aspect of the region that lagged behind until recent years: appealing accommodations. While there’s no shortage of mainstream lodgings near the larger economic centers along Highway 101, unique, upscale hotels are few and far between. Happily, The Inn at Mattei’s Tavern, Auberge Resorts Collection opened in March 2023 following a lengthy period of construction and extensive renovation on the 6.5 acre property that encompasses a number of historic buildings, including the main structure with a wide wraparound porch that was built in 1886 by Felix Mattei. Together with his wife Lucy, Felix operated a tavern and inn known then as The Custom Hotel, and later as The Los Olivos hotel which remained in the Mattei family until 1963. 

The allure of a property that you don’t necessarily have to leave to get the most out of a weekend getaway is undeniable. When you get where you’re going the idea is to settle in, stay put and unwind—and typically avoid getting back in a vehicle. We say typically because there are ways to minimize the downsides of the drive, as we did thanks to our friends at Mercedes-Benz Classic. Having spent a great deal of time with the latest and greatest from Mercedes-Benz in 2023, like the EQS-Maybach SUV and AMG SL63, we thought it appropriate to pull from their archive for our drive to Mattei’s given that the place is steeped in history. In addition to restoration of very special collector’s vehicles, Mercedes-Benz Classic also restores and preserves many Benzes for the brand as well. Their enormous facility in Long Beach houses a jaw-dropping selection of vehicles, but for our drive up the coast from LA to Los Olivos, the quintessential California convertible was an easy choice. 

Even if you can’t get your hands on a pristine Signal Red 1984 380 SL, we suggest sticking to the stress reducing coastal route that is the PCH for as long as you can and dipping up into the Santa Monica Mountains via any number of canyon roads along the way. Following a brief stint on Highway 101 between Oxnard and Santa Barbara you’ll want to take SR 154 over the San Marcos Pass through the Santa Ynez Mountains as it’s shorter than staying on the 101 and offers dramatic views of both the coast and the valley. Besides, if you’re heading to a hotel that used to be a stagecoach stop, you might as well follow the old stagecoach route.

Having driven the 154 many times before we can say with confidence that experiencing it behind the wheel of Mercedes’ iconic convertible was particularly fitting. The “R107” generation SL was not exactly a sports car even when new, but in true Mercedes-Benz fashion it’s a steady and comfortable means of conveyance that delights in ways other than outright speed. It drives much younger than a 40-year-old vehicle and as such it made the trip relaxing, if not existential from the very start. The closer we got to Mattei’s the more we felt prepared to settle into a few days “on property” and by the time we made our soft landing it was all we could do to peel ourselves from the forgiving seats of the SL. 

Tough as it was, we left the visceral world of top down driving behind. Together with design firm AvroKO, general manager Dave Elcon and his team added thoughtful touches to Mattei’s existing structures, which blend seamlessly with the character they’ve inherited over more than a century. The necessary new construction was equally well considered and brings the room count to 64 without looking like the structures were just dropped into the property. We enjoyed the rustic minimalistic approach taken inside our 110-year-old one bedroom cottage (one of four at the southern edge of the property) but also appreciated the convenience of central air and spacious bathroom complete with an oversized clawfoot soaking tub and rain shower.

As is the case across the property, restraint has been exercised in adding modern elements so as not to interfere with a guest’s ability to gain a sense of not only place, but time and its passage. We certainly haven’t been to another hotel with a historic water tower in the center of the property. Therein lies the true draw of Mattei’s, it can feel like a world unto itself, a place where the hours really do feel longer and each moment can be savored. Whether laying by the pool sipping a cocktail in one of the cabanas or meditating in the gorgeous yoga room adorned with eucalyptus branches every minute is imbued with special meaning.

You can opt into any number of itineraries provided by the hotel that connect you with local winemakers and culinary talents, of which there are many. You could even take a knife-making class or plan your visit around one of the regular art exhibitions that’s hosted in the Lavender Barn. If you feel compelled to go off and chose your own adventure for the day you could also borrow a Mercedes-Benz from Mattei’s fleet comprised of five current models: a G63 AMG, an EQS, an EQE, an SL63 AMG and a GLS 600 Maybach. 

