Walking on Art

Posted on April 1, 2011 by BiniChic

The 19th Century brought many changes in lifestyle and design — amongst the most relevant were the Industrial Revolution and Art Nouveau. Modernist encaustic tiles were one of the many beautiful creations that came about from the fruitful marriage between industrialism and the arts.

The sinuous curves of their designs and the lasting vibrant colors are part of what characterizes Modernist encaustic — or hydraulic — tiles. Their name comes from the way they are pressed into hardness by a hydraulic press instead of being baked in a conventional kiln oven.

The first record of these tiles is from the mid 19th Century, when they were sold as an alternative to the expensive marble and other natural stones. This technique was born alongside the rise of the Modernist style, which is characterized by the predominance of the curve over the straight line, by rich decoration and detail, by the frequent use of vegetal and other organic motifs, the taste for asymmetry, a refined aestheticism, and the dynamic shapes.

Imagine walking into a house filled with room after room of wonderfully creative and incredibly vibrant floors and walls. I feel fortunate, because where I live it is not unusual for a building made in the mid-to-late 19th Century to have all the details and finishes  — including the banisters, doors, facade, floors, walls, ceilings and elevator — in their original Modernist style.

Although I always admired and marveled at the design and details of Modernist homes, I never stopped to think of the process by which each individual tile is made. I included some images in this post which helped me understand and appreciate said process — and which will hopefully interest our readers.

The photos of the tiles in this post were taken on a recent Sunday, when we were invited for lunch at an amazing sea-side residence up the coast from Barcelona. I’d like to thank the owners for letting me post images of their inspiring home.

There are still some small factories in the Barcelona making encaustic tiles by hand.

All the images of the process are from Entic Designs, which is a contemporary factory making quality tiles the traditional way.

The process starts by the artisan choosing the colors he will use. He mixes the color pigments with water, white cement, white marble dust and sand. He then pours the mix into the mold, which has been placed within a frame.

Each space in the mold is filled with color — the more colors, the greater the cost of each tile. The top layer is about 4-5 mm. The second layer is made of cement and sand, and has the function to absorb excess water from the top layer. The final layer is made with a mix of cements — it is the thickest, and facilitates adherence to the floor.

Once it is filled with the last layer, it is pressed in a hydraulic press (image below), after which the tile is left to dry. Once dry, it gets submerged in water for 24 hours. The top layer is sprayed with water and, to harden the cement completely, the tiles are stored for a month before being used.

In many cases, the layout was done so as to give the optical illusion of having a rug covering the floor, with additional tiles used to create the border on the perimeter. A single composition could have from 2 to 6 different tiles creating one design — something which greatly complicated laying them down. The encaustic system — although very labor-intensive — is especially valuable because the tiles can be sanded down after decades of use and recover their past splendor.

It never ceases to amaze me the time, effort and creativity our ancestors invested in the construction of objects and spaces. Fortunately, it seems that more and more people have grown to appreciate the beauty of things made with quality — and designed to transcend through the generations.

We think the Modernist hydraulic tiles have a BiniChic spirit. They are timeless and luxurious in their design — not due to expensive materials —  but owing to the imagination and the craft needed to make them.

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A Light Exists in Spring

Posted on March 22, 2011 by BiniChic

Bárbara Vidal is a photographer from Mallorca. Her photographs — both personal and fashion — transmit the unmistakable Mediterranean light. The following are some of her beautiful images to celebrate a new Spring.
–

A light exists in Spring
Not present on the Year
At any other period —
When March is scarcely here
4

E. Dickinson
0

As Spring comes upon us, it feels like the world awakens before our eyes. The days have reached the perfect balance between light and dark. Nature follows its eternal cycle, rising from its Winter slumber. In Bábara Vidal‘s photographs, I recognized the light of the seasons in the Mediterranean — the glitter of an autumn sunset, the clearness of a Spring day, the brightness of a Summer afternoon and the dampness of Winter by the sea.

Maybe because we were born and raised on a Balearic island — her in Mallorca, I in Menorca — Bárbara and I share a love and sensitivity for the Mediterranean’s moods, its light, its sounds. It’s nuances.

Bárbara’s photos capture an eternal moment — they hold it still like a drop held in mid-air. The moods change from romantic lightheartedness to gloomy introspection as the light seeps through the branches, or a trunk bears the weight of a thunderstorm.

