Posts in the Karim Rashid category


This is the latest installment of our Core77 Questionnaire. Previously, we talked to Karim Rashid.

Name: Misha Kahn

Occupation: Designer

Location: Brooklyn

Current projects: Right now I’m producing a series of lamps for a room made by Bjarne Melgaard for the Whitney Biennial.

Mission: I think that, especially in the U.S., we have such a rigid aesthetic view of how things get built and constructed, and it can be very constraining. So I’m hoping to help infuse the material culture with a little more looseness and an easier, more accessible way of making things.

MishaKahn-QA-2.jpgAbove: Misha Kahn. Top image: Kahn’s Neon Table

MishaKahn-QA-3.jpgKahn’s Pig Bench, made with urethane resin and layers of trash

When did you decide that you wanted to be a designer? I think, for most people, you kind of stumble into it, because there’s not much else that you could be. I dabbled in a lot of things. As a kid, I liked to make Claymation films, with lots of miniature furniture. I also like making clothes a lot, and I segued into making furniture at school. For me, furniture is a really nice scale to work on. You can make it by yourself or with a few people—it’s kind of the largest thing that’s possible to realize in a very tangible way.

Education: I mostly went to RISD—that’s where I got my furniture degree. I also did a Fulbright right after school and took some classes at Bezalel Academy of Arts and Design.

First design job: My first internship was doing windows at Bergdorf’s, which I think had a weird amount of influence on me.

Who is your design hero? I promised my roommate/partner-in-crime Katie Stout that I would say it’s her. We’re both working in a similar vein, so it’s very consoling that there’s someone else who sees things in much the same way.

MishaKahn-QA-4.jpgA table from Kahn’s Geometric Figures and Solids series



This is the latest installment of our Core77 Questionnaire. Previously, we talked to Moritz Waldemeyer.

Name: Karim Rashid

Occupation: I am a designer—industrial design, interiors, architecture, graphics, art . . .

Location: Hell’s Kitchen, New York City. But that’s new for me. I just renovated an office here; we moved in four months ago. I was in Chelsea for 20 years, so it’s a big change.

Current projects: Right now I’m working on the architecture of seven buildings around the world—four in New York, one in St. Petersburg, one in Latvia and one in Toronto. And then in industrial design, I’m doing everything from branding for new drink bottles to lighting, kitchen design, jewelry, perfume bottles, and lots of furniture.

Mission: My number one mission in life has been to make design a public subject. To basically preach to the world how design not only shapes a better life, and shapes our future, but how it has a huge impact on our physical well-being.

KarimRashid-QA-2.jpgRashid’s recent product designs include the Bruno lamp for Verreum (above) and the Hooka for Gaia & Gino (below), both from 2013.


When did you decide that you wanted to be a designer? My first inkling of that was when I was about five years old in London with my father. He’s an artist, and he used to take me to sketch churches. We were drawing, and I looked up at these Gothic windows, and I started changing the shape of them, making them into ovals. My father looked at my drawing and showed me that I wasn’t drawing the shape I was looking at. But I had this weird little epiphany that, oh, I could decide to change the windows if I want. So that was a really abecedarian moment of feeling like I could have some impact or control in shaping the world I’m looking at.

Education: I studied industrial design as an undergraduate at Carlton University in Canada, and then I did graduate studies in Naples, Italy.

First design job: Between my third and fourth year of university, I got a summer job designing business telephones at Mitel, in Canada.

Who is your design hero? Naming one is impossible. It’s like saying, What’s your favorite song? Let me just name a few people that I think had a great influence on me. Luigi Colani. Ettore Sottass, whom I studied with. Joe Colombo. Philippe Starck. George Nelson. Charles Eames. I remember having a Buckminster Fuller lecture when I was at university—that was a huge inspiration for me. Victor Papanek, he was a professor of mine too. And one more I have to add is Marshall McLuhan, whom I also studied with for one semester. He made me realize that design has to embrace theory—that we’re not just doers, we can be thinkers.

KarimRashid-QA-4.jpgRashid’s recent interiors include the Amoji Food Capital in Seoul, completed last spring. Photo by Lee Gyeon Bae.

KarimRashid-QA-5.jpgRashid designed the exhibition Out of the Box: The Rise of Sneaker Culture, on view at the Bata Shoe Museum in Toronto until March 30. Photo by Philip Castleton.


POM-Lead2.jpgOne of the designs on display at the exhibit opening and auction

It’s easy to feel weirdly disconnected from your favorite designers. They’re always finding inspiration from this and that, but you don’t know much about how they view themselves. Consider this exhibit as close to a personal introduction as you might ever get. In a collaboration with Alessandro Mendini for TAM TAM (a free and unrestricted non-school in Milan), 50 designers decided to take on an assignment: decorate a white vessel (designed by Mendini) with a self-portrait. The pay-off? A motley mix of slightly psychological designs titled “Immagini d’Io," on view through January 19 at the Triennale di Milano museum.

POM-Comp3.jpgFrom left to right: Franz Preis, Lorenzo Palmeri and FormaFantasma

POM-Karim.jpgL: Karim Rashid; R: Alessandro Mendini


Europe’s first music hotel: Nhow Berlin Hotel by Karim Rashid

Nhow is Europes first music hotel. This gem is located in the center pf Berlin and features two music studios. This is the place to stay if you want to do some recording, collaboration, or just soak up some inspiration.





The post Europe’s first music hotel: Nhow Berlin Hotel by Karim Rashid appeared first on Lost At E Minor: For creative people.