You can also do as we did and start your day with coffee and a sausage biscuit from Felix Feed, best enjoyed in the eastern facing (therefore sun drenched) Wicker Room found in the original main building. Walk the property (maybe walk the five minutes into town for a wine tasting at So Fresh’s garage) then spend the rest of the afternoon at the pool enjoying delicious small bites and libations. When you’ve had your fill of sun and sustenance, refresh and head to The Tavern restaurant for a robust menu with highlights like hickory smoked Okinawan Sweet Potatoes, wood fired Squid Ink Rice and Hope Ranch Mussels. You can also keep things more casual in The Bar with a meal of Chicharrones, a wedge salad and Wild Boar Chili.

Should you visit when the weather is cooler (as we did) definitely aim to snag seats in front of one of the two fireplaces, which the staff will keep feeding logs to as long as you’re content in the club chairs. Regardless of what you do with your day or what dining option you go with, your night should encompass a stroll across the lawn to sit in an Adirondack chair by one of the shared fire pits around the property to enjoy the fresh central coast air while staring up at a starry sky free from light pollution. There are no wrong decisions at Mattei’s, just time to be used as you see fit.

Podcast Design

Suchi Reddy: Design Tangents Episode Ten

Diving into the dance between emotion and logic in the design process with the acclaimed architect, artist, teacher and neuroaesthetics practitioner

Josh Rubin, Evan Orensten

24 January 2024

Our latest Design Tangents podcast guest, Suchi Reddy has inspired COOL HUNTING writers, editors and readers for years now. The founder of the architecture, art and design firm Reddymade, Reddy is an architect, artist, teacher and a practitioner of the mantra “form follows feeling.” Her roster of perspective-shifting works includes the mesmeric large-scale installation “Look Here” inside Washington DC’s National Building Museum, the immersive “me + you” sculpture for the FUTURES exhibition at the Smithsonian Arts and Industries Building, the beloved “X” pavilion for Times Square Arts and a range of residential and commercial architectural projects including Google’s first retail store. Reddy, a passionate thought leader in creating spaces that make us feel, was the ideal guest to discuss the dance between emotion and logic in the design process; her insights inform and inspire.

The breadth and depth of Reddy’s work is unified by her values and distinct perspective. “I do not look at people’s work and say that’s interesting to me because of a style,” she tells us. “It’s interesting to me because of its substance—because of the idea that’s being explored. People ask if I’m a modernist? Yes, I am. But mostly, however, I’m a serenist. I will make whatever you want—but serene. If you’re a maximalist, or a developer that wants a beautifully energizing space, that’s what I’ll do, because I want to try to understand the feeling of the space or project that I need to communicate.” Reddy wants to direct design conversations around style to that of “the democratic space of the body. I want people to be able to understand spaces through their senses, through their feelings.”

For Reddy’s practice, art and architecture work in tandem. Her contributions to the public art space also allow her clients access into her brain. “My practice is quite unusual in that it covers architecture, interior design, public art installations and artistic works. We’re also interested in the research that underpins the workings of neuroaesthetics, a study that looks at how spaces and experiences impact our brains and bodies.” Through neuroaesthetics, Reddy designs an agenda of equity, equality, agency and empathy for all that she creates.

“21 years into doing this, what keeps me going is the fact that I feel this incredible satisfaction when something is made,” she says. Whether her work manifests as a private residence, or a collaboration unveiling at Milan Design Week, it is predicated on an understanding that we build our worlds outward from our bodies—and feelings will always influence our intepretation of everything that we see. Listen to the latest episode to learn more about the ways that form follows feeling.

Subscribe to Design Tangents on all major podcast platforms, including Apple and Spotify, so that when each episode comes out it’ll be ready and waiting in your player of choice.

Design Tangents is presented by Genesis and produced and edited by SANDOW Design Group. Special thanks to the podcast production team: Rob Schulte and Rachel Senatore and to Amber Lin for creating our show art. Discover more design podcasts from SURROUND at surroundpodcasts.com.

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Discovering Istanbul’s Sanayi313

Architect Enis Karavil speaks about the ideas behind his design studio, concept store and restaurant

Paolo Ferrarini

18 January 2024

Istanbul’s identity is derived from the coexistence of contrasts. Luxury and simplicity, craftsmanship and industry, sophistication and roughness; these alternate constantly. Such a mix defines Sanayi313, a concept store that combines contemporary design and vintage pieces, industrial architecture and food culture, visionary creativity and preservation of tradition. An architecture studio, store and restaurant inhabit this unique space, all distinguished by an industrial aesthetic woven with natural elements.