Like stills from an imaginary movie  — from childhood or from our dreams — the images radiate an ethereal air. Her fashion photography is filled with warm sun gleams and flickering lights, letting the viewer’s imagination finish the storyline of what is untold. Is she a woman … or a mermaid?

All photos in this post are by Bárbara Vidal.

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On a Tuscan Afternoon

Posted on March 14, 2011 by BiniChic

One of the things I love most is exploring ancient homes filled with history and endless kinds of objects from the past. I can’t help but imagine the story behind each piece, or how the various inhabitants might have spent their every day lives. It is not something I often get a chance to do, but on our most recent visit to Tuscany, I was thrilled to explore the villa Il Cicaleto. Pietro Ponticelli — who knows the stories and characters well — was the guide, and so Isa, Jacopo, Dero the dog and myself ventured into every single room of the house on a chilly winter afternoon.

This beautiful villa sits atop a hill on the country road that leads from Arezzo to Sargiano. Surrounded by green hills and fertile land, Il Cicaleto was designed as the summer home for the Albergotti family, and was also a center of farming activity. Alessio di Albizo Albergotti had it built in the second half of the 18th Century on the site of a preexisting 16th Century villa. From the balcony on the main floor, a protected forest with rare tree species extends beyond the back lawn (pictured above). Considered an historical house for its cultural and physical significance, it is now owned by the Ponticelli family.

Although no longer a family residence, Il Cicaleto can still be enjoyed by those who want to hold special occasions such as weddings, parties and reunions or simply for an afternoon in a beautiful Tuscan site. If you would like more information, you can contact Isa Cini Ponticelli.

The image above is of the door that leads to the La Limonaia — The Lemontree House — which is the contiguous building to the villa. The first floor was used to store the lemon trees in the winter, and the top floor of La Limonaia were the living quarters of the people who farmed the land.

Below is an image of the villa as seen from the back lawn. A 19th Century art historian, Frappi, said of its construction: “It is enclosed in its entirety by four angled iron spurs, which in a game of volumes exalt its soaring construction”.

We also found an old postcard addressed to Ada Ponticelli Vivarelli, one of the most recent residents of Il Cicaleto. She was the mother of Laura Ponticelli, who spent her summers at the villa for over six decades — at first with her mother Ada, later on her own — and even survived the most uncertain times.

Because of the villa’s strategic position, during World War II it was invaded by the Nazis, who stayed — unwelcome — for a few months. Meanwhile, Laura and her mother continued to live there. At some point during the combat, part of the roof was blown off by the Allied Forces. The two women were finally liberated by the Allies and were able to resume their regular lives. Many helmets and other war artifacts from both sides in WWII can still be found throughout the house.

The main entrance to the villa leads directly into the main hall. Walking into this ballroom gives one the sensation of steping back in time … you can almost hear someone playing the piano while the elegant ladies come in for the grand party. It might be the antique chandeliers, or the illustrated baroque doors, but I think that the painted wooden balcony is what really causes an impression. The high ceiling  — it spans two floors — adds to the grandeur. Below is a view of the ballroom from the balcony, and next to it a detail of one of the doors.

The four doors in the main hall lead to the four entertainment and reading rooms. The study room, where we found the above postcard as well as a beautiful desk and ancient books. The resting room — in which I like to imagine the residents having afternoon tea while entertaining their guests — with walls covered by impressive frescoes (detail below). The memories room, filled with family portraits and where they might have sat and conversed after meals. At last, the music room with its grand piano, a gramophone — and a secret passage that leads down to the cellar.

From this floor, there is a staircase that leads up to the living quarters with several bedrooms and two kitchens. Continuing upward, we reach the attic, filled with myriads of objects — 19th Century baby carriages, newspapers, roller skates, birdcages, vinsanto, etc. A reminder of the many people that have passed by Il Cicaleto throughout the years.

In this attic, there is a cross for a Belgian soldier from WWII. Laura had found the dead man on her front door and wanted to pay her respects by marking his grave with the name engraved on his tag. Once the war ended, she got in touch with the Belgian authorities to have the body repatriated to his home country — only to find out that the person she had buried wasn’t enlisted in the Belgian Army! He was likely a double agent, or as a spy, and had to work under a false identity. Imagining that this story took place at Il Cicaleto fascinates me.

