AD Russia, October issue features Oleg Klodt’s apartment

October issue of AD Russia presents the digest of home fireplaces and highlights the apartment of the architect Oleg Klodt.

AD Russia, October 2020

In his own apartment, the architect Oleg Klodt installed a stove.

“In the process of redecoration, we went on holiday to the Italian Alps with the children. The snowfalls were so bad it was impossible to ski. We went for a walk and found ourselves in a restaurant where they had a stove like this and immediately agreed that this was exactly what we needed”.

To find more about the project, please check our portfolio.

20 // 20: INTERVIEW WITH THE OWNER OF THE HOUSE IN AMSTERDAM

O&A London celebrates its 20th anniversary this year! With a growing number of international projects, and to create distinctive collections of furniture, lighting, textiles, wallpaper and rugs under its unique brand, the company develops collaborative projects with amazing and talented people. We are fortunate to work with leaders in their field: people who do not see boundaries and make the impossible possible. We proudly name these creators not just as partners but as co-designers and friends.

We are now delighted to announce the anniversary project «20 // 20». The project will consist of a series of exclusive interviews. Today we are happy to share with you an interview with Mikhael, a client and a very good friend of our studio, and the owner of a private house in Amsterdam.

Mikhael, owner of a private house in Amsterdam

O&A: Mikhael, you live in a fascinating house. Could you please, tell me about its story?

M: Yes, this house is truly unique! We found it quite by accident. We were looking for a home to live in, and when we found it on the market it turned out that this was a very interesting house that belonged to the Dutch artist Gerard Scheperkötter. He  built it as his creative studio in the 60s and lived here until the end of his life. There was a large workshop here. When we first entered it felt like he just left the house yesterday. His works were everywhere; an easel was standing in the studio, his palette with paints lay on the table. Gerard died in 2006 and his wife, Diana Gordon, a former ballerina, lived here for several years after his death. They had no children and after the death of his wife the house was bequeathed to a charitable foundation along with all his paintings. We bought this house from the foundation.

Private house in Amsterdam, the house belonged to the Dutch artist Gerard Scheperkötter.

O&A: Did you realize from the very first moment that it was your home? Or did you have to rebuild it?

M: We loved the house and garden at the very first sight. But as it was an artist’s studio, we had to change a lot for comfortable family living. Oleg Klodt and Anna Agapova created not just the interior design – they rebuilt the house! We wanted to preserve the essential character of the house, with its unique atmosphere and soul. At the same time we had to completely change the facade of the house and the functionality of many rooms. In fact only the load-bearing walls were untouched.

Kitchen and dining area, private house in Amsterdam

For example there was an outdoor terrace upstairs that was turned into a bedroom. Oleg and Anna were engaged not only in architecture but also in interior design. In my opinion they managed to preserve the originality of the house making it very comfortable for our lifestyle. As the new owners of the house we got a unique opportunity to repurchase the paintings we wanted prior to the auction. Some of the Scheperkötters’ paintings have remained with us and adorn the walls of our home.

Staircase and bedroom, paintings by Gerard Scheperkötter

O&A: How did you make your choice?

M: It’s hard to say – we were guided by our own taste. Gerard Scheperkötter was a fascinating artist, with his bright signature style. He belonged to the CoBrA art group (a short-lived but highly influential artist collective formed in Paris, named for the three northern European cities that its founders originated from – Copenhagen, Brussels and Amsterdam).

The artists of this group became known for their vigorously spontaneous, rebellious style of painting that was heavily inspired by the art of children and the mentally ill. Oleg and Anna helped me a lot to choose the pictures. The work in the house was already finished, and they were back in Moscow, so I had to send them photos of the paintings to get their advice.

Living room, painting by Gerard Scheperkötter, private house in Amsterdam

O&A: How long have you known Anna and Oleg? How did your cooperation start?

M: I met Oleg and Anna through my parents, for whom they created several projects in Moscow and Barcelona. It was 20 years ago and we immediately became friends; we were matched in character, taste and hobbies. I really like their approach to interiors and to architecture in general.

Apartment in Barcelona, design by O&A London

O&A: Did you participate in the work?

M: Yes we worked very closely during all stages of the project. It was really exciting for us, and we learned a lot from Anna and Oleg. At first we didn’t understand some nuances. We asked why they were doing this or that, and then we realized that they did exactly what was needed! Many of our wishes were fulfilled: for example, a glazed veranda was turned into a kitchen.

A glazed veranda was turned into a kitchen, private house in Amsterdam

O&A: What is more crucial for you in your home – beauty or functionality?

M: I believe that you can always find a solution where both could exist. Moreover I think that functionality is somehow related to beauty. But of course I do not understand homes that where the primary objective is to be a public exhibition. Beauty must be practical. A house is first of all a place to live in, not to be like a photo in a magazine. One way or another if everything is organized correctly it can be both beautiful and functional.

O&A: People say that a home is like shoes – you need to live in them for a while to feel if they suit you or not. How was it with you? Did you feel that it was your home straight away?

M: Certainly not right away… At first comparisons with our old house where our children were born and raised came to light. But in principle this home quickly became ours. Both the house and the garden were built as a place specifically for our family- we did not move into a ready-made room. We live in a space that we wanted to create for ourselves and for our family. In this case Oleg and Anna managed to determine very subtly what we wanted as a home.

Living room was refreshed with ‘Ocean Blue’ rug, O&A London collection

O&A: You have lived in this house for quite a long time. If you bought it today, would you change anything?

M: Not much. Maybe I would just change something from the decor. But the architecture of the house is created so magnificently that I would not alter anything. The interior itself has slightly transformed over time together with us: new paintings and small decor details have appeared for example. Anna recently changed our rug in living room. The new rug is from O&A London collection. The design is inspired by wave trails on wet sand.

O&A: You were born and grew up in Russia and have been living in Europe for many years already. Is there a difference in how people understand art here in Europe and in Russia?

M: It’s a difficult question. Art is probably one of the few spheres that unite countries. Both the Netherlands and Russia have very strong contributions in contemporary art. The Netherlands hosts magnificent exhibitions including Russian contemporary art. I don’t think there is any difference in the perception of art. If people are interested in art, they are interested in it everywhere and always, regardless of geography. Art historically has no boundaries.

Living room, exit to the garden, private house in Amsterdam

O&A: Recently, ecology has become a leading trend in various areas, including art and design. What do you think about this?

M: I can see that the ecological problem is really serious today. And in the Netherlands people are very responsible. It seems to me that this particular country is one of the leaders in this matter, and this is very different to Russia. I believe that it is very reasonable to build energy efficient houses constructed from environmentally sustainable materials.

Mikhael and his family

O&A: Has the coronavirus pandemic affected your family? How did you feel spending a lot of time at home?

M: Certainly it affected our family as well as the whole world. In the Netherlands there was an ‘Intelligent LockDown’ approach. We were not forced to stay at home all the time but I worked and still work from home. Of course it’s nice to have a home like this! It’s very comfortable and pleasant to be here; we can live and work inside the house without any effort. This is really important.

***

Gerard Scheperkötter (1914–2006) was a Dutch expressionist painter. Scheperkötter’s works were exhibited in the museum of Singer in Laren in 1984,  and in 2013 the museum Jan van der Togt paid tribute to the artist. His approach to the medium was spontaneous and free and – after a figurative period in the 1960s and ’70s – led to powerful compositions. Schäperkötter’s artworks are characterized by the alternation of lyrical abstraction and penetrating use of colour. Common themes are beaches, walls and gardens. He created a new reality from his memory and imagination. Schäperkötter was inspired by the expressionism of the CoBrA group and the École de Paris. The CoBrA art group was a short-lived but highly influential artist collective formed in Paris in 1948, named for the three northern European cities that its founders originated from – Copenhagen, Brussels and Amsterdam.

ECO not EGO

Global warming, rising sea levels, floods, tornadoes and cyclones – these and other natural disasters are directly related to pollution. Now as never before our planet needs our love and care. People have finally started thinking about protecting the environment. They try to be closer to nature, understanding personal responsibility and moving to conscious consumerism. The leaders of this eco-friendly way of living are Northern European countries such as Finland, Denmark and Sweden, as well as Canada, Japan and South Korea. Thanks to them our views are changing along with our spiritual and material values. Following the speech by the 16-year-old Greta Thunberg at the UN summit in 2019 it became apparent the world will never be the same. The recent London Design Festival revealed biophilic design as the final trend of this year.  We have never seen such a strong tendency to unite design and nature. Oleg Klodt and Anna Agapova, founders of O&A London, told why it is not enough to just use established designs and what each of us can do.  

Oleg Klodt & Anna Agapova, O&A London co-founders

Ecofriendly

Oleg Klodt: “Everyone understands the concept of the «eco-friendly home» differently. I find two standards of eco building most practical. The first one is LEED (Leadership in Energy and Environmental Design), a programme of building certification that is recognised all over the world and is used to confirm the use of the most eco-friendly methods of engineering and construction. It was started in 1998 by the US green buildings council.  The second one is BREEAM (Building Research Establishment Environmental Assessment Method) which is a voluntary method of evaluating green buildings. It was designed in 1990 by a UK organisation BRE Global to evaluate eco efficiency of buildings.

Studio Weave’s ‘The Hothouse’ at LDF 2020 raises awareness on climate change

What these two standards have in common is the zero-emission approach which is becoming the new norm. The principle is simple; any residential compound needs to produce as much energy and resources as the people living there need, and all the waste is used to produce more heat, water and electricity. Ideally each compound needs to reach a zero balance between consumption and waste volume.”

The family house with a ‘living roof’ by O&A London

Anna Agapova: “I travel a lot and have been noticing more and more houses with “living” roofs, rain water collection systems, contactless water heaters, solar panels and sun roofs. Of course eco design is not just “green” building solutions but also paying attention to the most ordinary items that surround us in everyday life. Natural materials, natural shapes, and images of nature put eco design into a separate aesthetics category”.

The family house with a ‘living roof’ by O&A London

Solutions of the future

“New solutions are becoming a part of our lives” – noted Oleg Klodt. Scientists are not ignoring the problem of pollution and are working on creating new clean materials without losing the core design. For example, Form Us With Love, a Swedish company that was included in the list of most innovative companies in the world in 2020 by Fast Company, created acoustic panels using 100% clean materials such as wood fibres derived from pine and fir trees, citrus zest, potato starch, plant vax and wheat. The panels absorb sound perfectly, are fire retardant, water repellent, durable and fully biodegradable”.

Family Residence, design by O&A London

“I follow Neri Oxman and really admire her”, says Anna Agapova. “Oxman is a great example of a woman who bravely follows her own path, is often ahead of her time and is not afraid to cause a stir with her projects.”