Sanayi313—which is the Turkish word for industry, followed up the street number of the venue—was co-founded in 2014 by two brothers, architect Enis Karavil and entrepreneur Amir Karavil. Enis lived in London for many years, but when he decided to return to his hometown, he wanted a place that could express his vision. The location plays a crucial role in understanding the project. The Maslak district, a very central area not far from the shopping streets, is characterized by dozens of car repair shops. From here, visitors can see the skyscrapers of the nearby business district while immersed in a maze of streets filled with warehouses—a view reminiscent of New York’s Meatpacking District in the 1990s or London’s South Bank in the early 2000s.

“When I moved back to Istanbul, I had a hard time explaining myself to my clients because what we do is not something you can easily explain,” Enis tells COOL HUNTING. “I wanted a space to create a world that could explain me. I came to this area and I met with a few artists. I liked their spaces a lot, and then I found this place. I took it the moment I saw it and thought this was where I could make my dreams come true. But everybody was making fun of me because they insisted there’s no luxury there, and that no one who can afford my accessories or food would come.”

The gamble proved successful and today Sanayi313 stands as a symbol of the neighborhood’s rebirth. But the beginnings were challenging. “When I decided to move forward,” Enis continues, “I thought design is not enough; the experience should cover all six senses. We want to explain ourselves with different disciplines: food, aroma and design. When clients come here to have lunch, we have a shop; they see it and get it. The shop is a way to show who we are, what we like, what kind of accessories we can have.”

Besides vintage pieces such as clocks, stationery and desk items, you can find Sanayi313’s own items. Their range includes leather cases, high-quality notebooks and unusual accessories like flycatchers. Enis explains this approach, “While building our object selection, I thought some pieces were missing, so I wanted to produce them. And we have a little leather collection that I thought more people could afford. It’s vital to reach different crowds that can afford different things.”

In addition to designing private homes, shops and public spaces with their architectural practice, Enis and his staff produce a furniture line that includes tables and more, often made to measure or adapted according to customer requirements. New objects exist alongside historical pieces from all over the world.

Their signature line is, unsurprisingly, made in Turkey. “For furniture, we have our own workshop in Turkey, and everything is handmade,” Enis says. “One of my goals is to show the rest of the world how good our manufacturing is the skills, and how many different types of woodworking and upholstery we have. I’m trying to show the rest of the world that we have authentic original designs, designers and workshops.”

Enis succeeds in providing the unexpected. “People come here, and they just think it’s a restaurant,” he says. “They get in, and they’re in shock. I like that moment when the wow factor is kicking in. I really enjoy creating contrast. Here, there’s an industrial and luxury zone; there’s black and white, antiques and new things. That contrast creates design.”

Sanayi313 also publishes a magazine entitled Paper. The magazine’s paper is of very high quality, and the articles include city profiles, photo reports, interviews with architects and designers, exhibition reviews and even recipes. It’s a curatorial project, as Enis underscores, “The magazine is a way of reaching people. We started to sell in London and the United States. It’s an opportunity to let people know my company and design philosophy—because you can’t send leather goods to everyone, and not everyone can buy them.”

There’s no denying that the concept shop’s 2014 arrival has benefited the entire neighborhood. Even today, machine shops are the most visible presence on these streets, but in addition to Sanayi313, creative spaces such as the PG Art Gallery have proliferated. During our tour of the area, we took part in the opening of an exhibition and admired works by Cansu Sönmez and Derya Geylani Vuruşan. The participants’ energy was truly contagious, and the vibe—much like at Sanayi313—was that of a promising future.

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French Ski Brand blackcrows’ Ghost Resort Limited Edition Capsule

A three-piece collection that nods to deserted ski resorts

Katharine Erwin

16 January 2024

“There is a culture where everyone sort of all goes in the same direction at once,” says Mikio Katagiri, president of the Japanese ski resort Nozawa Onsen’s operating company, in the film the ghost resorts, chapter 3 – Japan. The series,  produced by the French ski brand blackcrows, documents three deserted ski resorts that once had a unique culture in their heyday, in the golden age, but have since been taken back by powder. This last chapter explores the boom and bust of Japan’s ski resorts of the ’80s and ’90s, and how the one constant in Japanese ski culture is the spirit of the snow.  

