I fully accept the rebellion, the subversion and the humour. He was a listless student at the Ecole Nissim de Camondo in Paris, but in Starck designed an inflatable structure, based on the idea of materiality, reflecting his early interest in living spaces.
Not long afterwards, Pierre Cardin, seduced by the iconoclastic design, offered him the job of artistic director at his publishing house. In , after the creation of several emblematic objects including a floating lamp and a portable neon sign, this intrepid dreamer designed an audacious decor for the night club, La Main Bleue - in Montreuil — demonstrating that no venue is less respectable than another just because of its eccentricity. At the same time he founded his first industrial design company, Starck Product, which he later renamed Ubik after the famous Philip K.
Dick novel. Here he initiated his collaborations with the biggest design manufacturers in Italy - Driade, Alessi, Kartell - and the world — Drimmer in Austria, Vitra in Switzerland and Disform in Spain, to mention but a few. It symbolised an institutional recognition of design. His reinvention of the codes of the Parisian cafe made it the cafe par excellence.
The emergence of a new space, restaurant, bar or hotel is always an occasion for Philippe Starck to consider the meaning of creation in depth: the sense of a space within its environment, the sense and sentiment of a place for the tribes who inhabit it, the sense of a project, regardless of its size, within human evolution.
Creation cannot be vain or gratuitous. It involves an increasing awareness of its implication for Mankind and his environment and a responsibility for the future. This modest approach is marked by the ambition of a dreamer who firmly believes in the possibility of finding solutions to contemporary issues. And yet Philippe Starck refuses to impose his solutions. I tell stories and offer the public the most complete spiritual notion possible of the spaces they visit. Public spaces are above all about emotions and experiences.
Although he considers himself no more an architect than designer, in the early s Philippe Starck designed several buildings in Japan, with forms previously unseen. The first was in Tokyo, completed in , and is striking in its originality. Nani Nani was an impressive anthropomorphic building covered with living material which evolves with time.
The structure was born from the powerful conviction that creation must invest in an environment without destabilising it while maintaining the greatest respect for its context. A year later he confirmed his status as leader of avant-gardist architecture with the Asahi Beer Hall in Tokyo and then an ensemble of offices in Osaka, known as the Baron Vert, in A pioneer of impressionist reasoning bursting with relentless enthusiasm, he made buildings that even when dedicated to work reclaimed life in all its continuous exuberance.
The perfect culmination of a lifetime of research and vision, Yoo today has more than 50 projects spread over 27 countries — from Asia and Australia to America, Europe and the Middle East — with new constructions recently announced for Ecuador and Mexico.
In Rio de Janeiro, , Philippe Starck conceived the interior architecture and decoration of the Faena Hotel, as well as the exterior and interior architecture of the Fasano, an eight-story on the seafront. Through his elegant use of wood, glass and marble, Starck succeeds in recreating the sophisticated and relaxed spirit of the city within this magical venue while offering a spectacular panorama over the sea.
Philippe Starck also shows genuine commitment to public spaces where he hopes to establish a humane community determined to strive for change. And it is precisely within these walls that the history of the building unravels. Very few other spaces in the world offer so many activities in one place: you can work here, eat, drink, see an exhibition, do sports or read. I like this idea of communion, the intermingling of activities, while remaining very practical.
Passers-by can see it all happening through the windows. There he offered an entirely new conception of urbanism, blurring the boundaries between port and the boats, the sea and the land. On the site of an old structure at the entrance to the Saint Ouen Flea Market on the outskirts of Paris, a large building in brick, concrete panels and zinc was constructed in With the external architecture of the restaurant Ma Cocotte, Philippe Starck pays tribute to the typical buildings of the neighbourhood and its inhabitants, a kingdom of market traders whose authenticity and effervescence has long fascinated him.
This honest architectural vision, cultivated within the rules of art, favouring life in all its forms will organically continue to develop elsewhere over the next few years. Le Nuage, which saw the light of day in in Montpellier, has established itself as a poetic destination, a vertical village, conducive to the socialising of all tribes, complete with cultural, sporting and relaxing activities. Enveloped with a transparent membrane in polymer known as ETFE, this is the first inflatable private building to be made in Europe.
With the P. Prefabricated Accessible Technological Homes project, available since October , Philippe Starck offers a new take on individual, hi-tech pre-fabricated houses destined for as many people as possible.
