Hasta La Ideas

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pem Ron Arad’s emI.P.C.O (Inverted Pinhole Camera Obscura)/em, 2001/em/p

p/p

pemGuest post by Victoria Kirk Owal/em/p

pTo make it as a designer in London in the ’80s, you had to pretend you knew what you were doing when you really didn’t. This was the central message from Thursday’s panel discussion at the a href=”http://www.barbican.org.uk/artgallery/event-detail.asp?ID=10133 “Barbican Center/a in London between a href=”http://www.ronarad.com/”Ron Arad/a, a href=”http://www.katharinehamnett.com/”Katharine Hamnett/a and a href=”http://www.design-museum.de/museum/ueberuns/index.php”Rolf Fehlbaum/a, moderated by a href=”http://en.wikipedia.org/wiki/Deyan_Sudjic”Deyan Sudjic/a of London’s Design Museum. It accompanies a href=”http://www.barbican.org.uk/ronarad”emRestless/em/a, Arad’s first major survey in the UK, showing through May 16./p

pThe conversation focused on the designers’ career paths rather than the shift from readymade to industrial production, the suggested topic. The designers recalled their individual journeys to creative and professional success in a time when London’s design scene was diffuse and less sophisticated than it is today. Fehlbaum contributed his perspective on the growth of their respective design talents and the expansion of London’s pool of designers./p

pSeveral memorable themes emerged:/p

pbThe role of constraints in creativity/bbr /
Ron and Katharine both recalled a strong desire to liberate themselves from norms, practice design without marketing constraints, and answer their own briefs. The real constraints lay in the capabilities of mass production and, in Katharine’s case, the need to stay commercially viable to pay the bills without compromising creative vision. Ron was working within the creative and technical constraints that he set for himself, which gave him unprecedented autonomy and room to experiment./pa href=”http://www.core77.com/blog/events/1980s_from_readymades_to_industrial_production_at_the_barbican_london__16122.asp”(more…)/a
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