Architect, designer, Professor at Sony Corporation and at the MIT media lab, Oxman featured in the ICON’s list of “20 most influential architects determining our future” in 2009. Oxman offers new solutions for creating architectural shapes. Her works combine computer engineering, synthetic biology and digital solutions. She  thinks that the architecture of the future will be unrecognisable and building facades as we know them will cease to exist.  It is very difficult to imagine right now for most people.

Programmable water-based biocomposites for digital design and fabrication by Neri Oxam

“Neri would like to move from the era of machines to the symbiosis of our bodies, microorganisms, food and even buildings. She calls this ‘material ecology’. No doubt this “science fiction” scenario will become our reality in a not-so-distant future” Anna continues. “And for now, the most organic and natural choice for people is eco design. It is not just interior design style, it’s complex projects within which ‘protecting the environment’ is not just words but the expression of our love for nature, for our Earth and the future generations”.

Caledonia textile collection inspired by the majestic Scottish landscape, O&A London

Conscious consumerism

“An eco interior calls for the use of natural materials, natural solid wood furniture, worktops made of marble or other natural stone”, explains Oleg Klodt. “There should be no embellishments such as carvings. The lines must be straight and laconic. At the same time you need to consider that furniture used in eco design comes at quite a high price due to the cost of materials and manufacturing techniques (as it is nearly always handmade). The principle of rational economy can be applied here: an expensive piece is acquired to be used for years and possibly centuries”.  

Metallah chair by O&A London

“There are two approaches – adds Anna Agapova. –One is to make furniture from natural materials such as bamboo and corkwood. It will be light and inexpensive but not very durable. We at O&A have gone a different way. We create furniture pieces from highest quality and most expensive materials such as natural wood and metal. These pieces are not just tables and chairs but works of art.  The main goal is to create furniture that is timeless, just as mahogany workers did centuries ago. By acquiring such items our customers are guided by the philosophy of ‘conscious consumerism’ and investing in the protection of our planet. We artisans start repaying our debts.  Beauty can at least try to save the world and change your attitude towards it”.

Theemin table by O&A London

Save the Оcean

“Nature has always been the main source of inspiration for artists, architects and designers” – noted Anna Agapova. Eco design for me is the interior where the main artist is not a human being but nature itself. While in the process of creating the Caledonia collection we draw inspiration from the Scottish landscape and Celtic history. This inspiration helped create five different rug designs as well as textiles and handmade wall coverings”.

BIOPHILIC DESIGN: Ocean Blue rug, by O&A London and Riviere Rugs

“We used only natural materials in our Caledonia collection” – says Anna Agapova. Natural materials and colours, new images and natural origins make the Caledonia collection the perfect addition to any eco home. Also, our passion for the ocean did not just inspire us to create the “Ocean” rug. This year we announced our eco initiative “Save the Ocean” where the goal is to help clean the ocean of plastic and save its inhabitants. 10% of all sales income from the “Ocean” rug will go to the 4ocean organisation that is cleaning the world’s oceans.”

Biophilic design: O&A London collections

BIOPHILIC DESIGN: Sound of Fingal’s Cave rug design, by O&A London and Riviere Rugs
BIOPHILIC DESIGN: Shells rug design by O&A London and Riviere Rugs
Erica, handmade wallpapers, the design inspired by the image of heather, O&A London
Low Tide, handmade wallpapers, the design inspired by the image of waves, O&A London
20 // 20: INTERVIEW WITH MIKHAIL LOSKUTOV

O&A London celebrates its 20th anniversary this year! With a growing number of international projects, and in order to create distinctive collections of furniture, lighting, textiles, wallpaper and rugs under its own unique brand, the company develops collaborative projects with amazing and talented people. We are fortunate to work with leaders in their field: people who do not see boundaries and make the impossible possible. We proudly name these creators, not just as partners but as co-designers and friends.

We are now delighted to announce the anniversary project «20 // 20». The project will consist of a series of exclusive interviews.

Today we are happy to share with you an interview with Mikhail Loskutov – one of the best interior photographers in Russia. Mikhail expertly uncovers the uniqueness of our interiors in his works.

AD Russia cover, apartment of Oleg Klodt, design by O&A London, shot by Mikhail Loskutov

O&A: Mikhail, what were you dreaming of as a child?

ML: As a child I was dreaming of the same thing all children do – playing with other kids and staying out for as long as possible! At that time I hadn’t thought about my professional future.

The Family House, design by O&A London, shot by Mikhail Loskutov

O&A: How did you become a photographer?

ML: Life brought me to photography. My father’s camera came to me and because of that I started shooting when I started my university studies. At first these comprised portrait and reportage photos of friends and acquaintances. Then, with experience, my first commercial shoots comissioned.

Dining room, Oleg Klodt’s apartment, design by O&A London, shot by Mikhail Loskutov
Backstage, shooting the apartment of the architect Oleg Klodt, design by O&A London

O&A: What inspires you?

ML: Recently I have been inspired by the beauty of nature and everything connected with it.  Natural materials, beautiful patterns, lights and colour combinations.

O&A: What would you shoot, if not interiors?

ML: It’s hard to say since I have already tried many directions.  Following my heart led to street photography, where you experience the city in a pure stream.  In this way one can capture truly unique moments.

O&A: What is the most difficult thing for you in interior shootings?

ML: In interior photography there are many nuances and features. You become one hundred percent ready for them only with experience. The hardest thing for me is to work when I’m unprepared for shooting.

Photographer Mikhail Loskutov

O&A: Can it interfere with shooting if you don’t like the interior at all?

ML: It complicates the shoot , since it is much more difficult to achieve a decent look with such an interior. This process requires great moral and physical costs from the whole team.

O&A: How do you prepare for a shoot?

ML: As a rule I look at a photograph of the apartment and discuss the shoot with the stylist and designer.  Thanks to this preparation there is an understanding between us of what we would like to achieve as a result.  A preliminary visit to the site is usually not required.

Decorating process, shooting countryside house, design by O&A London

O&A: Tell us about your collaboration with Oleg Klodt and Anna Agapova.

ML: It’s always interesting to work with Oleg and Anna’s team.  We started our cooperation with a shoot of the O&A London wallpaper collection.  We then continued our friendship through interior photography of new bureau projects.  The last one appeared on the cover of Summer Architectural Digest (AD). It’s such an honor! I greatly respect Oleg as an architect and head of such a large and successful company. I also love to shoot portraits of Oleg and Anna!  After several shootings with Anna we have become true friends and communicate inside and outside work.  It is a very enjoyable and valuable friendship.

Backstage, shooting the CALEDONIA textile & wallcovering collection
Caledonia collection lookbook, shot by Mikhail Loskutov

O&A: Is it important for you who is the designer of the interior that you are shooting?

ML: Of course the designer is very important since everyone has their own unique style. The end result can really depend on this.  The most important thing is to be on the same wavelength as the designer. I minimize my own touches in these photos. In general I try to shoot for designers of different styles, while also gradually forming my own.

O&A: Describe the interior of your house.

ML: I have a minimalist interior in a 1928 constructivist house with large windows, high ceilings and a minimal set of items.  I really like apartments that are lively and with just a few objects that are dear to my heart.

Kitchen in a countryside house, design by O&A London, shoot by Mikhail Loskutov
Kitchen in a countryside house, design by O&A London shooted by Mikhail Loskutov
Hallway, the family house, design by O&A London shot by Mikhail Loskutov

O&A: Whose interior do you dream to shoot?

ML: Kelly Wirstler is a renowned American designer and decorator, whose works are distinguished by a variety of styles.

O&A: What are you dreaming about at the moment?

ML: The main thing I dream about is the transition of humanity to a new world.  A world without weapons, filled with love and respect for nature and the people around us.  Let’s hope for this!

Mikhail Loskutov
20 // 20: INTERVIEW WITH VALERIA NASCIMENTO

O&A London celebrates its 20th anniversary this year! With a growing number of international projects, and to create distinctive collections of furniture, lighting, textiles, wallpaper and rugs under its unique brand, the company develops collaborative projects with amazing and talented people. We are fortunate to work with leaders in their field: people who do not see boundaries and make the impossible possible. We proudly name these creators, not just as partners but as co-designers and friends.

We are now delighted to announce the anniversary project «20 // 20». The project will present a series of exclusive interviews.

Today we are delighted to share our interview with Valeria Nascimento, the artist and creative pioneer in the world of ceramics.

Valeria Nascimento

O&A: Valeria, what did you dream about when you were a child?

VN: I grew up in Brazil surrounded by exuberant nature. As a child I used to play outside most of the time. One of my favorite hobbies was to pretend I was travelling in Europe and seeing beautiful old cities, the arts, the architecture and landscapes. This curiosity has always fed into my art and creative processes.

Private apartment, interior by O&A London, Blossom installation by Valeria Nascimento

O&A: You were born in Brazil and studied architecture. When and where were you introduced to clay? Why are you in love with this material?

VN: I began to make ceramics in 1986 shortly after graduating in architecture. I have always loved working with my hands and ceramics allowed me to explore this. Porcelain has the smoothness and malleability that I need to create new shapes, manipulating it to appear – in some cases – defiantly weightless.

White Cups installation, O&A London brand launch, Ice Tank, Covent Garden 2017

O&A: Who are you more – an artist or a ceramicist?

VN: I feel I am more an artist that uses clay as a way to communicate my concepts. My work doesn’t utilize the traditional methods of clay building – throwing, coil-building, slab building – and I don’t see my material as the guide for my work but more the medium through which I can explore and execute my ideas.

O&A London brand launch, Ice Tank, Covent Garden, 2017, Botanica by Valeria Nascimento

O&A: What is your source of inspiration? How do you manage not to repeat yourself when creating new patterns, while maintaining your signature style?

VN: My inspiration is drawn mostly from the natural world and as nature is so diverse I always find shapes and patterns that inspire me to create different compositions.

O&A London brand launch, Botanica installation, Ice Tank, Covent Garden, 2017

O&A: What is your mission as an artist?

VN: I aim to create works that inspire, connect and touch in an emotional way, contributing to public awareness of the art of ceramics, and to encourage the viewer to reflect on the beauty of nature and life.

O&A: Your works are cohesive sculptural groups that consist of hundreds and even thousands of separate handmade elements. Could you, please, share with us some of the secrets of creative processes? How many people are in your team? How do you usually start your work?

VN: I have a team of 4 assistants in my studio who help me with the preparation process as the quantities of pieces can be quite overwhelming. Initially I start my work with drawings and after that I make miniatures to give me an idea of how it would look. Once the design of the shape is perfected we begin to produce the pieces in larger quantities and I can start exploring different formations.