Eclectic, bustling and full of determined energy in it will be endowed with a new cultural and polymorphous life. It will be home to a hotel, exhibition halls, theatres and cinemas, metamorphosing into an indispensable epicentre of creativity.
The architectural ensemble has been restored with the utmost respect for its historic heritage. It will be surrounded by a park with covered stalls selling the work of local craftsmen and artisans.
This ethical approach, for everyone, from the architecture of buildings, public spaces and the multifunctional modular urban furniture for JC Decaux , realised in absolute symbiosis with its human and topographical context, to his numerous interior projects for restaurants and hotels, is expressed in a truly global manner.
From the s onwards he made his mark on the hotel industry and those years saw a flamboyant revolution. Along with Ian Schrager, Starck offered a new approach and new codes to hotel conception starting with the Royalton in New York.
While most of his hotels have taken other paths Royalton, Mondrian, Delano, Sanderson and St Martins , Phillipe Starck has none the less made his mark on hotel design with these original creations.
Every project is a destination that generates emotions and experiences. The hotels are no longer venues of fleeting impersonal passage but living spaces distilled with friendly, fun signs and fertile surprises.
It has the unique concept of a double entrance, where one is for the exclusive use of the clientele and the other for the general public, opening into what is known as the Bazaar. It has something of the village square about it. This collaboration with the hotel chain belonging to the visionary entrepreneur Sam Nazarian continues today: new SLS hotels have opened with the same success in South Beach Miami , with other versions on the horizon in New York, Miami Brickell as well as Philadelphia and Seattle Starck is revolutionary in his refusal of an exclusive approach.
From the s onwards Starck committed himself to another revolution, that of the democratisation of quality, designer hotels. This human-centric approach has led Philippe Starck to develop projects that contribute essentially to the process of democracy of the hotel industry. In he applied this generous, humanist idea to Paris in the design of the Mama Shelter. This hotel bears witness to the new social values of an open minded cultural tribe founded on rigour, honesty, humour, intelligence and sharing.
Conscious that the hotelier business must reflect the movements and flux of the world and its ideas, in he started reinterpreting the codes of Parisian luxury hotels with vigour and fantasy, adding a dash of poetic and surreal folly to the oldest five-star hotel in the French capital, Le Meurice.
He added new notes to his score in with the introduction of yet more mystery and humanity to the palace spaces. He applied his artistic direction once again in to the Royal Monceau, where he wrote a fantastical and previously unseen script where every room is imbued with the cultural energy of an imaginary occupant. Philippe Starck broke with custom and thrust the heritage of a luxury hotel embodying Parisian heritage into another timeless, whimsical dimension.
To rediscover this rebellious and subversive spirit that manages simultaneously to be very elegant, detached and noble. This emblematic venue in the Bay of Arcachon, a landscape so dear to Philippe Starck, will rediscover its life and panache of former times in summer Philippe Starck understood long ago that a venue or a space cannot exist without a story — a heritage rich in sense — that remains timeless and universal.
Because for Philippe Starck, telling a story is consubstantial with the creative process: the meaning nourishes the form. Always different, his scenarios provide a link with those who create the soul of a place, by respecting an approach intimately articulated around subversion, humour, creativity and poetry among others.
Whatever the project, Starck enjoys highlighting its singular pulse, its special vibration, to create a venue in harmony with its environment while lighting its romantic flame. One iconic venue has followed another in the biggest cities around the globe with the Teatron restaurant in Mexico , then the Teatriz in Madrid , the Felix restaurant in Hong Kong , and in Paris the Palais de Cristal for the Maison Baccarat and its restaurant the Cristal Room Baccarat, the restaurants Bon I and Bon II dedicated to organic and healthy eating, and for the US the eponymous Katsuya chain arrived in Los Angeles in All of these venues have come alive under his direction.
The same year Philippe Starck opened the Mori Venice Bar, a venue that has allowed him to share his passion for a fanciful Venice and its elegant gastronomy. Ever loyal to this love, he refurbished the space in In he unveiled an equally subversive and Manichaean vision of the world with the Bon restaurant in Moscow. In Beijing he concocted a theatrical extravaganza for the m2 restaurant Lan, opened in , where the abundance of objects and materials as well as the miscellanea of styles transport the diner on a surreal journey.