Of all the design lectures we’ve sat through, either as part of our schools’ curricula or in postgraduate events, the most interesting ones are where you can’t quite decide if the speaker is crazy or not. It is those lecturers right on the edge whose bizarre-yet-articulate, incendiary-yet-well-reasoned statements often inculcate long-lived, resounding thoughts. I will sometimes look at an object or space and still hear then-professor Karim Rashid’s words echoing in my head.

One professor whose lectures I wish I’d been exposed to in school is Peter Schjeldahl, senior art critic for The New Yorker and former art critic for The Village Voice. I’ve just come across this snippet of an older lecture of his, delivered at Boston University’s College of Fine Arts, on why “Good Artists Tend to Be Bad Students." The clip below is choppily-edited and too short to work up any kind of conclusive momentum—the end of the clip leaves us none the wiser as to why the title might be true—but I do miss hearing crusty, quotable thoughts like this:

I don’t believe in the existence of beautiful things. I believe in experiences of beauty. I think it’s a regular occurrence in the mental economy of anyone who is not clinically depressed.

The entire lecture is available for viewing here. It’s 80 minutes long so you’ll have to carve out some time to watch it in full.


metro 3 Naples Metro Station given a dramatic visual make over

There’s an exciting project happening in Naples’ underground metro stations involving artists, designers and architects such as Alessandro Mendini, Anish Kapoor, Gae Aulenti Jannis Kounellis, Karim Rashid, Michelangelo Pistoletto and Sol LeWitt. Called the Art Stations Project, the initiative involves amazing art filling stations and has been opened up for public viewing. One of our favourites is the Toledo Metro Station (pictured) which opened in September 2012 and was designed by Oscar Tusquets Blanca. You could say I’m a little jealous. The only art I come across in Sydney’s underground stations is graffiti.

metro 2 480x711 Naples Metro Station given a dramatic visual make over

metro 1 480x320 Naples Metro Station given a dramatic visual make over

metro 480x319 Naples Metro Station given a dramatic visual make over


It’ll be a while yet before full-blown computers get there, but storage devices are finally starting to hit what I’ll call the “aspirin point."

I still remember being in a class taught by Karim Rashid at Pratt, where he was talking about immateriality and objects essentially disappearing. (This was in the early ’90s, and this naive college junior thought he was crazy; turns out he wasn’t.) He pointed out that the active ingredient in an aspirin pill was so miniscule that no one would be able to physically handle it, so 90-something percent of it was just powder, to give the thing enough mass for us to pick up and pop in our mouths. One day, he said, technological objects would have this same issue.

I was reminded of this by seeing this ridiculously small USB flash drive, which barely seems big enough to get two fingers on. Elecom’s been selling the things in Japan, a nation crazy about miniaturization, in both 16GB and 32GB capacities.


In any case, the point Rashid was making that day was that once the object essentially disappears, designers would have to focus on designing the experience of using it, rather than the form of the thing itself. I’m not seeing that here with Elecom’s device; I want a little more context, like where this thing goes when you’re not using it. Aspirin comes in a bottle, and I’d like to see something like this incorporated into a ring or something always on hand. Because while I love that they’ve gotten it this small, I know for sure I’d lose the thing.




I’m totally digging these solid wood stools that look like they were made by elves with a 5-axis CNC mill. Designed by Karim Rashid for Italian manufacturer Riva 1920, the Fiore (first pictured) and Delta (second) are solid chunks of cedar. And the beauty of them, of course, is that while each are carved up according to that particular model’s CAD file, no two will ever be alike.



No, this isn’t the cockpit of the Starship Enterprise, but it is a space-age looking, futuristic vision of the modern kitchen that utilizes the extraordinary properties of HI-MACS acrylic stone. The smooth, 100% non-porous surface is ideal for use in the kitchen. Easy to clean, hygienic and extremely resistant to heat and chemicals, it’s especially suitable for food handling.

Kook Kitchen – The exclusive concept of this kitchen is distinguished by sinuous silhouettes and an entirely innovative ergonomic design, which was made possible due to the unique properties of HI-MACS which proved essential to facilitate the shape and functional requirements of the fab kitchen. The worktop used in the Kook model, which is more than 90 cm deep, allows an improved layout of the hob and sink zones, as well as making it more user-friendly. The starring role of the ambitious project by Karim Rashid, aside from the latest-generation acrylic stone, is light, with LEDs arranged underneath the worktop, which highlight the magenta coloured aluminium groove. There are also LEDs inside the wall unit which illuminate the edge of the glass, giving the kitchen a dramatic appearance.

Karan Kitchen – The concept of Karan on the other hand, is based on an island, with a tapered silhouette, which encourages conviviality. When not in use, the mixer tap and LED light withdraw into the worktop. The simple addition of a multi-purpose chopping board which fits over the sink creates a handy dining area. Soft curves continue on the kitchen’s wall-mounted unit. An opening with rounded edges provides a space for cooking and food preparation within the unit. Owing to the excellent thermoformability properties of HI-MACS®, which make it possible to form the material into an infinite range of shapes, and realise any designer’s dream. Aran Cucine was able to produce, thanks to Karim Rashid’s visionary idea, two exclusive concepts featuring a soft and fluid design, of extraordinary beauty, whilst still adhering to hygiene and production issues.

Designer: Karim Rashid for Aran Cucine

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(2 Seamless Kitchens by Karim was originally posted on Yanko Design)

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