Workshop of Valeria Nascimento

O&A: You have collaborations with international brands such as Tiffany & Co, Wedgewood, Channel, and your works are exhibited in galleries all over the globe. Is there a museum where you dream to see your works displayed? Or is there a brand you are dreaming to collaborate with?

VN: I consider myself very fortunate to have been working intensively for the last 20 years on large-scale porcelain installations, side by side with architects and interior designers, for brands and private projects. I have been very privileged to see my work in many beautiful galleries around the world and, if I could choose a museum, I would be delighted to see my work at the Victoria & Albert museum as it is a wonderful venue for applied and decorative arts and design.

O&A: Valeria, tell us about your collaboration with O&A London? How did you meet Anna and Oleg?

VN: Anna got in touch and visited my studio many years ago. From that first visit we have been collaborating on many different private projects. Anna invited me to many O&A London events including the exciting Holiday House as well as a series of conversations celebrating the arrival of O&A in London. It has been a pleasure to collaborate with Anna and Oleg on some of their amazing projects over the years.

Holiday House show, Interior by O&A London, porcelain installation by Valeria Nascimento

The last project we collaborated with O&A London was the ecological initiative ‘Save the Ocean’. The aim of the creative collaboration is to support organisations committed to cleaning up the oceans.

Ocean Blush rug by O&A London & Riviere Rugs, Anemones and corals by Valeria Nascimento

O&A: Have you ever been to Russia? Do you have any intention to create something inspired by Russia? The structure of a snowflake? Or Russian ballet?

VN: I haven’t had the chance to visit Russia but it is definitely on my list. I am sure that once I am able to see the majestic architecture and natural landscapes Russia would inspire me to make new works.

O&A: What is more inspirational for you – to create something for art without any boundaries or to create a custom project solving a specific challenge in a specific space?

VN: Both present their own challenges and interest. Working without any constraints allows me to create work that is uniquely mine; conversely working within briefs can push me outside my comfort zone and into new and unexplored areas.

Private apartment, interior by O&A London, Organism installation by Valeria Nascimento

O&A: Who inspires you? (artists, architects, designers)

VN: My work carries references to both architectural and botanical forms. From an early age I felt influenced by the Brazilian landscape architect Roberto Burle Marx and also the great works of Oscar Niemeyer.

O&A: Tenderness is the first emotion people feel when they see your art. What kind of emotions do you feel every day?

VN: My working day is varied and I have ups and downs making me feel sometimes very excited or it can also be frustrating, depending on the subjects I encounter day by day. I find making my porcelain work can be really peaceful, however dealing with the hectic schedule of the studio can sometimes be very stressful.

Ocean Blush rug by O&A London & Riviere Rugs, Anemones and corals by Valeria Nascimento

O&A: What are you dreaming about today?

VN: I am dreaming about the future when the world would be free of this pandemic and we all could go back to our lives and careers exploring, travelling and getting inspired.

Ocean Blue rug by O&A London & Riviere Rugs, Drift installation by Valeria Nascimento
Our Founders Oleg Klodt & Anna Agapova in AD BEST

Every autumn AD Russia magazine publishes a list of 100 best architects and designers in the country – a tradition adopted from the “American brother”, Architectural Digest magazine.

In 2014, the editors of AD Russia compiled and published their first “AD BEST” list, where Oleg and Anna were named. Since then, for seven years already, the creative duo has never left this rating.

November issue, AD Russia 2020
20 // 20: INTERVIEW WITH MICHAEL VASKU & ANDREAS KLUG

O&A London celebrates its 20th anniversary this year! With a growing number of international projects, and to create distinctive collections of furniture, lighting, textiles, wallpaper and rugs under its unique brand, the company develops collaborative projects with amazing and talented people. We are fortunate to work with leaders in their field: people who do not see boundaries and make the impossible possible. We proudly name these creators, not just as partners but as co-designers and friends. 

We are now delighted to announce the anniversary project «20 // 20». The project will present a series of exclusive interviews. We are happy to present to you the interview with Michael Vasku and Andreas Klug, creative directors of Preciosa lighting company. 

Michael Vasku and Andreas Klug, creative directors of Preciosa lighting company. 

O&A: Michael, Andreas, what did you dream about when you were a child? 

MA: We dreamed of things we heard from fairy tales like the magic of nature, the diversity of cultures, and exotic countries. These dreams are still with us today. 

O&A: Could you please, tell us about your professional path that eventually led you to Preciosa?

MA: We both studied architecture. Michael also studied building science and Andreas, economics. During our time at university, we started our studio. After the first year, we cooperated for the first time with Preciosa Lighting on conceptual presentations, e.g. “Behind Locked Doors” which was held in the Royal Palace in Vienna in 2014. After the good response, we first became their brand architects and later creative directors with the task to turn Preciosa Lighting from a production company into a Design Brand.

Behind Locked Doors, installations, Royal Palace, Vienna 2014

O&A: Preciosa’s goal is to connect people and bring about emotions through light. How do you achieve this goal?

MA: There is a code behind everything you do. It’s based on experience or knowledge you learned in your time here on the earth. As Carl Gustav Jung revealed, this can differ amongst cultural backgrounds, fields of activities, age, and many more parameters. Because of this, we have a huge pool of incredible patterns of human actions and reactions to connect. Translating or referring to these connections make our experienceable designs self-explanatory and we can stimulate emotions and create memories that last.

Carousel of Light installation

O&A: You two are creative directors of the company. Could you please, tell us how you’re working on the project? How do you discuss and implement the ideas? Are you complementary or are complete opposites?

MA: There is one thing that differentiates us from most designers: We never start a design on paper; we also never explore design through drawing. The starting point is always a conversation. The discussion always aims to understand the context, find the right questions and reformulate the task over and over again. The conceptual design process itself is only in our minds, or in words that we exchange. Only once we can articulate and agree on an abstract idea, we start using the tools of a designer. 

We understand ourselves as a complementary duo where each one brings a lot of different input from different perspectives. 

Carousel of Light installation

O&A: Tell us about your collaboration with O&A London? Was this project with Anna and Oleg interesting for your company?

MA: The cooperation with Anna and Oleg was great! The two practice a very holistic design approach, combining technical knowledge with an excellent and delicate sense for spaces and design. This is the best base for a collaboration, as they precisely know what they want and where it needs the contribution of the expert or craftsmen. We personally enjoy this kind of collaborations. The difference can always be seen in the final result. 

O&A: How do you see the future of design and light? Within 50 – 100 years?

MA: As design is always very much context influenced and inspired, we see possibilities for changes coming not only from the technological side but mainly from neuroscience and brain research. The more we understand about the impact of light on us as human beings, the more it will be possible to react on it and integrate that knowledge into design. Certainly, there will be a stricter differentiation between the qualities of functional and decorative light. 

Meissa chandelier by O&A London and Preciosa Lighting, Holiday House, London 2017
Vega wall light by O&A London and Preciosa Lighting, private apartment Moscow
Avior chandelier by O&A London and Preciosa Lighting, Salone Del Mobile 2019

O&A: Could you name the most unique and essential project for Preciosa? 

MA: “Breath of Light”. It was Preciosa Lighting’s first step into immersive design. This also meant a huge step internally, not only working with light and construction but also spatial sound and a simple form of artificial intelligence to create a behavior of the installation. This also meant a shift in mind-set in the general understanding of what a chandelier / light installation can bring to a space. 

Breath of Light”, installation by Preciosa Lighting

O&A: You always create very concept light interactive installations that attract attention during the exhibitions. What inspires you on creating such objects?

MA: We usually struggle with this question as the inspirations can come at any moment and situation, in every culture, every country, in every kind of mood. What is important for us, what drives us is always the smile of our audience! In this rushed and information flooded world, we want to create an emotional moment of curiosity which makes you feel like an exploring, excited child again.  

Michael Vasku, Technologies in interior design, public talk hosted by O&A London, 2017

O&A: What are you dreaming about to create?

MA: We don’t dare to dream to create something. We hope that we will be lucky to experience many more magical unexpected moments, discover new things and learn more from different fields. Everything else comes together afterwards.  

Andreas Klug, How to boost your brand, panel discussion, hosted by O&A London, 2019

O&A: What are you dreaming about today?

MA: Same as when we were little – the magic of nature, the diversity of cultures, and exotic countries. These dreams are still with us today. 

Michael Vasku and Andreas Klug, creative directors of Preciosa lighting company. 

Photos: Preciosa Lighting Press Office

VOTING FOR OUR OCEAN RUG IS NOW OPEN!

WHO WILL BE THE BEST?
Interior Design’s Best of Year is the design industry’s premiere design awards program, honouring the most significant work of the year, as well as recognising designers, architects and manufacturers from around the globe.

Please cast your vote for our OCEAN RUG, in Product, Residential Flooring: Rugs + Carpets nomination.

‘Ocean Blush’ rug by O&A London and Riviere

INSPIRATION BEHIND THE DESIGN

The pattern of the ‘Ocean’ rug resembles the intricate ripples left in the wet sand by waves caressing the coastline. All rugs are manufactured by hand in Nepal using a centuries-old traditional weaving technique and natural materials such as wool and silk.

‘Ocean Blue’ rug by O&A London and Riviere Rugs

10% from every Ocean rug sale is donated to 4ocean, a company dedicated to removing rubbish from the ocean.

“Ocean Blush”, Anna Agapova, Creative Director of O&A London

ABOUT THE AWARD

The Award is initiated and organised by Interior Design magazine, which is the global, industry-leading design magazine serving the interior design, architectural and facility management audiences. For over 85 years, Interior Design magazine has been the necessary design authority for every professional, on all projects, throughout the design process.

 

Cast your vote until Friday the 9th October.

20 // 20: INTERVIEW WITH EMILIO PIMENTEL-REID

O&A London celebrates its 20th anniversary this year! With a growing number of international projects, and in order to create distinctive collections of furniture, lighting, textiles, wallpaper and rugs under its own unique brand, the company develops collaborative projects with amazing and talented people. We are fortunate to work with leaders in their field: people who do not see boundaries and make the impossible possible. We proudly name these creators, not just as partners but as co-designers and friends.

We are now delighted to announce the anniversary project «20 // 20». The project will present a series of exclusive interviews. The interview with Emilio Pimentel-Reid, a UK-based author and creative director who works across the disciplines of design, events, retail and publishing.

Emilio Pimentel-Reid

 

Born in the Dominican Republic, Emilio studied Fashion Design at Parsons School of Design in New York. Emilio Pimentel-Reid launched his own multidisciplinary studio in 2012 following many years as the Decorating Editor at ELLE Decoration (UK).  His range of commissions blends his interest in contemporary design and historic interiors with a sense of playfulness, rigour and a colourful aesthetic. He currently lives between London, south Somerset and the ancient city of Bath.

O&A: When did you first become interested in the world of interior design?

