In der aktuellen Ausgabe von Azure

• 5 Things We Learned from Alcova’s Founders
  Each Milan Design Week since 2018, the itinerant design exhibition Alcova has flooded dilapidated sites throughout the city with work from some of the industry’s most forward thinkers. At Alcova, it’s not unusual to find a giant furry lamp exhibited next to a chair made from agricultural waste. Credit this inspiring mix to the careful curation and stewardship of Valentina Ciuffi, former editor of Abitare, and Joseph Grima, former editor-in-chief of Domus (in addition to being founders of their own respective design studios). This December, the duo are headed to Miami for their fair’s first international edition. During Miami Art Week, Alcova Miami will fill the rooms of a recently restored 1950s-era motor hotel with work from an exciting repertoire of established and emerging designers.
• Floor Plans
  Moooi Carpets celebrates the art of the remix with Ruben de Haas. Using the “liquify” filters in image editing software, the Dutch designer distorted existing Moooi rug designs to create entirely new compositions. With Bubble II (shown), he pinches and pulls Sjoerd Vroonland’s Bubble Oil into a pool of swirling colours rendered in polyamide. (And yes — de Haas secured Vroonland’s approval.) DOBLECARA Working with Nanimarquina, Ronan Bouroullec devised a collection that translates his lively line drawings into hand-spun Afghan wool. Each rug reverses to a more subdued side featuring the same pattern recreated with thinner strokes. Choose from four colourways, available in four sizes each. GUADALUPE
• Riverside Revival
  The commerce brought by the Mississippi River has always been central to the identity of Memphis, Tennessee. But unlike other river cities such as San Antonio, Memphis has never had an adequate way for its citizens to interact with the natural wonder that forms its western border. It was a stubbornly persistent problem, says Carol Coletta, president and CEO of Memphis River Parks Partnership (MRPP). And it wasn’t for lack of available real estate. “In 1824, the Astoria Trading Company packed up, moved west and gave its land to the city of Memphis,” she explains. A 12.55-hectare tract that runs for 1.21 kilometres below the Chickasaw Bluff granted an especially great opportunity.
• Power to the People
  It’s no secret that New York’s soaring rents haven’t boded well for the creative class that gives this city its cachet, leaving many artists and fabricators struggling to find affordable studios and production spaces. Powerhouse Arts, a creative hub that opened in Brooklyn this spring, is working to fill that gap. Standing among a sea of parking lots and low-lying warehouses, the monochromatic monolith is a welcome rebuff to gentrification — not to mention a shining example of industrial re-use. The 15,794-square-metre fabrication centre repurposes a power station that, up until the 1950s, was used by the Brooklyn Rapid Transit Company. The derelict energy plant then became a home base for squatters, a canvas for graffiti artists and a venue for underground ravers.
• THE FUTURE LOOKS Bright
  With expansive approaches to architecture and design, the practitioners we profile in these pages are unleashing vibrant new aesthetics, reimagining our shared spaces for better inclusivity and forging new connections for collaboration