Starck never stops thinking about the venues, giving them meaning. More than just an architectural gesture Philippe Starck designs living spaces conducive to creativity, to be shared between friends and family, just like Ma Cocotte , the new restaurant in the heart of the famous Saint Ouen Flea Market, a place that means so much to Philippe Starck.
The space is constructed like bridges between culture and life, celebrating the rite of the meal between family and friends. A common thread effortlessly pulls these plus architectural projects together as well as those in the pipeline a medical reception and research centre, two new hotels in Paris, hotel complexes in Singapore, New York, Philadelphia and Seattle.
What is humanity lacking? The only thing design can do is earn the right to survive, at least move in more humanist directions. His designs aim to serve more than the object; they aim to offer the best possible service while using the minimum of materials.
This is powerfully demonstrated with the first ever Ideas Box, deployed in January in the Great Lakes region of Burundi. The Ideas Box, a portable multi-media library created by Philippe Starck for Libraries without Borders, offers populations exposed to humanitarian crises access to the Internet, books, various teaching aids, not to mention theatre and film. Since then the principal of the Ideas Box has been successfully rolled out in more than 11 countries. From the beginning his designs were never intended for the elite, but for society as a whole.
He believes that sincere, modern elegance comes from the multiplication of an object, as opposed to the ideology of limited editions, where premeditation on rarity leads to a selection through money rather than necessity. This approach, aiming to provide the largest number of people with the best quality, has been deployed by Philippe Starck in all domains: from tableware to issues concerning the body and hygiene.
He has created elements for the bathroom for Duravit, Hansgrohe, Hoesch, Axor , and a toothbrush Fluocaril, By creating objects that put function before beauty, Philippe Starck designs exist in our daily lives thanks to their humanity and their intelligence.
His creations make our existence and even the most anodyne have an allure that reveals their secret poetry. So the toothbrush metamorphoses into a friendly landmark in the bathroom, like a nod of encouragement, a work of sculpture all whilst being rigorously functional. Keen on nourishing the body as well as the soul, he perfected an innovative tubular structure that guarantees the Pasta Panzani will be cooked to al dente faultlessness every time In , in collaboration with scientific adventurer David Edwards, the designer imagined an aerosol, the WAHH, which procures the feeling of being drunk in a single squirt, without the less desirable side effects.
This little object explores new unchartered territory of aerosol food and the exponential relationship between trace amounts being ingested and the taste and effect felt. Many years of research and work finally allowed Starck and the champagne house Louis Roederer to introduce the Brut Nature vintage in September This zero-dosage vintage is as much the fruit of a prestigious terroir as a unique collaboration between a champagne house, its cellar master and a designer.
The skin and the body do not lie. A visionary pioneer of our contemporary habits, the designer anticipated the complete integration of objects in to the human body with the Starck Watch — powerfully announcing that the watch will not only be digital but will also provide a platform of services. With his sensitivity to the multiple dimensions of existence it was inevitable that he would get involved with clothes. For Puma he designed intelligent shoes and for his Starck Naked brand he created underwear that was both technological and sexy.
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Sometimes, for my clients it is not very comfortable, because they are so happy to bring me the royalties. And they are disappointed. This is also all possible because of my wife. I have no idea how to make multiplication or division. I hate to speak on the telephone. With absolute beauty and intelligence, my wife organizes everything for me, which is complicated because we are so, so, busy. But she puts oil in and makes sure the machine is working. One of your first jobs was working with the fashion designer Pierre Cardin.
Yes, I was I was nobody, from nowhere, and I wanted to make furniture. The star in fashion at the time was Pierre Cardin, so I went to see him to show him what I wanted to do, and he took me immediately. But very fast I realized we were complete opposites. So I left after three months. Then you went on to launch your own business and design nightclub interiors. How did you progress from that early stage of your career to where you are now—Philippe Starck, the brand?
We are high-tech, rigorous, honest, avant-garde, always going in the same direction. And we have vision. We are timeless. Creativity and rigor. If you want to see the plane fly, you have to create it. I am both. You have 1 free article s left this month. You are reading your last free article for this month. Subscribe for unlimited access. Create an account to read 2 more. Personal productivity. A version of this article appeared in the April issue of Harvard Business Review. Read more on Personal productivity or related topics Creativity , Design thinking and Organizational culture.
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