EP: My mother subscribed to many design magazines when I was growing up and as a teenager I enjoyed escaping into the world that the glossy pages revealed.  I now understand how much work, thought and planning goes into conjuring a successful interior – but back then it was just escapism. As a professional I believe an element of escape is an important quality a successful interior should provide.

O&A: Emilio, this year has changed the world. How do you see the future of design?

EP: Luckily the world is always changing. I believe more personal and bespoke interiors, a renewed appreciation of craft and greater respect for the environment will continue as relevant trends.

Caledonia textile collection by O&A London

O&A: What distinguishes an ordinary interior from an extraordinary one?

EP: You know an extraordinary interior the minute you walk into the space.  Comfort, beauty, connoisseurship, balance, proportion, appropriateness and confidence all combine with a sprinkling of magic.

O&A: Could you name five international tastemakers whose design work you admire?

EP: Joseph Holtzman – American magazine editor and collector known for his quirky 1990’s magazine ‘Nest’- which featured everything from palaces to igloos and prison cells. It opens your mind up to what a home can be.


Derry Moore – London- based photographer and regular contributor to Architectural Digest over many decades. Moore has photographed important interiors and his eye elevates the spaces he captures with his camera.Oscar de la Renta – the Dominican-American fashion designer whose home and fashion personified a colourful, elegant and well lived life.


Paul Rudolph – American architect and former chair of Yale University’s Department of Architecture known for his modern, brutalist and sexy work including Halston’s NY townhouse.


Vicente Wolf – New York -based Cuban-American interior designer who creates serene balanced interiors combining a range of finds from his travels with bespoke pieces to create supremely well balanced interiors.
They are all worth googling and discovering!

 

O&A: British design sets trends around the globe. Have you ever heard about Russian design? What does it look like?

EP: Along with my colleagues Sabine Rothman (New York ) and Victoria Murray (London) I have started a new platform called Interiors Academy (@interiorsacademy). The focus is to promote global conversations and to promote international design through an ongoing series of digital talks featuring high profile creatives. We are lucky that on a regular basis we are including designers from Russia and feature their work in Moscow, St. Petersburg and beyond.

Panel discussion with O&A London at Focus’19 London, Chelsea Harbour

In my mind I see Russian design as very international and with very high standards as well-travelled clients expect the best. Russian design is not just one look. Some Russian designers work in a very modern language and others incorporate tradition. To me Russia has always led in its use of wonderful materials taking advantage of the country’s richness in resources. What I would like to discover is more Russian craftsmen. Perhaps I will be lucky one day to be shown around the country by Russian designer colleagues to meet makers.

Panel discussion with O&A London at Focus’19 London, Chelsea Harbour

O&A: The O&A London company was established in Great Britain several years ago. Do you find it a challenge for Russian designers to gain the reputation in the industry of British design? Could you name any advantages of O&A?

EP: It is always a challenge for brands to establish themselves internationally. The UK market is particularly competitive as many brands use Britain as a launching pad to a global audience. It takes time for a brand to become known to both consumers and the press. The main point is to be patient, persistent and consistent.


O & A London is very well placed firstly because it has a very special point of view, Oleg Klodt is very talented and Anna Agapova a true artist. In addition to its beautiful interiors, when it comes to product O&A London has been clever to collaborate with top partners which gives them access to market knowledge and insight as they expand in the UK .

Emilio Pimentel-Reid’s colourful, eclectic flat in Bath

O&A: What is your home style?

EP: My style at home is personal and reflects my interests, upbringing, friendships and mentors. I’m exposed to and work with the most contemporary things in my professional life and yet don’t want to live exclusively surrounded by newness. I appreciate furniture with history and having a couple of pieces dated from the same period as the building acknowledge what the interior could have looked like in the past. They also look great in the context for which they were created. I live with a mix of Georgian, Regency and Victorian furniture as well as designs that have just been launched. Colour and pattern make me happy and the scale of my rooms (the ceilings are over 4 metres) means I have the challenge of plenty of wall space to hang art and textiles. I don’t care about price or provenance in the sense that something good does not need to be expensive. I regularly pick up fabrics, ceramics and many other interesting accessories at vintage shops and online. Other times I do fall for more expensive things that require a little more consideration before I invest. My preference at home is for things that are well made and not disposable – whether old or new. If I really love something, I’m not afraid to go for a trendy piece; I know the trend will eventually be forgotten and I will end up with an object that I love forever.

O&A: Where did the inspiration for your book, Bold British Design, come from and what was the hardest part of writing it?

EP: The idea for this book came from a desire to share the energy and delight I have experienced in my role as a Creative Director collaborating with the many talented individuals I encounter in the UK’s interiors world.
Created in partnership with photographer Sarah Hogan, Bold British Design (BBD) reveals a snapshot of UK design today by showcasing the houses and studios of 21 British-based people working in a range of interiors-related fields.  Through profiles and short interviews, we provide context and insight into their design choices. The various spaces reveal distinctive elements of their work, personality, taste and training that led them to create personal, stylish workplaces and homes. The hardest part was narrowing the edit of designers to ensure we featured a range of styles.

Bold British Design: Creating a fearless, modern living space 

O&A: What makes the designers in your book bold?

EP: The designers are bold, not just in the obvious sense of being colourful or quirky (as some gravitate towards muted palettes and their work is subtle) but they are all deeply original, fearless in their interior choices, either breaking the mould or pushing the boundaries of creativity. They are also bold in personal ways, often unconstrained by rules; joyful, and courageous both in how an individual product is made or how disparate elements are bravely combined in a room.  They also each exemplify many of the characteristics that make design in the UK unique – a sense of humour and an appreciation for history, craft and modernity.

Anna Agapova, Creative Director, O&A London

O&A: What inspires you?

EP: I keep my eyes open and stay curious. I allow myself to get excited about new designs and enjoy discovering historic interiors. I am someone who enjoys being part of our industry which leads me to asking questions, being open to collaborations and new projects.

O&A: Are you thinking about a new book?

EP: Yes I am already putting together ideas and visuals for a new book with my colleague photographer Sarah Hogan. Shooting Bold British Design across different part of the UK opened my eyes to many wonderful creatives and there are new design stories to be told.

O&A: What is next for you?

EP: On a professional level, in addition to a new book, I am focusing on developing new platform @InteriorsAcademy and our consulting service IA Creative a consultancy and production service delivering strategic brand content with an editorial point of view. On a personal level I have a hexagonal shaped folly in the Somerset countryside and plan to allocate time to finish decorating it.

20 // 20: INTERVIEW WITH CORY BARBER

O&A London celebrates its 20th anniversary this year! With a growing number of international projects, and in order to create distinctive collections of furniture, lighting, textiles, wallpaper and rugs under its own unique brand, the company develops collaborative projects with amazing and talented people. We are fortunate to work with leaders in their field: people who do not see boundaries and make the impossible possible. We proudly name these creators, not just as partners but as co-designers and friends.

We are now delighted to announce the anniversary project «20 // 20». The project will present a series of exclusive interviews. The interview with Cory Barber, Creative Director at Holland & Sherry, is about design process, new trends in wallcovering, inspiration and dreams.

 

Cory Barber, Creative Director at Holland & Sherry, earned his Batchelor of  Fine Arts from the State University of New York Purchase College’s School of Art & Design.

O&A: What did you dream about when you were a child?

CB: I grew up in an oceanside town (Long Island, NY). Looking out at the water, I just feel like the world is open to you. I guess I’ve always dreamed about what’s over the horizon.

O&A: Why wallcoverings? Many people still think that wallpaper is something old fashioned, and associates with historic Victorian homes.

CALEDONIA wallcovering collection

CB: I came to wallcoverings from a Fine Art background. At that time, I was an Artists’ Assistant for some of the biggest names in printmaking. Working on projects for Donald Baechler, Chuck Close and more, I could see the connection between printmaking, painting and bespoke wallcovering. At its core, handpainted wallcovering and printmaking has the same goal. Number 1 has to look like Number 46. It’s all about consistent editing. Wallcovering is very personal. You are in control of someone’s environment. It’s where they feel most comfortable. I’m happy to be a part of that. The final result of someone loving their living space is extremely rewarding. With printmaking you get a framed image, – but with wallcovering you get every walls!

 

O&A: What are the top trends for wallcovering design?

CB: Currently there has been a big push towards murals and tons of color. We in the studio just wrapped up a large handpainted mural project. Five murals for a hotel! It was fun and challenging but a custom handpainted mural is hard to beat.

O&A: When and how did you start your collaboration with Holland & Sherry?

CB: Holland and Sherry approached me when they were interested in creating a handpainted wallcovering studio way back in 2015. I was fortunate that they put their trust in me to build a division they currently didn’t have. Since then we have more than tripled the size of the Wallcovering Studio.

 

O&A: How do you work on a collection? Who and what inspires you?

CB: Collections are often built with the idea that wallcoverings can stand on their own but also be paired with Holland and Sherry’s Rugs and Fabric department. Sometimes inspiration comes from mistakes. For example the paint might act in a surprising, but interesting way. Then it’s about controlling the mistake so it becomes planned. My biggest inspirations come from the art world.

I was fortunate enough to work alongside Malcolm Morley in his studio on Long Island. He spent a lifetime reinventing himself as an artist. Even in his later years, he was adventurous. It’s impressive when a person creates a “Genre” of painting then moves away from it for others to develop. Ruth Lingen, has been another shining star I look up to. She has been a Print Master to artists on the forefront of fine art since the late 70s. She is a technician second to none and such a joy to be around. Her knowledge is endless.

O&A: What dominates your work: creativity or technology?

 

CB: A large majority of our designs never see a computer. Our colours are mixed by hand. Our tools are made with hand tools. Our type of handpainting could be done the same way 100 years ago. You need to be creative.  I consider the wonderful technological advancements an addition to creation, not the sole way to create.We had to create all new painting techniques.

O&A: Tell us about your insights working on the Caledonia collection?

CB: Caledonia was interesting from a development standpoint. O&A provided plenty of inspiration, from photographs to paragraphs of inspiring words. These were paired with Anna’s detailed and well drafted drawings. The pressure was on! We had to create all new painting techniques to stay true to Anna’s drawings.

O&A: How much time does it take you to make a meter of wallcovering?

CB: 1 meter can take up to 10 mins. Most times it’s well under that and is often done in 30 seconds. The important thing to remember is that it is a layered process. If our wallcovering has 7 steps, we have to paint that 1m of wall covering, 7 times over the course of 7 days. We have to be efficient.

O&A: What do you love about your work?

CB: I love hiring graduates from the Arts Universities.  It feels good to be providing steady paychecks to those in the Arts field. I hope they can apply the skills they learn here, to their own artwork.

O&A: What are you dreaming about?