Il Cicaleto — which in Italian means “the field where the cicadas shrill” — is like a real-life museum, an enormous treasure chest. While exploring every room, I heard about the stories, the anecdotes, the romances and the lost loves of the people who spent part of their lives there. Seeing the clothes they wore, the things they made, the kitchen tools they used was all an infinite source of inspiration and a playground for the imagination.

All the photos were taken by Jacopo Ponticelli and Ona Villier. In the future, I hope to be able to post some images of the villa’s past inhabitants and visitors, as well as some beautiful architectural sketches from the 18th Century.

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Slipping into Classics

Posted on March 2, 2011 by BiniChic

Every summer, countless feet slip into these comfortable and stylish classics.

Espadrilles have been around longer than many people realize. Although espadrilles as we know them today originated in the Pyrenees, they are also thought to be inspired by the Egyptian sandal. Based on the woven sandals, the Romans designed a covered shoe to protect the feet from the sun and the heat, which they exported and were popularized in the Roman provinces of Iberia and Gallia.

There are records written in Catalan which show that the espadrille — or espardenya — existed in the Pyrenees as far back as 1322. Their name derives from espart, the Catalan word for esparto. In Spain, its use was extended over the northern, southern and eastern regions — all part of the Aragon Crown. It was also widely used in Southern France, particularly in Occitania. With the extension of the Spanish territories, the espadrilles became popular in many South American countries.

They were originally a peasant’s footwear, and used as part of the traditional costume in many of the Spanish, Basque, French and South American regions. They were also used for many years by soldiers and by urban workmen. Above, an image of a classic espadrille, which was adjusted with ribbons. This style was mostly worn in Spain, and is still the footwear worn in Catalunya and Valencia for traditional festivities and dances. Photo by Luis Calle.

The basic espadrilles are very simple:  a canvas or cotton used for the upper and a flexible sole made of natural fibers — esparto, hemp or jute. Esparto is a common wiry grass found in the Mediterranean, and was the original material used to make the soles. Nowadays, jute is more widely used, as it is the second most harvested natural fiber in the world after cotton. Many modern espadrilles have a thin layer of rubber on the sole to protect them from humidity and daily wear.

Hand made espadrilles are woven on a triangular loom. The jute twines are first braided into a long rope. These braids are then manually formed into the shape of the sole and hydraulically pressed with heat to form the final shape. They are completed with vertical stitching. The above three images are of an artisan crafting the jute soles in La Manual Alpargatera. La Manual is a centric family-run Barcelona shop and workshop founded in the 1940s, which still manufactures their espadrilles by hand. They are a reference in their field for the traditional way in which they still craft their shoes. Below, two images of an artisan from La Manual making an espadrille with esparto, which is coarser and has a distinct color. All photos of La Manual Alpargatera by Joan Carles “Vei” Tasies.

The pink espadrilles worn by the Proprietress of Ancient Industries in the top left picture are from La Manual, as well as the typical beach basket by her feet. Ancient Industries is a wonderful blog and online shop where The Proprietress sells beautifully crafted objects with timeless and traditional designs — very much with the same philosophy as we have here in BiniChic. Photo by Reed.

The photo at the top of the page right, and below on the left are of Mymu espadrilles. Mymu is a young company whose owner frequently visited Argentina during her childhood, where she became enamored of the espadrilles worn there. She now designs these very stylish and creative versions with a very high quality finish.

In the mid-Twentieth century, espadrilles lived a stylish renaissance. Grace Kelly, John F. Kennedy, Ernest Hemingway, Lauren Bacall and Pablo Picasso were some of their unconditional fans, and helped them turn from peasant footwear to the must-have accessory. It was also around this time that various manufacturers added wedges to the soles, bringing them into the high-fashion world. In the early Twenty-First century espadrilles have had yet another fashion renaissance, with countless designers making their own versions, and companies dedicated solely to (re)designing espadrilles.

Espadrilles today are usually worn in the spring and summer months as a casual and comfortable unisex footwear. They are no longer limited to the Mediterranean, and can often be seen on the most fashionable and trendy feet. The simpler versions are so moderately priced, one can own them in nearly every color and for every occasion. I wear mine to the beach all summer — and around the house year-round!