To celebrate the film series and skiing in Japan, blackcrows is releasing a limited edition capsule that includes the Ghost Resort Draco Freebird, Ghost Resort Duos Freebird Poles and Ghost Resort Dorsa 27 X-Pac Backpack. Like the ghost resorts, the Ghost Resort Limited Edition Capsule will only be available for “an evanescent, shadow-like duration” of one week. 

The Draco Freebird is blackcrows’ latest touring ski in the Freebird collection and is the only double tip ski in the touring range. The Draco is a lightweight, hard charging yet playful touring ski that can be skied in various conditions. It has a 110 waist and a 21m radius. It is, in short, a dream ski. The Ghost Resort design features a digi camouflage of black and white chevrons (the blackcrows’ logo) and was inspired by the “evolving on the threshold of space-time.”

The Dorsa 27 X-Pac Backpack from the Ghost Resort Limited Edition Capsule is made with a new X-pac fabric that is not only stealthy but more durable. The Ghost Resort Duos Freebird Poles are also improved for the limited edition, with a strengthened second tube in aluminum alloy carbon 7075. 

The design evokes the essence of skiing in Japan and reflects blackcrows’ own culture, which is undoubtedly a hallmark of their success. The brand’s ability to stay true to what they think is beautiful and important while only abiding to their inner knowing is the antidote to the world’s trend-driven culture that is dictated by engagement rather than integrity. 

As a tribute and an act of commitment to supporting ski communities, a percentage of the Ghost Resort Limited Edition Capsule profits will be donated to one of the oldest ski clubs in Japan, Ski Club Nozawa. The club supports local skiers and promotes the rich ski culture of Japan. 

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CES 2024: Supernal’s Visionary eVTOL Concept, S-A2

Up close on the pilot-plus-four-passenger electric vertical takeoff and landing vehicle from Hyundai Motor Group’s Advanced Air Mobility company

Evan Orensten, Josh Rubin

11 January 2024

Debuting at CES 2024, the S-A2 is the latest concept from Hyundai Motor Group’s electric vertical take off and landing vehicle division, Supernal, as it prepares to enter the commercial market in 2028. This pilot-plus-four-passenger aircraft follow’s Supernal’s S-A1 (which was unveiled at CES 2020) and represents a substantial advancement in both design and technology. With the S-A2, Supernal’s mission—to guide us into a world where everyday passenger air travel is efficient, affordable and safe—comes into greater focus.

This isn’ just a concept—it’s a holistic plan for a future predicated on aerospace meets automotive. S-A2 is designed with eight all-tilting rotors to cruise at 1,500 feet, traveling at 120 miles per hour for 25 to 40 miles at a time. It’s also quiet—doing so at 45 dB when horizontal, and 65 during vertical takeoff. Where is such a vehicle necessary? Supernal foresees an eVTOL as most beneficial in urban centers, traversing routes defined by user need.

Beside the SA-2 concept, on Supernal’s “vertiport” at the Las Vegan Convention Center, Luc Donckerwolke (president, chief design officer and chief creative officer of Hyundai Motor Group) describes the earliest beginnings of the S-A2 to us. “We started this at the end of 2020, and the beginning of 2021,” he shares. “We were in full lockdown when I asked three studios to work in competition to get them out of their comfort zone. We were doing this without seeing each other—only in video conferences and we were working with engineers that had not worked together before. They were coming from NASA, Boeing, Airbus. We did 195 design proposals and then we narrowed them down. We brainstormed—thinking about all possible scenarios. We didn’t know if it would get somewhere. We were all learning.”

During development, there was no small model. “We went directly from data to realizing this,” Donckerwolke continues, motioning toward the S-A2. “We started in Germany, with one of the suppliers that I’ve work with for 30 years. We did not finish it over there. We finished the parts, packaged them and then shipped them. When they arrived here, we assembled it for the first time. Imagine the effort of doing something so immense and not being certain that it would work or even fit together until the very last second. But now this is something that we can utilize for the delivery and the logistics behind it.”

The designers were integral to imagining the successful final product. It was a radical utilization of their skill sets. “I took them away from cars to design this,” Donckerwolke says. “After, I expect them to have a freedom of mind from the typical things that we tend to repeat and repeat and repeat in car design. We have opened the creative mindset and broadened perspective. The horizon is wider now. There’s no such thing as car design anymore. The future is mobility. The future is challenging everything.”