CB: Building a Tiki Hut Raft and floating around lakes and rivers.

 

Country & Town Interiors Guide 2021-2022 features our “OCEAN” rug

Traditionally the October issue of the Country and Town Interiors magazine features the top 50 British designers. Alongside the 50 designer profiles, there are essays from our favourite design writers profiling artisans elevating craftwork into art.

We are delighted to announce that our “Ocean” new rug design was included in this issue that highlighting modern design philosophy – “surrounding yourself with nature to boost wellbeing”.

Our ‘Ocean’ design features a pattern reminiscent of the mysterious ripples left by receding waves on the wet sand. It is unpredictable, like water – swirling in intricate shapes and forms before returning to the bosom of the sea.

The design is the result of a collaboration between established British rug company Riviere and award-winning interior designer and architect Duo Anna Agapova and Oleg Klodt by O&A London. The Ocean rug is part of the handcrafted CALEDONIA rugs collection, inspired by the majestic landscape of the Scottish Highlands and reflecting a deep and intimate sense of beauty that the two designers experienced on their first visit to the region.

To find out more about the ‘Ocean’ Rug, follow the link.

October issue of Country & Town Interiors features our Ocean Blush rug
‘Ocean Blush’ rug by O&A London and Riviere Rugs, Country & Town Interiors magazine, October issue

Traditionally the October issue of the Country and Town Interiors magazine features the top 50 British designers. Alongside the 50 designer profiles, there are essays from our favourite design writers profiling artisans elevating craftwork into art and exploring “biophilic design.”

We are delighted to announce that our “Ocean Blush” new rug design was included in this issue that highlighting modern design philosophy – “surrounding yourself with nature to boost wellbeing”.

Ocean rug by Riviere Rugs and O&A London

Our ‘Ocean’ design features a pattern reminiscent of the mysterious ripples left by receding waves on the wet sand. It is unpredictable, like water – swirling in intricate shapes and forms before returning to the bosom of the sea.

Ocean rug Design is the result of a collaboration between established British rug company Riviere and award-winning interior designer and architect Duo Anna Agapova and Oleg Klodt by O&A London. The design is part of the handcrafted CALEDONIA rugs collection, inspired by the majestic landscape of the Scottish Highlands and reflecting a deep and intimate sense of beauty that the two designers experienced on their first visit to the region.

10% from every sale of Ocean rug goes to 4ocean, a company dedicated to removing rubbish from the ocean.

To find out more about the ‘Ocean’ Rug, follow the link.

20 // 20: Interview with Monique Stamp

O&A London celebrates its 20th anniversary this year! With a growing number of international projects, and in order to create distinctive collections of furniture, lighting, textile, wallpaper and rugs under its unique brand, the company develops collaborative projects with amazing and talented people. We are fortunate to work with leaders in their field: people who do not see boundaries and make the impossible possible. We proudly name these creators, not just as partners but as co-designers and friends.

We are now delighted to announce the anniversary project «20 // 20». The project will present a series of exclusive interviews. The first interview is with the executive Director Riviere company, our faithful partner for ten years, Monique Stamp. Just a few days before the start of the London Design Festival 2020 Monique told about workshops in Nepal, ecological issues and new collaborations.

Monique Stamp and Anna Agapova

O&A: Monique, what did you dream about when you were a child? What did you want to be?

MS: I grew up in Wales, Cardiff – a great place with the right balance of city life and nature. I’ve come from quite a creative family, so it was natural for me to follow a creative field. I don’t entirely recall what I dreamed as a child, but as a young teen, I dreamed of becoming an artist or fashion designer.

 

O&A: Tell us about your professional path? How did you start working for Riviere?

MS: Art, fashion and interiors are subjects I’ve always been attracted to. Having studied art and design whilst working as a make-up artist for TV, theatre and eventually fashion brands such as Dior I stumbled into the world of Riviere. A friend introduced me to company founders Camilla and Leo Riviere. Upon visiting the showroom, I fell in love with the palettes of colour tufts and textures used to create these beautiful pieces. Coupled with the history behind the artisan craftsmanship and creative design process, I recognized the uniqueness and beauty of these exceptional furnishings.

Creativity runs through my blood, so my affinity with beautiful handmade products is absolutely natural for me.

Monique Stamp, Ocean rug by O&A London and Riviere Rugs

 

O&A: The company Riviere is famous for its unique process of rugs’ production. Could you please, tell us about the process? Reveal some of your secrets?

MS: The Riviere craft story begins in the Kathmandu Valley of Nepal, where over the centuries production techniques have hardly changed. Each process is still carried out entirely by hand, no machinery is involved. Handcrafted with the finest natural materials such as pure silk and Tibetan wool, the latter of which is prized for its unique high level of Lanolin.  Hand sheared from sheep living at high altitudes in the Himalayas, where the cold rough conditions give their coat unique waxy texture. The Lanolin acts as a natural stain guard making the most resilient natural fibres perfect for rug making. Our dye masters are specialised experts and achieve an incredible level of accurate colour matching by eye.

A life-size graph is created for each rug to depict the colour and placement of each knot. The graph is like a mapping system, for our weavers to follow knot by knot.

Nepal workshop

O&A: Monique, your company has artisanal workshops in Nepal’s Kathmandu Valley and Varanasi and Jaipur in India. How do you solve ecological issues?

MS: In a world increasingly dominated by synthetic materials and virtual reality, we choose natural materials such as wool sourced from the sheep reared in the Himalayas. Wool is one of the eco-friendliest fibres out there. It’s 100% sustainable and 100% renewable, with minimal environmental impact throughout its production process. Always exploring new materials with a low impact on the environment, we’ve recently introduced Tencel silk. Tencel has gained a reputation for the environmentally responsible closed-loop production process, which transforms wood pulp into cellulosic fibres with high resource efficiency and low ecological impact. The water and by products used to produce the fibres are recycled up to 99%.

Riviere chooses only natural materials such as wool and silk

O&A: Could you, please, tell me about the most complicated / interesting / unusual rug created by Riviere for your clients?

MS: The most complex design to date has to be Ocean from O&A London Caledonia collection.  It is quite simply the most breathtaking design we’ve produced and taken the best part of a year to perfect it.

The Design process required high levels of skill and patience. Our challenge to perfect the translation of Anna’s original hand sketches and photographic inspirations meant intense level of details had to be introduced to effectively master the portrayal of the Oceans fluidity whilst defining its movement. Almost 20 colours are required to create the gradient background and speckled movement of the trails of receding waves on wet sands. Each pixel or square had to be colourised accurately to produce the fluidity of colours within the pattern. This was a huge task that required hundreds and hundreds of man-hours.

“Ocean Blush” Design, 20 colours are required to create the gradient background

O&A: How did you meet with Anna Agapova and Oleg Klodt?

MS: I met Anna Agapova & Oleg Klodt at the International trade show Decorex 10 years ago. They were impressed with the level of craftsmanship, the quality of materials and designs; we soon started to collaborate to produce rugs for their Interior Design projects worldwide. However, our relationship with Anna and Oleg led us to partner for the very first time with a design studio to create a collaborative collection of rug designs.[

Decorex International 2020

O&A: How interesting and challenging was it to work with Anna and Oleg for you?

MS: I have found working with Anna and Oleg incredibly impressive, particularly during the development of CALEDONIA. Both designers shared their visions and perspectives: Oleg with his strong sense of clean fine sharp detailing and scale in line with his architectural background. Anna brings her sensibility and influence towards the textures and colours.  Many elements are carefully considered such as the scale of patterns, materials best suited to enhance the designs, yarn dying techniques and the finishing techniques to create varying textures, pile heights and three-dimensional effect.

It is fascinating to learn how they design their projects. The partnership has allowed us to develop design ideas and to learn from each other. The only challenges I could say is to exceed their expectations, to produce designs that truly embody the vision for each piece.

Presentation of CALEDONIA rug collection at FOCUS 2019, Design Centre Chelsea Harbour

O&A: Do you find this partnership successful? Do you have any plans for the new collaborative projects with O&A London?

MS: Absolutely yes, I have found the partnership successful. CALEDONIA collection is such joy to bring to fruition. The collection has generated phenomenal reviews from designers and their clients. And yes, naturally we’ve discussed plans to collaborate to create a new collection.

Ocean Blush rug, paintings by Stacie McCormick, porcelain artworks by Valeria Nascimento

O&A: Riviere is participating during the program of Focus/20 at London Design Festival in 5 days already. It is the first big offline event after the quarantine, despite the new hybrid format. What are you expecting from this Festival?

MS: We expect to see generously enriched content for the first big offline event post lockdown. With so many design events having been cancelled this year we expect to see lots of product launches, new and visually stimulating designs unveiled. Exhibitions, interior design workshops, discovery tours and guest pop-ups.

Riviere showroom is ready to welcome FOCUS and LDF 2020 guests

O&A: You have included the rug OCEAN from CALEDONIA collection for the Focus/20. Why?

MS: Our focus at this event is highlighting sustainable design, inspired by the artistry of nature: during lockdown we have appreciated the benefits of connecting with nature more than ever. The idea of incorporating ‘biophilic design’ into our décor layering natural elements, textures and designs inspired by nature is crucial for good physical and mental health. Ocean is truly a design that evokes a sense of wellbeing, the Ocean itself is known to energise and bring a meditative state of calm to humans. This coupled with the fact it is handcrafted with natural renewable raw materials.

Besides we’d like to highlight our campaign ‘Save the ocean’ we’ve pledge to give 10% from every Ocean rug sold to ‘4Ocean’ Foundation dedicated to removing plastic rubbish from the ocean as well as saving and preserving marine life.

Every OCEAN rug sold makes the Ocean cleaner

O&A: What are you dreaming about today?

MS: I dream about sailing around the incredible island of the West Indies and diving the coral reefs. Second, I dream about beginning a new artwork for my home. Third, I cannot stop thinking of how to perfect the next new design collection.

Drop by Riviere showroom between the 14th-18th September for a glass of sparkling and discover the latest installation presenting stunning new sustainable rugs, inspired by the artistry of nature.

Riviere showroom, 46 Lots Road, London, SW10 0QF
October issue of WOI features our Ocean rug Design
World of Interiors, October 2020

Traditionally the October issue of the World of Interiors features the design guide to London Design Festival and highlights all the best new products. Happy to be included in this long-awaited digest with our ‘Ocean’ rug Design.

Ocean rug, the inspiration behind the design

Our ‘Ocean’ design features a pattern reminiscent of the mysterious ripples left by receding waves on the wet sand. It is unpredictable, like water – swirling in intricate shapes and forms before returning to the bosom of the sea.