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Integrated Architecture

Posted on February 21, 2011 by BiniChic

For many centuries, architecture was vernacular. Reflecting the environmental, cultural and historical context in which it existed, it used available materials to fulfill the local needs. Vernacular architecture, almost by definition, is a sustainable architecture, since it uses the locally available resources without exhausting them.

Javier Barba integrates vernacular concepts into each of his projects, delicately intertwining them with timeless design and bioclimatic architecture. Based in Barcelona, Barba has designed homes, resorts and wineries in Spain, Portugal, the Greek islands, Java and Baja California. As an heir to the pantheistic tradition of the Mediterranean — the view that Nature and God are the same thing — Barba is greatly inspired by the spirit of the place. Space and light are the essential qualities, a feeling of being unconfined and unpretentious. In all of his projects, he takes maximum advantage of the views and the locations, reducing the energy consumption and incorporating the buildings into the surrounding landscape.

BiniChic recently met up with Javier Barba in his studio, where we had a chance to talk about bioclimatic architecture, his works as well as some of the stories behind them. Barba is currently putting the final touches on his second book, edited by Loft and coming out at the end of February.

Above and below, two views of Casa Monjo, in Menorca’s Cala Pregonda, a perfect example of integrating architecture into the landscape.

BiniChic: What is your source of inspiration?

Javier Barba: The location. Well, the location and the client. First, I meet the client and see if we have a mutual empathy. Usually, a client calls because they already know and like what I do. Then, I go to the location and see what the site itself tells me.
When I see a large rock or a tree, I design around them — I imagine an outdoor living space, or a patio — I could never fathom ripping them out.
Once, I went to Mykonos to visit a location before starting a house, and there was a large rock in the middle of the bare pasture overlooking the bay. The owner — now a good friend of mine — and myself sat there, looking at the view of the Mykonos bay, sitting in front of the rock, sheltered from the chilly wind. On the rock sat a lizard that was sunning itself when we got there.
After designing the house — the rock became the centerpiece of the outdoor living-room — I told the workers “Don’t even think of getting rid of the lizard.” It was sort of the house’s symbolic guardian. We even paid homage to it with a small hand-made sculpture that now sits on that same rock.
Later, when the house was already finished, I was walking around the patio and found the lizard sitting there. I took that as a sign that the house was a success. He’d come back to his original home — actually, he was more rightfully there than us…

Photos below: views of Tsirigakis House in Mykonos, home to the lizard mentioned above.

BiniChic: What kind of questions do you ask your clients before starting a project?

Javier Barba: I ask them to prepare a list of their necessities: how many people will use the house, how they live, who wakes up first… a bit like a doctor diagnosing a patient.
Then I have to figure out a design that can complement their lifestyle, stimulating or relaxing them. It’s a slow process — discussing feelings, walking the lands, doing sketches, making models. We like to enjoy our work and build a lasting relationship over a long period of time.

Below, images of Stag Cellar’s Wine Cellar in Napa Valley, California.

BiniChic: What makes your architecture green?

Javier Barba: Well, first I would start with the concept of integrated bioclimatic architecture. I believe that integrating architecture with nature is the basic philosophic principle of green architecture.
A lot of it is plain common sense — protecting from strong winds but using cross ventilation, landscaping rooftoops, recycling water to irrigate, making a home energetically self-sufficient with solar power.
Our next project is for a prominent figure in the Middle East, and she wants a completely carbon zero project. That means that nothing can come from over 200 kilometers away from the construction site.
We also did a proposal back in 1992 for a completely sustainable Island off the coast from Barcelona — Ecópolis — and even though it was never constructed, I still hope that someone with a visionary spirit will want to carry it through. Maybe we can get a chance to make it reality in this next project.

BiniChic: Who are your favorite architects?

Javier Barba: Well, as far as classics, I’m a fan of Frank Lloyd Wright — for the way he rooted buildings in the site. He was a leading proponent of organic architecture. He had a wonderful way of working the living rooms and the bedrooms — he opened up the spaces in a way that hadn’t been done before . I was surprised when I went to visit some of his buildings once , and noticed that he didn’t really pay much attention to the kitchens or the bathrooms.
As for a contemporary architect, I really like Renzo Piano. I think he’s a master at what he does. He’s done many wonderful projects, but the Tjibaou Cultural Center in Oceania is especially interesting. It’s a wonderful example of paying homage to vernacular architecture and local traditions without falling into a parody of it.

