Art and vintage clothes in a new Portland store inspired by a mom
The concept of multi-use retail spaces may not be new, but Portland’s recently-opened Golden Rule may be the first to introduce a mom homage. Owner Wynde Dyer started her “social experiment in creativity and commerce” after her mother—a compulsive shopper—passed away and left her with a 17-foot-long U-Haul full of clothes. Instead of calling Goodwill, Dyer decided to peddle the extensive collection of goods in a rotating art space.
Photos of Dyer’s mother, Morena Therese Faust, pay tribute to her golden hair and sunny California aura (despite the many tragedies that dogged her life). Shoppers browsing racks of silk dresses and skirts made by Faust herself will find mini-memorials tucked between the racks. With the massive collection spanning the mid-1800s to the mid-’90s, each month the inventory changes depending on the artwork gracing the walls. “I’m trying to stay positive, make lemons out of lemonade, and turn the dark to light,” she explains.
With a cache large enough to stock the space for two to three years, Dyer continues to not only update the fashions but also features the work of a different artist every month. September sees mixed-media artist Delphine Bedient take the stage with works channeling her Midwestern roots. “We’ll be choosing clothes that speak to these same things: Lace, browns, a lot of Gunne Sax dresses,” says Dyer. “What we do is lead with art, and let the fashion and furniture follow.”
Currently on view is Howard Gillam‘s psychedelic works, and with that theme the Golden Rule gang created a colorful credenza to place in the front window.
You can browse the Golden Rule shop on Etsy, which includes wares from previous months’ installations.
The latest installments in Fallon’s quirky French Connection campaign dials up the engaging idiosyncrasies of The Man. And The Woman? Well, she’s still very pretty…
When this campaign first broke earlier this year, I wrote (here) that “the new campaign feels like an attempt to scrub away the lingering whiff of Bacardi Breezer about the brand and distance it from its punning past.” Trevor Beattie’s FCUK work had cemented his reputation and shifted a lot of gear for his client but, once the joke wore thin, so did customer’s appetite for the brand.
The company doesn’t announce its half-yearly results until next month so it is too early to tell what effect the campaign has had on sales but it may already have shifted perceptions.
The latest tranche of work (which before anyone leaps in and moans that it’s been seen already, has been rolling out over the past couple of weeks) continues the off-beat tone of voice of the originals. Its combination of the high-brow (references to Jørgen Leth’s 1967 short film The Perfect Human) and the plain daft betray the influence of Tomato’s Dirk van Dooren, who worked on the original concept with Fallon’s ECD Richard Flintham.
I like it – it’s original and different and, as one of the commenters pointed out in reference to my original post, injects an element of bizarre humour not seen in fashion promotion since Brian Baderman’s gloriously bizarre Diesel catalogues of the late 90s.
But I have one gripe with it. The Man is engaging, funny and on his way to being a three-dimensional character. The Woman just stands around looking nice, waiting to be admired. Perhaps this reflects research into the differences between men and women when it comes to buying clothes – men generally feeling uncomfortable about the whole thing and needing to make light of it. But it would be nice to think that there is something going on behind that pout.
UPDATE: Apparently, some of the print layouts featured here earlier were not client approved ads. We have replaced them with ads which will run.
Rotterdam architects OMA have announced their proposed masterplan for a new cultural district in Hong Kong.
The 40 hectare site would comprise three ‘urban villages’ situated within a park connected to the existing Kowloon Park, forming the largest public green space in Hong Kong.
One of three contenders for the site, the scheme consists of a museum and exhibition space, performance venues, a market and an open-air amphitheatre seating 15,000.
OMA reveals plans for new cultural district in Hong Kong
Hong Kong, 20 August 2010 – The West Kowloon Cultural District Authority unveiled today OMA’s conceptual masterplan for a major new arts district in Hong Kong. Under OMA’s plan – one of three competing proposals – the 40 hectare waterfront site facing Victoria Harbour would become an authentic environment of three urban villages embedded in a new public park, Hong Kong’s largest.
Click above for larger image
OMA founding partner Rem Koolhaas commented: “Using the village – a typology every citizen of Hong Kong is familiar with – as the model for our plan allows us to absorb the massive scale of WKCD’s ambition into manageable portions and forge deep connections with Kowloon, whose vital urban energy will be the lifeblood of WKCD.”