Ocean rug Design is the result of a collaboration between established British rug company Riviere and award-winning interior designer and architect Duo Anna Agapova and Oleg Klodt by O&A London. The design is part of the handcrafted CALEDONIA rugs collection, inspired by the majestic landscape of the Scottish Highlands and reflecting a deep and intimate sense of beauty that the two designers experienced on their first visit to the region.

WOI features our Ocean rug10% from every sale of Ocean rug goes to 4ocean, a company dedicated to removing rubbish from the ocean.

To find out more about the ‘Ocean’ Rug, follow the link.

Custom designs and “vintage finds” in modern interiors

Interior design is becoming more and more personalized nowadays. I hardly ever get requests for specific styles lately. Clients are now asking for an interior that matches their own lifestyle. First of all, people come to designers for personal comfort. So we have request for craft furniture and an increasing interest in antiques and objects with history. The trend of ‘reasonable consumption’ is becoming more and more relevant, and vintage pieces are in fashion again. This is no longer the preserve of individual collectors of art, but a popular trend. I see that more and more people want to have not stamped objects, but old and rare things with character, history, soul in their homes.

Master bedroom in Oleg Klodt’s appartment

SPACE

 

When creating the interior of an old building, the main challenge for me is to preserve and emphasize the historical elements of the building architecture as much as possible– but without forgetting about the functionality needed for a comfortable life. The rhythm of the space is set by the forms of window openings, niches in walls, and historic plasterwork on interior ceilings.. The house itself inspires and whispers ideas.

In an old Moscow apartment we stylized two arched niches, which apparently served as cold cabinets, as fireplaces.

Master Bedroom, Oleg Klodt’s apartment

FURNITURE

 

It may be difficult to find the ideal vintage furniture for modern interiors. It is sometimes better to design and create new pieces. Often these are items from different settings, materials, countries and even centuries. However, it is precisely these combinations of the incongruous that creates a unique eclecticism.

Searching for the ideal antique cabinets we traveled from Moscow to St. Petersburg. These cabinets’ strict architectural lines of a graphite shade showcase the background of bright wallpaper designed by William Morris, with its echoes of medieval gabelen in the bedroom of a country house.

Antique wardrobe in the bedroom,Luxury Home for a Young Family

The antique black piano organically fits into a niche of vintage bookshelves. A carved sideboard from a St. Petersburg flea market and a fireplace on old cast-iron stove gives a private apartment in Moscow a truly unique character.

Black piano in the niche of vintage bookshelves, Oleg Klodt’s apartment

DECORATION

 

There are never too many accessories in a vintage interior, and it looks quite organic. It is important to find a truly unique item with a story that will be naturally yours. For example, we specially bought gold discs from cult rock bands from a London collector, for a client’s apartment. In general, for inspiration and unique items, I advise everyone to go to London – there are flea markets, art districts, and shops where you can spend half a day, enjoying the atmosphere.

Gold discs from cult rock bands, Loft style apartment

BOOKS & ART

 

Books in shabby covers found on the shelves of rare bookstores play a very important role in vintage décor, as well as yellow-hued photographs from the last century, which retain the feelings of a bygone era. A stack of antique suitcases can be used as a coffee table. And it is impossible to create a vintage interior without paintings in massive frames.

Living room, Luxury Home for a Young Family

TEXTILE

 

There is a real issue in finding original textiles from the past, preserved in good condition. Mostly these are replicas by designers inspired by exhibits in museums. The more valuable are original items found in antique salons or at flea markets. Maybe it’s not too late for you to look into the attic of your grandmother’s country house and find real treasures in the dusty chests.

Vintage items become less and less affordable every year. If you have long dreamed of purchasing an interior item with a history, please hurry up! There is no need to be afraid of old pieces of furniture. We can give them a second life, and they give us fond memories in return.

Living room, Family Residence in Constructivism Style

Text: Anna Agapova, O&A London Creative Director

A rug as an art object

Today rugs are truly coming back to our homes. They have become not just a fashion décor item but also an investment. We see rugs migrating from the design category into the art objects category when visiting exhibitions such as Design Miami and ART BASEL.

Another good example is a Sotheby’s auction “Arts of the Islamic world and India” that took place in London on the 10th of June and featured 104 rug lots. The most expensive 18th-century rug from Uzbekistan sold for £50 000. The rug is unique because beyond the beauty of the pattern extensive knowledge is hidden – all the elements are positioned in accordance with the geometry of the stars.

 

“Arts of the Islamic world and India”, Sotheby’s, lot 280

 

For our interiors we choose rugs made from natural materials such as wool and silk. The rugs created with the help of architects and artists are most popular with our clients. They really do look like masterpieces and are a great investment as their artistic and monetary value grows over time. Phillips auctions where “architectural” rugs are sold is proof of this.

 

Unique rug by Norman Foster, Phillips auction 2018

 

Unlike other interior items rugs are chosen to last a long time but it does not mean that general design trends are not applicable to them. If you are looking to refresh your interior the easiest way is to start with the floor, namely with purchasing a rug.

Below are the main fashion trends which are expected to be popular during the upcoming season.  

 

1. Terrazzo

 

 

Terrazo Rug by Rug’s Society

A fashionable Terrazzo effect which consists of concrete or plastic poured over fine-grained stone chippings can be seen in various designer collections for 2020. Initially, this very durable material that can compete aesthetically with marble or granite was used for floors, especially in bathrooms. However, now we can see this effect in textiles and wall finishes. Small and colourful chippings make the space more dynamic, which makes it easier for designers to work with colour.

 

2. Optical illusions

 

 

Fold Rug by Celia Hadeler

Art is there to surprise. Dutch artist Celia Hadeler creates rugs that work both as rugs and as wall decoration. Using a ‘Trompe d’oeil’ technique the designer creates outstanding depth and customers can choose where to place the rugs. 

 

3. Floral maximalism

 

 

Eden Queen Family collection by Marcel Wanders

I mentioned floral motifs, which have now become a design trend, several times in the past. The rugs are not an exception and are also affected by the mania for all things floral. Well-known artists are involved in their production. The ornaments are very expressive and even psychedelic. These rugs are designed to act as accentual elements of the interior. 

 

4. Nature lines

 

 

Soaring Birds by O&A London

Apart from floral motifs a fusion of botanical shapes and animal imagery can be seen in the new collections. The designers use them to address the subject of the environment and the protection of animals. In one of our own designs we used the image of city birds when we accidentally found out that sparrows numbers were dropping dramatically in London and other UK cities.  The ornament is executed in the style of the abstract expressionism of Jackson Pollock.

 

5. Earth Palette

 

 

Blended rug by Studio Rens

The constant search for something new leads to interesting experiments. Studio Rens presented a collection of graphic rugs which are not just different in shape but also offer a very original colour scheme. All of the shades reflect the “earth palette” which is very fashionable this season. 

 

6. Hand Embroidery

 

 

Silhouette rug by Jaime Hayton

Hand craftsmanship is very important today. And even though no one is surprised to see a designer rug hand woven using traditional tools these days, hand embroidered rugs are seen as very new. The Spanish Silhouette collection by Jaime Hayton is a good example of transferring his sketches to the rugs using a special embroidery technique.

7. Blue is the new black

 

 

Christopher Farr rug collection by Georgy Parkinson

Having chosen blue as colour of the year, the Panton colour institute stated that this colour reflects the spirit of times. In the age of global crisis this colour reflects mankind’s aspiration for stability, calm and confidence. 

In the start of this year at the Maison Object exhibition American designer Gregory Parkinson presented a huge rug collection which immediately became the subject of fashion reviews. It appealed to the public due to its versatility, tactile feel and of course the colour that left no one indifferent.

In conclusion I would like to say that rugs as well as ceramics have been with humans since ancient times. This object has a somewhat sacred meaning and I think a rug can be called the soul of the space. 

Text: Anna Agapova, Creative Director, O&A London

 

The Power of Art can Save the Ocean

This summer Oleg Klodt and Anna Agapova, O&A London unveiled “OCEAN BLUSH”, their new rug inspired by the pink sunsets and sunrises on the ocean shore. The new design complements the CALEDONIA collection, which was launched one year ago in collaboration with Riviere Rugs.

 

Paintings: Stacie McCormick,
Porcelain Installations: Valeria Nascimento,
Rug: O&A London & Riviere

 

The pattern of the ‘Ocean’ rug resembles the intricate ripples left in the wet sand by waves caressing the coastline. All rugs are manufactured by hand in Nepal using a centuries-old traditional weaving technique and natural materials such as wool and silk.   

Launching their new design O&A London and Riviere Rugs are also proud to announce their environmental initiative “Save the Ocean”. This campaign supports efforts to clear plastic from the ocean as well as saving and preserving marine life.

 

Inspiration behind ‘OCEAN’ Design

 

To attract attention to their initiative the designers teamed up in one creative project with artists Stacie McCormick and Valeria Nascimento, who are equally inspired by ocean landscapes. 

Having grown up near the ocean Stacie McCormick, an American artist from California, addresses it quite regularly in her work. Her paintings are full of depth, movement and mystery like the ocean itself. 

 

Paintings: Stacie McCormick
Ocean Rug: O&A London & Riviere

 

Valeria Nascimento, the creator of amazing porcelain installations inspired by corals, provided her own art collection as a backdrop for the photoshoot. Valeria’s elegant artwork reminds us of the fragility of marine life and how easily humans could destroy it through thoughtless and reckless behaviour.  

 

Porcelain Installations: Valeria Nascimento,
Ocean Rug: O&A London & Riviere

The aim of the creative collaboration is to support organisations committed to cleaning up the oceans. 10% from every sale will be donated to organisations like 4ocean, a company dedicated to removing rubbish from the ocean. The funding of this organisation is based on selling items manufactured from plastic waste collected from the world’s oceans. For example, the company promises to remove 500 grams of rubbish from the ocean and the seashore for every bracelet sold.

Oleg Klodt, the architect, O&A London Co-founder: “The world is changing and our views, as well as our spiritual and material focus, are changing with it. Today, it is simply not enough to just be involved in design of sustainable products. We have reached the threshold where we need to do more.” 

 

Anna Agapova, Creative Director at O&A London: “The ocean acts as a limitless source of inspiration for many designers and artists. I’ve been around the ocean my entire life. I always loved swimming, yachting and contemplating the power and beauty of the ocean: it became the inspiration behind many of my designs. But today this source of life is in great danger. It is time to set the ‘art for the sake of art’ principle aside and start paying back. We think that nowadays design collaborations can influence the industry and, moreover, have a social and environmental impact. Our strategy is to show, that beauty can at least try to save the world.” 

Photographer: Elena Tikhonova 

 

Our recent project is on the Architectural Digest Cover

The new summer issue of Architectural Digest Russia features the apartment of the Architect Oleg Klodt, O&A London Co-Founder.