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The Element of Water

Posted on February 12, 2011 by BiniChic

On these cold winter days when a hot bath or a cup of tea aren’t enough to warm up, a trip to a day spa seems like the optimal way to revive the body and the spirit. The times I’ve had a chance to spend a few hours in a hamam (Turkish bath house) or natural hot springs, I left feeling calm and refreshed, perplexed at the power of this seemingly common liquid. The contrast of temperatures in the pools, the osmosis between the body and the water, the steam sauna — all water in its various forms — felt like nature’s massage.

Throughout history, many cultures and religions have considered water a purifying substance, often using it as part of religious rituals. In ancient Mediterranean cultures, bathing played a major role in society. The Greeks, the Romans, the Turks and the Arabs all created and enjoyed quite ingenious bath houses used both in the private and public spheres. The oldest record of western bathing practices comes from the Ancient Greeks, who established balneums next to the gymnasiums where people could go cleanse and relax. They also praised the curative and soothing powers of natural hot springs, around which they built sophisticated bath houses and mythological stories. The Romans adapted the Greek bathing customs and, as they expanded their empire, spread the culture of bathing around the greater Mediterranean, making the thermae the center of social and recreational activity.

Above are images of Girona’s Roman bathhouse, which consists of an Apodytarium (first image at the top of the page), a Tepidarium (top left), two Caldariums (top right), a Frigidarium (bottom right), and a Furnus (bottom left) — which was located below the Caldariums. The Apodytarium was the room for undressing, where the people left their belongings. From the Apodytarium, the first room was the Tepidarium, which had a constant flow of warm steam, and the bather could prepare the body for the hot baths. Next, he would continue into the Caldarium, where he would immerse himself in a hot water tub before continuing to the ice-cold Frigidarium pool. The order could be changed and repeated, if the bather wished to go through the sweating process. The bath was usually followed by a massage and a good scrub-down. They had bathing down to a science.

Spain was under Arab rule for over 900 years, and they left a lasting legacy in Spanish culture. Throughout the south there are still hamams which were constructed replicating the order of the Roman Baths (with the Tepidarium, Caldarium, and Frigidarium). They were essential to muslim life as well as an important part of social life. The Califal Baths in Córdoba are some of the most impressive surviving today, and have been turned into a museum. One can still enjoy a good arab bath in more contemporary and well designed spaces — such as Aires de Sevilla (above), and its northern equivalent Aires de Barcelona, where Jacopo and I have enjoyed going.

Although bath houses originated in the Mediterranean, natural hot springs are by no means exclusive to this part of the world. They have been used and exploited around the world, often considered to have therapeutic qualities due to their very high mineral content.

The above is an image of the the geothermal spa Blue Lagoon in Iceland, where the water’s temperature is 37-39°C / 98-102°F. The seawater originates 2000 meter/6562 ft beneath the ground where it is heated by earth’s natural forces. The temperature at its point of origin is 240°C/464°F and the pressure is 36 times the pressure on the earth’s surface. The geothermal seawater comes into contact with cooling magmatic intrusions and captures the earth’s minerals.

In the Big Sur region of California, there are impressive cliff-side natural hot springs, where the ancestors of the Esselen tribe already thrived 6000 years ago. On the same site, there now rises the Esalen Institute, a retreat made famous for their alternative education center as well as for the breathtaking location. (Image below, left)

In Japan, one of the most striking onsen, or natural hot springs, are the Nanki-katsuura Onsen, which sit on the coastline of the southeastern region of the country.  (Image below, right)

The thought of spending a day at a hot spring or a Roman bath, makes me sigh with delight. It is one of those small extravagances — some of the places mentioned above are about 30-50$ for a few hours — worth the investment. These places are some of the most luxurious in the world, the richness of their natural resources having been created completely by nature and merely ornamented by man.

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Bringing Nature Inside – Part I

Posted on February 2, 2011 by BiniChic

This is the first in a series of posts I would like to do as an homage to the creative archives of Susan Unger, the designer.