In 2009, OMA established a new office in Hong Kong to study local conditions and consult with a wide range of stakeholders and experts in the fields of culture and finance. Out of this research, we generated a cultural masterplan, working in tandem with architecture, for establishing a creative milieu that can fully ‘inhabit’ WKCD’s plethora of new arts facilities and make the neighbourhood come alive.
OMA’s three villages each have a strong emphasis on vibrant street life and cultural production where all aspects of the creative process – from education to rehearsal to production to performance – are nurtured and made visible.
Art in the east
One of the key elements of OMA’s proposal for WKCD is M+, an experimental new museum interpreted as a barcode of overlapping bands featuring visual art, film, design and popular culture. Embedded in M+ is an Art Factory, where education, artist studios, a hotel and shops intersect and interact with the museum itself. Beneath M+, the Exhibition Centre is a venue for auctions and conventions, a further intermingling of culture and commerce. M+ links to Kowloon Park and to the surrounding neighbourhood with pedestrian bridges – one of them an
extension of the park, one an extension of the museum itself – into Jordan and to Temple Street, and across Canton Road to an outpost of the museum in Victoria Towers.
Market in the middle
The Middle Village is conceived as a continuation of Kowloon’s street markets, with small-scale entertainment, local shops, restaurants, street markets, artist studios, production spaces, and galleries. The Middle Village is flanked by a Xiqu Theatre (and a Xiqu School) for Cantonese performance and, to the east, a premiere movie theatre celebrating Hong Kong’s film industry.
Performance in the west
With views over the water and Victoria Harbour, the focal point of Theatre Village is the Uni- versal Theatre, a network of four interconnected performance spaces: chamber music theatre, street theatre, grand theatre and a concert hall. Each venue is embedded in a single, continu- ous outdoor lobby stretching the length of the village. Below the lobby, the public can tour the shared rehearsal, production and technical spaces for all four theatres.
The Mega Performance Venue
Located in parkland between the West and Middle Villages, the Mega Performance Venue is an open-air amphitheatre based on the ancient Greek and Roman model. It seats 15,000 people for large scale entertainment ranging from pop concerts to New Year’s celebrations with views over Hong Kong Island as its natural backdrop.
Park of the New Horizon
All three villages are embedded in a single park, which connects with Kowloon Park via a planted green bridge to form the largest public green space in Hong Kong. WKCD’s Park of the New Horizon offers a space liberated from the commercial, and also from the wealth of interdic- tions familiar in most of Hong Kong’s open space. We draw from tropical agriculture and the fishponds of the Mai Po wetlands not only as a repertoire of species and cultivation methods, but as a mechanism for organizing communal action. Forest gardens, orchards, ponds, mead- ows, and even communal urban farming are all connected by paths for pedestrians and cyclists.
OMA’s conceptual plan will be discussed in a series of public forums in the coming three months, in which OMA is represented by Rem Koolhaas, David Gianotten and Betty Ng. The project is also on display in roving exhibitions across Hong Kong from 20 August until 20 November and at the 12th International Architecture Exhibition in Venice from 29 August until 21 November.
DezeenTV:
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We may be languishing in the dog days of summer, but we’ve still had some great work sent into CR Towers of late – here’s a round-up of our favourites. First up is this bizarre music video for Yeasayer track Madder Red, from director Andreas Nilsson, which tells a tale of love between a young girl and her one-eyed pet creature…
Sticking with music videos, here is Monsterism artist Pete Fowler‘s promo for I’m Aware by Clinic.
This promo, directed by L’Oeuf Sacré (who, according to PromoNews, are two ad creatives, Alex Mavor and Ed Kaye, moonlighting from VCCP), shows the perils of sunbathing in all too graphic detail. The band is Band of Skulls and the track is Fires (You Are Here).
Over to advertising now, and a new Cadbury’s ad from Saatchi & Saatchi Johannesburg. The spot takes Fallon’s Cadbury’s Gorilla ad as its cue, but this time it is an ambitious ostrich that is centre stage.
Meanwhile, UK audiences can currently see this ad for Cadbury’s on their TV screens. The spot is directed by Nick Gordon, and introduces the Cadbury’s Spots vs Stripes competition.
Ponce Buenos Aires is behind this set of ads for Axe deoderant which amusingly highlight the perils of nervous sweating for men (and how Axe can save them, natch). The ads are directed by Nico y Martin.