Memories of his ancestral home helped architect Oleg Klodt create the interior where his own children are now growing up.

 

Dining area

Oleg Klodt and Anna Agapova love interiors with a story. Most of the time they have to recreate this atmosphere from scratch, which in a new-built house means bare walls.

As Oleg Klodt himself admits he would never purchase a property in a newly built development for himself, he chose an apartment in the four-storey house near Gruzinskaya street, Moscow for two reasons: high ceilings and the number of windows.

“A bathroom window is very important for me, and this bathroom has two” – says the architect. There are no curtains on the windows but instead they are fitted with wooden shutters. “I wanted to keep it airy and emphasise the arched windows so nothing gets in the way.” – explains Oleg. 

 

Bathroom

One of the aspects that makes the architect’s home different from the projects he works on for his clients is that everything is simpler and more earthy. For example, the oak floor boards are deliberately rougher and instead of a fire place there is — unexpectedly for a city-dwelling — a stove.

 

Kitchen area

“Our first thought was to put a fireplace in the corner, but I didn’t want to have an ordinary corner fire place as a centrepiece of the reception room” says the architect. “In the meantime we went on holiday to the Italian Alps with the children. The snow falls were so bad it was impossible to ski. We went for a walk and found ourselves in a restaurant where they had a stove like the one on the picture and immediately agreed that this was exactly what we needed”.

The apartment itself helped to create a story behind the interior. Two arch shaped alcoves were discovered during the refurbishment works. Oleg decided to convert them into accentuated niches rather than hiding them. One can be found in the master bedroom and another one in a children’s room.

 

Master bedroom

The apartment has 4 bedrooms and is occupied by 3 of the architect’s children aged eighteen, sixteen and fifteen.

 

Kid’s bedroom

Therefore, the apartment is equally divided into areas: private quarters and a spacious reception which also has three areas branching off it – study, hallway and kitchen. The study room is designed in darker colours, hence looks visually separated from the reception, and the kitchen is partly “dissolved” in the space. The centrepiece of this area is a large wood-covered island with an original pending light fixture above it.

 

Bespoke kitchen island, designed by O&A London

The lack of a large group of sofas makes this apartment different from others. The only small sofa is hiding by the wall next to an antique cupboard.

 

Sitting room

The centrepiece of the reception room is a large dining table, not a TV-set. There are none in the entire apartment. The family spend a lot of time at the table, talking and playing board games. Oleg Klodt says that the apartment’s occupants passed the self-isolation challenge with flying colours. 

To find out more about the Oleg Klodt’s apartment please visit AD Russia website.

Money for Artists: Urgent financial support for painters

For many years O&A London has been working and collaborating with talented artist Stacie McCormick. Stacie’s artworks are always full of unique movement. They decorate our office and complement our projects.

‘Ocean’ rug by O&A London and paintings by Stacie McCormick

We admire Stacie’s talent and her initiatives that help artists.

Unit 1 Gallery | Workshop is an exhibition and residency space for artists founded by Stacie McCormick. Throughout this period of uncertainty, the gallery has been closed. To support their many artists, Stacie has launched an online fundraiser ‘Money for Our Artists’. The aim is to provide financial support to those who need it.

SM: “The cash grants have no strings attached, so it can help towards the rent, a meal or art materials, whatever the artist chooses. Its purpose is to be a lifeline as well as a demonstration of our commitment to our promise to take care of our members.”

The ‘Money for Our Artists’ fundraiser will continue until the 3rd week in July. To highlight some benefits, when you donate £25 you will receive the ’50 Days, 50 Conversations’ book and when you donate £200 you will receive a Workshop Foundation print of your choice.

 

https://youtu.be/7ABFLEi-mp4

We do support Stacie’s initiative and kindly ask our friends, clients, suppliers to help young talents!

You can donate here: https://www.gofundme.com/f/Money-for-Our-Artists

Milan Design Week 2020: Trends and Forecasts

Anna Agapova, Creative Director O&A Design

Traditionally, Milan Design Week takes place every April, and hosts a big exhibition dedicated to the Salone Del Mobile. Seeing new work and attending these events are an important aspect of a successful designer’s work. Professional designers from all over the world visit this event. Here one can witness the birth and death of new trends, up-to-date items, and timeless design.

This year however, due to the global pandemic, the exhibition has been cancelled. So, as a visitor to Milan Design Week every year without fail over the past ten years, I would like to share my views of the trends which, in my opinion, would have been prevalent at the Salone Del Mobile 2020 .

In 2019, looking at the leading companies stands and key installations a movement back towards the eighties was apparent. We saw the aesthetics of disco, floral design, neon, perforations, complex solid colours, and outer space themes. We moved away from conservative styles, moving instead to the creation of completely new objects.

Let us look at these in a little more detail.

 

1. Floral designs

 

 

Wallpaper collection by Marcel Wanders for Wanderlust

There are only a few people in the history of design and fashion that not only created items but also managed to create an easily recognisable brand. One of these names is the famous British textile and interior designer Laura Ashley, who brought floral themes and large bright prints into our homes in the eighties. A floral craze started in 1983 after Ms Ashley published her book on floral design, instantly winning many hearts.

In Milan we saw many variations of floral design used in wallpaper, upholstery and wall coverings.

 

2. Asian motifs

 

 

Pop-up Gucci Decor

Stands that looked like finished interiors shared one feature that deserves a separate mention – an abundance of plants. Bringing the “jungle” into homes is borrowed by western designers from Asian households. We are talking about large exotic plants that can often be seen in Asian interiors.

 

Frato armchair

We can also see oriental elements in the new furniture collections. The eighties were the years of innovation and travel.Inspired by their visits to Asia, designers enthusiastically borrowed and integrated various approaches and elements they had encountered on their travels into traditional European design.

 

3. Neon Rush

 

 

Versace Home collection 2019

Neon entered the cities in the eighties with the first billboards.

During  Milan Design Week 2019 we saw various expressions in neon, from individual flexible neon tubes to huge bold stands. For example Versace Home presented their home collection within a private residence. Interior designer Sasha Bikoff and artist Andy Dickson turned the space into a wild remix of prints and shades – neon clouds, a Miami palm paradise and Santa Barbara as we saw them watching the films of the eighties.

 

4. Leopard Print

 

 

Interstellar project by Dimore Studio

Last year leopard prints were on display at several interior exhibitions, including, surprisingly, Scandinavian ones.

The main trend setters in Milan were the flamboyant designers Emiliano Salci and Britt Moran from the Dimore Studio. In their studio they presented the Visioni project, dedicated to the aristocratic Gabriela Crespi, the first female interior designer. The designers covered the walls in leopard print. Crespi travelled widely and created her collections using various techniques and materials such as bamboo, latten brass and bronze. The items she created were beautiful, glamorous and understated. This is why Emiliano Salci and Britt Moran chose such an extravagant background for their Gabriela Crespi collection.

This duo also debuted another project, dedicated to the launch of their own line of furniture and lighting. The designers turned an old cinema into a home, dividing the spaces with velvet curtains and covering the area with leopard prints rugs.

Here one could see all the stylistic elements of the eighties: disco lights, fringes, combinations of heavy velvet and silk, white and yellow metals, perforations, an armchair shaped as a catapulting space ship seat and bold “illogical” colour combinations.

 

5. The return of brown

 

 

Fendi Casa

Brown is coming back in wooden wall panels, laminated floors and terracotta furniture, actively making its way into the interior.

 

Lounge Chair JH97 by Fritz Hansen

 

 

6. Dark interiors / ‘Home as shelter’

 

 

Louis Vuitton’s cocoon armchair

Overall the colour scheme of the stands and interiors of last year was predominantly dark warm colours. Historians and design theorists explain this tendency by the fact that in times of social and economic crisis humans view their homes as shelters, ready to weave a nest and wrap themselves up in a cocoon, and this explains the colours, recalling Louis Vuitton’s cocoon armchair that became an Instagram hit.

We were very struck by the prominence of the theme of ‘home as shelter’ in press releases covering new collections in 2019. Now we can see how accurately these designers were able to predict the events of 2020.

Text: Anna Agapova

Photo: Salone Del Mobile, Press Office

O&A London collections in Elle Decoration, April 2020

Elle Decoration is highlighting O&A Design studio new residential project in a luxury real estate development.

 

Elle Decoration, April 2020

The recently completed apartment is like a jewellery box – full of individual and unique items.

The central elements of the dining room are the table and chairs from O&A London furniture collection.

Theemin table and Metallah chairs, O&A London
Lyra console, O&A London

The designers paid special attention to the overall general background of the space, which – despite its monochrome appearance – is marked by original detail. One of the bedrooms boasts handmade wallpaper from the Caledonia collection by Anna and Oleg, which was manufactured in collaboration with Holland & Sherry. The collection was inspired by the Scottish landscapes and the design used in this project (Staffa, Tranquil) imitates basalt pillars of the Staffa island. The poetic name of the colour is reinforced by the special tranquil atmosphere created in the bedroom. 

Staffa Tranquil Design, O&A London Caledonia wallpaper collection

Anna Agapova said of the design: “Despite the prevailing grey throughout this project, the interior turned out amazingly warm, saturated and enveloping. It transfixes you and allows you to rest and enjoy the silence and domestic bliss”.  

The Caledonia fabric collection was used for curtains and pillows.

Ocean Design, O&A London, Caledonia fabric collection

Photo: Mikhail Loskutov

To find out more about the project please visit O&A Design studio website

 

Studio. Spring Design Digest

Studio. magazine, March 2020 is highlighting the best merchandise, events and products worldwide.

We are happy that our first rugs collection Caledonia is included in a new rugs feature.

“A beautiful hand-knotted carpet can be a backdrop or the star of an interior design setting. It can work to tie every component of the overall design together for a harmonious result and appeals to all the senses – a pleasure to look at, soft and comfortable to touch, and it gives a hushed sound.” Lady Deirdre Dyson

The new Caledonia Collection of hand-knotted rugs is the result of a collaboration O&A London with Riviere Rugs. The range includes five designs – Ocean, Heather, Shells, Celtic and Sound of Fingal’s Cave – with each reflecting a deep sense of the beauty the designers experienced on their first visit to Scotland.

Manufactured from Tibetan wool and Chinese silk, the rugs can be customised in any colour, size and shape.

To find out more about the Caledonia collection

Our collections are now available in Moscow

O&A London collections are now available in a new showroom of Art Rugs Gallery Russia, Moscow.

 

The main feature if the project: Meissa Small chandelier

This is the second showroom Oleg Klodt and Anna Agapova designed for the Art Rugs Gallery. The first opened in Chelsea Harbour Design Centre in London in Spring 2019.

The owners’ central idea was to create a diverse boutique featuring not just rugs but also various art pieces such as sculptures and paintings as well as collectable furniture and lights.