Some of the people reading this post will probably own or have owned some of her designs, and I am sure they will agree with me when I say that her work is wearable art.

Susan Unger was born in the Mediterranean — or rather, that’s where her artistic awakening took place.

She had embarked on a post-college trip around the Mediterranean with a friend, and stopped by Menorca to visit some of her friend’s relatives. By the end of their sojourn, Susan had become so enthralled by the island’s beauty and history, that she decided to make Menorca her new home. She had also met a young artist who would later become her husband and the father of their daughter; together they would become part of a creative and flourishing group of international artists who settled on the island in the early 70s.

An innate artist, Susan had always been drawn to textiles: illustrating prints, sewing, hand-weaving, and silk-screening all came naturally to her. So much so, that in the late 70s she decided to establish her own company of hand silk-screened clothes.

Susan drew inspiration from the delicateness and beauty of her surroundings. She reinterpreted motifs that existed in ancient Mediterranean cultures to create her characteristic prints. She captured the spontaneity and timeless beauty of the natural world — grasses, salamanders, waves and other natural textures became some of her signature prints. Earth tones, metallics, and rich variations of greens and blues permeated her creations.

Although her firsts designs were on cotton, she soon started using only silk in its various incarnations as charmeuse, chiffon, raw silk and velvet.

The exquisiteness of the fabrics coupled with the hand printed designs gave each garment a feeling of luxury and opulence. The process was long, arduous and physically straining. Each print was drawn by Susan and turned into a hand-held silkscreen. In turn, each fabric was dyed and printed in her small workshop. The results were one-of-a-kind pieces that bring to mind the work of textile master Mariano Fortuny.

Her designs were sold at renowned high-end boutiques and department stores around the world. Her clothes were loved and worn by some of the icons of the time. By the early 90s, she was designing ballet costumes, home furnishings and accessories, in addition to fashion collections.

Her small, boutique-style production made it hard for the company to grow and expand in 1990s Spain. Partially for that reason, after twenty-four years in Menorca, she decided to continue her professional career elsewhere.
In 1994 Susan, myself and our dog moved to Manhattan.

Stay tuned for the next chapter!

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From Rattan, with Style

Posted on January 28, 2011 by BiniChic

Southeastern Asia has a centuries-old tradition of making handcrafted furniture from the palm species known as rattan. This tropical plant, which grows prolifically in the forests of Indonesia and surrounding countries, is used for its durable and flexible wood and wicker. The harvest of rattan actively helps protect the forest land by providing a lucrative and more sustainable alternative to loggers who forgo timber logging and gather the quicker-growing rattan.

Corner 43 Decor is a luxury rattan furniture boutique dedicated to creating original and innovative designs made with the same processes as the traditional furniture. Founded in Bangkok in 1987, the company has forgone the temptation of growing rapidly with the aid of technology  in order to maintain a rigorously high level of quality. Quality that is evident in its cured designs and refined craftsmanship — each piece is handcrafted by a highly skilled individual, and one piece can take up to two months to finish!

With every collection, Corner 43 Decor continues to distinguish itself from competitors by hiring talented young Thai designers to come up with creative and contemporary concepts.  Some past collections have included the ergonomically conscious Sculpture Art (for which they were awarded a Good Design Award for the living set at the top of the post), Tradition Redefined, Slim Motion and Maritime Memoirs — an ode to sea-side furniture and creatures. Their most recent collection, Earthly Treasures, is a whimsical and delightful take on the shapes and mushrooms found in nature — or rather, the forest.

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Chromatic Textures

Posted on January 24, 2011 by BiniChic

We recently got back from a month-long voyage around Vietnam and Thailand, where the new smells, tastes, colors, noises and customs filled and stimulated our five senses.

Below is a small compilation of images from Vietnam that try to capture the BiniChic, natural and unpretentious beauty that permeates the country.  The passing of time has given the facades, walls, trees and corners a Wabi-Sabi elegance, where the imperfection, impermanence and incompleteness becomes part of its allure.

Photos by Jacopo Ponticelli and Ona Villier.

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Happy New Year!

Posted on December 31, 2010 by BiniChic

Wishing you all a very happy New Year from Thailand! I hope it comes filled with love and health for all, and many more BiniChic places and moments!

Ona & Jacopo

Photo Credit : Benya Hegenbarth

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