Also from Argentina is this witty spot for Gatorade, part of a campaign which emphasises the gap between the nicknames given to local football team players and the reality of their skills. The agency is BBDO Argentina, and the ad was directed by Luciano Podcaminsky.
Wieden + Kennedy London has created this new spot for Nike and Foot Locker, for the launch of the new Air Max 90 shoe. The directors are AlexandLiane.
Dentsu Canada and interactive production company Lollipop have created this online treasure hunt for Sapporo Beer. Visit legendarybiru.com to take part in the competition, where you hunt for hidden scrolls to be entered in a competition to win a trip to Japan.
Finally, we end with the first campaign in a series for General Electric from the Barbarian Group in New York. Titled The GE Show, the campaign consists of a series of episodes that look at the way that General Electric helps with various crucial areas of life. The first instalment in Healthy Hospitals, which includes short documentaries giving info about the problems faced by hospital emergency departments in the US. On the more fun side, there is also a rather addictive game (still shown above) which challenges players to manage patients and staff in a hospital. All you need to while away a quiet Friday afternoon… find the game (and the rest of the campaign) at ge.com/thegeshow.
Bucket vase collection is an tribute tot he ordinary, simple yet nice shape of the bucket. it’s shape did not change for last 40 years or so. The desi..
pema href=”http://www.dcontinuum.com/content/”Continuum/a continues their series Open for Branding, where they are sharing, from start to finish, their latest branding project for the new, nomadic a href=”http://designmuseumboston.org/”Design Museum Boston/a. They’re asking for your input, so don’t hesitate to leave your feedback in the comments below./em/p
pNow, we’re in the concept phase. Here’s when things begin to take shape–and our weeks of research, discussion, and brainstorming start to come together. The concept phase channels all of this work into sketches, and we create actual designs. /p
pIn other words, the work up to this point has allowed us to create rules and parameters for designing so that when we start to develop the brand identity, we’ll create meaningful, on-point concepts deeply aligned with the mission and vision of Design Museum Boston./pa href=”http://www.core77.com/blog/featured_items/open_for_branding_week_4_the_calm_before_the_storm_17195.asp”(more…)/a pa href=”http://feedads.g.doubleclick.net/~a/6zsDdAgAzieQuKXWMxcTXXjJaAk/0/da”img src=”http://feedads.g.doubleclick.net/~a/6zsDdAgAzieQuKXWMxcTXXjJaAk/0/di” border=”0″ ismap=”true”/img/abr/ a href=”http://feedads.g.doubleclick.net/~a/6zsDdAgAzieQuKXWMxcTXXjJaAk/1/da”img src=”http://feedads.g.doubleclick.net/~a/6zsDdAgAzieQuKXWMxcTXXjJaAk/1/di” border=”0″ ismap=”true”/img/a/p
Quiet emptiness, a locked Prada store, and creepy lights await Thomas Kellein when he moves to Marfa, Texas this January. The Chinati Foundation, founded by Donald Judd and housing permanent installations of his work, as well as by other artists like Dan Flavin and Claes Oldenburg, has announced that Kellein will be taking over as its new director at the start of next year, replacing the retiring Marianne Stockebrand, who has been in the role for the past sixteen years. Kellein comes from the Kunsthalle Bielefeld museum in Germany, where he’s served as its director since 1996. While the climate is apt to be something completely different for him, Kellein is already very familiar with Judd’s work, having run the exhibition “Donald Judd: Early Work, 1955-1968” back in 2002 at both his current museum and as a traveling show at the Menil Collection in Houston. Here’s a bit:
Speaking of the appointment and the transition it represents for Chinati, Board President Arlene J. Dayton remarked: “Chinati has been extremely fortunate that its extraordinarily committed first director, Marianne Stockebrand, was able to transform a fledgling institution, founded by Donald Judd but left upon his death without the resources to support itself, into one of international stature without ever compromising Judd’s demanding standards. Only because of this distinguished record are we able to announce today a successor who can be much more than a mere custodian. Thomas Kellein brings with him a similar level of commitment to the mission of the institution, and will help ensure the stability of our future and the realization of our long-range plans. We are truly delighted to be able to entrust the Chinati Foundation to Dr. Kellein’s wise care.”
La porte de la marque Minjjoo est une porte intérieure qui intègre une plus petite permettant aux enfants d’avoir accès à leur propre espace. Leur donnant l’impression d’etre plus grand, cette invention judicieuse fait bel effet et ravira les petits. Plus d’images dans la suite de l’article.
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