To read more about the design concept please visit our Interior Design Studio site www.oa-design.com

Address: Plyushikha 37, Moscow, Russia

The World of Interiors, January 2020

The World of Interiors magazine, January 2020 is highlighting the best merchandise, events and products worldwide.

 

We are happy that our first furniture collection O&A London is included in the feature written by Sophia Salaman, the journalists and interior design connoisseur.

On the images:
Mintaka floor lamp


The Mintaka floor lamp is the embodiment of how to balance contrasting materials. The innovative asymmetry of the fastenings makes it possible to keep the base on a single plane, giving the piece a unique character. The metal rings in the base emit an even LED glow that serves as both a light source and a subtle ornamental effect.

Pictor II armchair

Pictor II armchair


Delicate airiness is the defining characteristic of the Pictor II armchair, giving it a sculptural quality and exuding a sense of comfort and calm. Its simple elegance enables it to co-exist with other pieces harmoniously.

Alnilam sofa

Alnilam sofa


The Alnilam sofa is distinguished by its subtle shape and spacious console-style seating upholstered in the finest natural New Zealand lambswool. Subtly aged brushed brass sets off the deeper tone of the upholstery, and fabrics and veneers can be customised to match interiors and preferences.

The collection is available in our showroom:

Design Centre Chelsea Harbour
Art Rugs Gallery
Third Floor North Dome
Design Centre Chelsea Harbour
London SW10 0XE

Stylish Christmas Decorations Ideas from Designer Anna Agapova

As we approach the most family-oriented holiday season so loved by many I would like to share some tips. These tips will not only create a happy and cosy atmosphere in your home but also will help add some stylish detail which in time will become an integral part of your family’s Christmas tradition.

Сlassic or contemporary?

So first of all let’s decide what sort of interior we are working with – classic or contemporary. We live in the UK where a traditional approach to interior still prevails and this is also true when it comes to Christmas decorations. While these are a joy to see it also gives food for thought to a designer who still wants to add something new to the traditional English approach.

 

Christmas Decorations, O&A Design Studio

Ideas for traditional Victorian spaces

For traditional Victorian spaces I suggest light contemporary decorations which will emphasise the style of the interior style and make it appear airy at the same time.

Alternatives to a traditional Christmas tree. First of all, instead of a traditional Christmas tree various floral compositions can be created using fresh or artificial flowers (depending on the budget) and cedar tree, thuja, larch-tree and pine tree branches. These bouquets will not only fill the room with an amazing pine aroma but will also be a great centrepiece if placed next to a fireplace, for example.

 

Christmas Decorations Proposal, O&A Design Studio

Window decoration. Windows are the second most important element when it comes to Christmas decorations. Here I suggest we move away from fairly lights and snowflakes and turn to installations. Handmade hanging decorations created using Christmas baubles will be very eye catching. You can use cotton wool, felted wool and knitting yarns. These decorations will retain the warmth that comes from your family members’ and friends’ hands, and involve all of you in the creative process. It could become a favourite set of decorations for years to come.

 

Christmas Decorations Proposal, O&A Design Studio

Ceramics installations. Nothing is as warming and cosy as ceramics. Our recent Christmas installation in one of London’s boutique hotels is a very good example of this. As we know, first impressions about a hotel are formed by the guests in the first two minutes. This is why it was so important to create the right image for the hotel lobby,  as this is the first space that the guests see. Especially for this lobby, I designed and created a composition of five little ceramic houses with flameless candles inside. The idea was to create a Christmassy atmosphere and make the guests feel closer to their own homes. This approach not only helped make the traditional interior more “contemporary” but also made the lobby very popular for socialising.

This kind of installation can fully replace the traditional Christmas tree. It is also very economical as it can be made from paper or even baked.

 

Christmas Decorations Proposal, O&A Design Studio

Contemporary interiors

Fill the space with history. When designing interiors, I always strive to fill the space with history and give the impression that the house has been lived in for many generations. Therefore I pay special attention to those details that tell us about the interior, and those who live in it.

 

Vintage tree decorations. Of course, Christmas tree decorations can share a story of generations. But if it so happens that there are no such decorations in your home, I urge you to buy several vintage ones. It is very possible that it will be a start of a new hobby and you will become a collector of Christmas decorations.

Eucalyptus, candles and fresh flowers. In conclusion I would like to mention an interior project that I created for someone who really knows about art. As my client’s extensive paintings collection required subtle surroundings, we decided to create a light design in the neaclassical style and compliment it with sophisticated bespoke furniture pieces made according to our drawings. This project was due to be completed in the run up to Christmas and the client asked us to also include some Christmas decoration.

Read more on Seasonal decoration

I wish Merry Christmas and Happy New Year

Yours, Anna Agapova

ELLE DECORATION: CALEDONIA new rugs collection

Our Caledonia, a new rugs collection is featured in a December issue of ELLE DECORATION magazine.

Thank you to the editorial team!

 

View the Caledonia rugs collection

Photo: Mikhail Loskutov

The Art of Deco, Interview with Anna Agapova about the inspiration

Interior Designer Magazine quizzed Anna Agapova, Creative Director, O&A Design, about what makes her tick at work.

 

Anna Agapova, Creative Director O&A London and O&A Design

If you could go back and design in a different period of history, when would it be and why?

My creative journey began in Russia where Avant-garde was especially popular, but to me personally, Art Deco felt like a style I could relate to much more. Art Deco as a style is intentionally expensive and is aimed at the middle classes, which is why it was carefully avoided in the soviet times. Unlike the stern and functional style of Avant-garde architecture Art Deco was not trying to build the new and just world of the future. It simply allowed one to enjoy life in the here and now. This style combined everything that its authors loved so much, the exotic style of the East, historic themes, new technologies, expensive materials and modern art, especially cubism. Cocktails, jazz and art deco brought to London, Paris and Milan the joy and excitement of life that enveloped America, which had not suffered the destruction of the First World War. This is the style that has always opposed pessimism. This style always inspired me and can easily be seen in my own O&A furniture and lighting collections.

Much like a workout anthem, what kind of music inspires you at work?

I am very musical and have worked out a system for myself. For example, when I am considering a client’s offer I prefer to listen to classical music. This increases my concentration. Mozart is especially good for it. Scientists even have a term called the Mozart Effect. However, Beethoven is my all-time favourite. When I am working on a concept, I choose music without lyrics, like Brian Eno. As the deadlines and project delivery dates draw near, I prefer pop music. I love The Beatles. Before the final presentation of the concept to the client I chose rock music, which fills me with confidence.

Which iconic figure, past or present, would you love to design a home for?

I love complicated challenges and this is why I would like to design a home for Leonardo da Vinci, the universal human being and genius. He was an engineer, scientist, sculptor and artist who never stopped searching. To design a home for a person who works at this pace would be a real challenge for me. The task would be made even more complicated by the fact that not much is known about Leonardo’s personal life. He used encrypted messages for his diary entries and even after deciphering them the researchers did not get that much information.

What film or television series for you encapsulates the perfect on-screen interior?

I prefer film directors who use architecture for visual effects. In Metropolis by Fritz Lang, Art Deco was chosen as a style for the anti-utopian city, and in The Grand Budapest Hotel the architecture defines the story line; the intertwining of a stolen painting and the love stories would not have happened had the hotel layout been differently. The characters would not have behaved like hopeless romantics and ironic sceptics had they existed in a different reality.

I consider Dogville to be one of the most powerful modern films, making one doubt the role of an architect. The plot takes place in a cartoon city where everything is empty, featureless and strictly functional. The architecture is abstract, it is just the background where the social drama unravels.

Name another designer working now whose sense of style you admire

I am very focused on textile design at the moment as I am getting ready to launch my second collection, so I would like to reveal the name of my teacher mentor who I admire endlessly, Bernie de Le Cuona. When I see her design there is no doubt in my mind that this is real art.

Read the full  interview 

BLACK FRIDAY: ALNILAM SOFA 75% off

We offer up to 75% discount for our stunning art piece:

LIMITED EDITION: ALNILAM sofa
The Alnilam sofa is distinguished by its subtle shape and spacious seating upholstered in the finest natural New Zealand lambswool. The sofa has an elliptical shape and is finished with hi-gloss Ebony Makassarveneer and polished nickel. View the description

Retail price: 48 000 GBP incl. VAT
Price after 75% discount: 12 000 GBP incl.VAT

The Alnilam sofa is available to view in Art Rugs Gallery showroom, Third Floor, North Dome, Design Centre Chelsea Harbour, London SW10 0XE

Please contact our sales team for the details info@oa-london.com

T: +44 (0) 2039 814 788
M: +44 (0) 7504 256 049

Public Space Awards 2019

We are excited to announce that our showroom has been shortlisted for the Public Space Awards 2019 – Retail Interior category.

The first collaborative showroom of two luxury brands Art Rugs Gallery and O&A London was opened at the world’s premier destination for design and decoration excellence — Design Centre, Chelsea Harbour, in March 2019.

The new showroom was designed by architect Oleg Klodt and designer Anna Agapova in the aesthetic of an art gallery. The designers succeeded in creating a stylish interior which reflected and reinforces the principles of the luxury brands and created an immersive customer experience.

The designers’ ultimate aim is that every client can select the product that is perfectly suitable for them or create their unique piece. They are pleased to have an opportunity to provide clients, interior designers, decorators and architects of the UK with exceptional products.


Photo: Anders Gramer

Oleg Klodt and Anna Agapova created an art installation for Best Interior Festival

Combining Art, Design, Architecture and Theatre

 

OFFLINE, Art installation for BIF 2019

Oleg Klodt and Anna Agapova presented a conceptual installation ‘OFFLINE’ created at the Best Interior Festival 2019.

The designers were invited by the Union of Architects of Russia to participate in a project titled “Interiors as the theatre”. The art project explores the role of an architect in scenography.

The concept was about the boundaries of Love. The designers’ interpretation was put in a contemporary hight tech world of context, on a bigger scale than just the gender relationships.

 

OFFLINE, Art installation for BIF, Black zone

The designers created two zones – black and white. The white one symbolises emptiness with the projection of the iPhone screen with an open messenger chat – the modern way of interaction.

The black part is about good old days reality filled with emotions, paper books, love letters, history and literature. We see a scriptwriter or a film director getting inspiration from the real-life stories and transforming them to the masterpieces. And it gives us hope and aspirations for the future.

Read the Interview with Oleg Klodt about the concept on www.archi.ru

The art installation was awarded by the Union of Architects of Russia as the best art project presented at the Festival.

Project team: Anna Agapova, Aleksandra Klodt, Oleg Klodt, Alla Yaskovets

Best Interior Festival

The Union of Architect of Russia

Photo: Roman Pankratov