The S-A2 features a minimal design that uses color to telegraph functionality. The cabin is a microcosm of the entire concept—and the finishing represents the sheer amount of effort. “Before it was like this cabin was always a frustration,” he says. “Now this thing has its own life.” Multiple redundancies have been built into the design for safety—from rotor balance offsets (if one were to stop) and numerous power sources.

“Next, it’s going to go to the Irvine Development Center,” Donckerwolke adds. “And then it’s going to go to Farnborough—and it might go somewhere else—but it’s basically now going to be with the engineers in the Irvine center and that’s going to invest in next steps.” Supernal is working in partnership with the FAA. This year, they’re submitting an application for certification of the S-A2. Next year, they intend to have a prototype—and in 2026 and 2027 pre-production vehicles will be tested. After 2028, if all goes according to plan, there might just an abundance of eVTOLS flying over many cities around the world—perhaps with private ownership down the line too.

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Kia’s Visionary Leap into the Future with its “Platform Beyond Vehicle” Strategy

Radical modularity and architecturally-driven design are the basis for their look into the future and provide a viable path to get there

Evan Orensten, Josh Rubin

9 January 2024

At CES 2024, Kia Motors presented a transformative vision for the future of transportation through its Platform Beyond Vehicle (PBV) strategy, which marks a significant shift in the company’s direction. This multi-phase plan, as outlined by Kia’s President and CEO, Ho Sung Song, is not merely an advancement in mobility technology but a complete reimagining of space and lifestyle possibilities. A look at the third phase of this plan—and its forecasted rollout in 2032—feels like science fiction, or a future that’s unattainable in eight short years. And yet, when viewing a map of all three passes, there’s a believable path forward.

Kia envisions PBVs evolving into “a highly customizable mobility solutions platform.” Karim Habib, Vice President of Design at Kia, described a vision where PBVs would integrate more deeply with future mobility ecosystems and city infrastructure. Vehicles will be managed as part of a single smart operating system. With advancements in autonomous driving, urban air mobility, robotics and energy storage, PBVs in phase three would help unlock “completely new lifestyles by creating a robust mobility ecosystem.” With this phase, Kia aims to reach a stage where mobility and daily life are seamlessly intertwined. PBVs will play a central role in how people live, work and interact within smart cities and communities.

Today Kia’s PBV concept is most vividly captured in the Kia Concept PV5, a symbol of PBV innovation. This modular vehicle is designed to transcend traditional transportation, offering versatile solutions that adapt from taxis to delivery vans to recreational spaces seamlessly. As Habib put it, the PBV strategy aims to create vehicles that are “unbounded by the traditional restrictions of space and time,” offering a “blank canvas to reimagine lifestyles.”

Phase One of this journey introduces the PBV5, optimized for uses like hailing and delivery, featuring enhanced data connectivity for software-defined fleets. This phase represents the birth of versatile, multi-purpose electric vehicles (EVs). Phase Two evolves PBVs into AI-based mobility platforms, integrating artificial intelligence to interact with users and stay continually updated. This phase marks the beginning of new business forms linked with robotics and other future technologies. Phase Three transforms PBVs into highly customizable mobility solutions, integrating them into the future mobility ecosystem and smart city infrastructure.

The design of Kia’s PBVs is pivotal, featuring a “Dynamic Hybrid” weldless body structure for adaptable vehicle purposes. Extensive use of sustainable materials like bio plastic and recycled PET fabric highlights Kia’s commitment to environmental responsibility. The interior designs offer innovative features, such as a cockpit that doubles as a desk, and steering wheels that transform into desk lamps, ensuring that the vehicles serve as mobile living and working spaces.

Kia’s PBV ecosystem encompasses various vehicle models, including the PBV5, PV7 and PV1, designed to interact and connect, enhancing versatility and offering endless possibilities. This ecosystem also includes sophisticated In-Vehicle Infotainment, Fleet Management Systems and charging solutions, leveraging AI and data to offer customer-centric solutions and predictive maintenance.

Underlining the importance of global collaboration, Kia has established partnerships with companies like Uber and Dubai Taxi Corporation. These alliances are integral in enhancing Kia’s dedicated PBV business system and extending its reach into diverse mobility domains, including robotics and Advanced Air Mobility.

As Kia embarks on this ambitious journey, it’s evident that the company’s vision transcends traditional mobility. The PBV strategy represents a roadmap toward a more sustainable, connected and versatile future, where transportation is seamlessly integrated into daily life. Pierre-Martin Bos, Vice President and BDM Director of Kia PBV Business Division, summarizes this vision: “The Kia PBV business is the pinnacle of our customer-centric approach, driving us toward becoming a sustainable mobility solutions provider.”

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Sesh Case Optimizes Stash Jar Storage

A colorful, carefully designed pack-and-roll product for cannabis

David Graver

9 January 2024

When serial entrepreneurs Dawn and Treg Bradley established a cannabis storage brand, Sesh, the business was predicated on a personal need to pair vibrant design with thoughtful organizational potential. This mission is epitomized by the brand’s debut product, the Sesh Case. Crafted in a range of alluring colors and featuring a playful curvaceousness, Sesh encapsulates a dynamic storage system—which includes several stash jars, one bud scoop and a removable rolling tray—with optimized functionality. The Bradleys desired a decorative piece that locked in aromas and served a purpose at home and during their time on the road—and the Sesh Case became all that and more. We spoke to both to learn more about how the brand came to be and what will come next.

Before we dive into the Sesh case, can you share the brand’s origin story?

Dawn Bradley: We come from the cannabis industry. I owned retail stores for many, many years and Treg made various products. We’d been around cannabis for many years and, as an avid user, I was always carrying it around in mismatched things. My husband is a man of style. My choice of items to carry the product around in did not meet his standards—for what it should look like or how it should be organized. He loves to create design items.

Sesh was born out of “me in the TSA line” meeting Treg and his need for thoughtful design and an orderly format.

After we sold our previous businesses in the hydroponics industry, we noticed that everybody was kind of creating the product but nobody was creating products to hold the product. No one was creating items for storage; and, really, they were repurposing other things to use for storage. Nothing was design-worthy.

Where did you look for inspiration when designing the Sesh case?

Treg Bradley: I was inspired by the bento box! It’s just a simple object that caught my attention. I actually created a product many years ago called Grobal. It was a little self-watering pot. Karim Rashid actually designed it. For both, I like the idea of creating accessible objects—so, I found that with plastics, you can produce it in a democratic way. I like the process with plastics, from conception through finishing, all done with computers.

Was there a lot of prototyping?

TB: It took roughly three years.

DB: There were also many challenges in the world during the time that Sesh was envisioned, as everyone is well aware. Originally, we thought we were going to be producing in China. Today, we are producing in Mexico. We’re very happy to have it made in North America. There were several prototypes, though the design was very clear from the beginning. Prototypes were made to get the functionality in order and to get other people to understand how to make a cannabis-specific product so that it locks in smell. This took a few iterations.

TB: When I got the final product in my hands, it had this perfect ratio and scale. It’s really an artistic process behind this little object.

You’ve got so many great colors. Have you released the entire spectrum or will we see more?

TB: I’m really into color therapy. Right now, these colors are what I wanted to launch with. Next, I want to have it progress in a fashion where we’re not following trends—we are leading them. That said, we really want to get this palette established first.

Can you tell us a bit about the product testing behind SESH?

DB: We do product test all the time. One of the things that people have to remember about a cannabis storage case is that you roll on the lid. As long as you are cleaning the lid, the container stays clean. To the extent that I use it, I just wipe it down. Altogether, Sesh does a really good job of managing the mess.

Is there anything you want readers to know about you as entrepreneurs?

DB: I personally want to be able to take cannabis everywhere and I’m glad that there’s now something people can use to do so. Cannabis is a hard thing to transport or to put into luggage or your backpack. People have been looking for an item like this. I want them to know it exists. You do not need to repurpose something. There’s a better option that’s affordable.

What about hopes for the future of the brand?

TB: We want to push the category. We don’t mind being the leaders. There will be hundreds of companies to follow suit in the next ten years. It will be rewarding to see it all develop. Right now, it’s a wasteland of ill conceived design, especially at the accessible level. My job is to create products. My wife keeps it all together on the business side. To me, it’s just really rewarding to be able to create something useful. I want it to speak for itself. I’ll be interesting to see where this product takes the company as we try to create more things that have this same artistic investment.