Dans la continuité du superbe film The Third The Seventh, voici une réalisation du créatif Alex Roman avec ce spot TV de 60 secondes pour le fabriquant Cosentino, et son produit Worktop. Intitulée “Above Everything Else”, cette vidéo a été produite par The Mushroom Company.
Released just about a month ago, ‘I Wonder’ is Marian Bantjes’s latest book showcasing her gorgeous ornamental and graphic type studies.
Bantjes has been named by Sagmeister as ‘one of the most innovative typographers working today’, not that Sagmeister’s praise are needed, as her work’s quality speaks for itself. Take a look at more from ‘I Wonder’ on her site, and check out her other work below.
We’ve teamed up with publishers Gestalten to offer readers the chance to win one of three copies of The Story of Eames Furniture by Marilyn Neuhart and John Neuhart, worth £140 each.
Divided into two volumes, the first charts the development of the Eames’ office during the early years, while the second concentrates on the period following the Second World War until Charles Eames’ death in 1978.
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Above: From The Story of Eames Furniture, Copyright Gestalten 2010
Competition closes 30 November 2010. Three winners will be selected at random and notified by email. Winners’ names will be published in a future edition of our Dezeenmail newsletter and at the bottom of this page. Dezeen competitions are international and entries are accepted from readers in any country.
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Above: © 2010 Eames Office LLC, from the Collections of the Library of Congress
Here are some more details from Gestalten:
The Story of Eames Furniture
By Marilyn Neuhart with John Neuhart
In this unique 2-volume, 800-page book with more than 2,500 images, Marilyn Neuhart tells the story—to paraphrase Charles Eames himself—of how Eames furniture got to be the way it is.
The Story of Eames Furniture is the benchmark reference on the subject. It is a biography—not of an individual person, but of arguably the most influential and important furniture brand of our time. Brimming with images and information, this 2-volume, 800-page book in a slipcase sheds new light on the context in which the furniture of Charles and Ray Eames was created. It documents in unparalleled detail how the design process in the Eames Office developed as well as the significant roles played by specific designers and manufacturers.
Through intense and self-critical teamwork, the Eames Office was the first to translate the theoretical approach of the Bauhaus into commercially successful design for a mass market. One can hardly exaggerate the relevance of Eames’s modern concept of design. In many cases the success of the pieces is based on the Office’s own development and perfection of production processes for its designs.
The concepts that originated in the Eames Studio made a fundamental impact on modern design. Its furniture still tops bestseller lists and, decades later, the pieces have not lost any of their original elegance, timelessness, freshness, and quality. Its combination of conceptual consistency, aesthetic mastery, and almost scientific persistence is particularly inspirational for young designers today.
Above: From The Story of Eames Furniture, Copyright Gestalten 2010
BOOK 1: THE EARLY YEARS
The first book presents the early years of the Eames Office and its method of furniture design and development. It introduces not only Charles and Ray Eames, but also key members of their design team including Eero Saarinen, Harry Bertoia, Herbert Matter, and others—a widely diverse group of people who actually did the day-by-dy work on the furniture projects and who together ultimately turned contemporary design in a new direction.
The story begins here with an account of the furniture Charles Eames designed for MOMA’s 1940 Organic Furniture Competition. It was this groundbreaking work with the light material plywood that led to his first commissions from the US Army for molded plywood splints and stretchers, which were used on a huge scaled during the Second World War. Creating these designs for mass-production, in turn, was the impetus for what was to be Eames’s major career in technology-based design founded on a new aesthetic.
This book focuses on Charles Eames’s early work with plywood. It documents how he pursued his goal of adapting plywood-molding techniques into a system to mass-produce furniture. In doing so, Eames was the first to develop and apply mass-production techniques to furniture thus creating the modern furniture industry as we know it today.
Above: © 2010 Eames Office LLC, from the Collections of the Library of Congress
BOOK 2: THE HERMAN MILLER AGE
This second book features the period from the aftermath of the Second World War through 1978, the year of Charles Eames’s death and of the functional end of the Eames Office. By explaining the pioneering industrial processes used with innovative materials such as fiberglass, wire, and aluminum, it provides incomparable insight into how new technologies serves as the genesis for the most interesting pieces of Eames furniture.
This book focuses on the role of the Herman Miller Furniture Company in the evolution of furniture design at the Eames Office. It offers an in-depth examination of the Office’s relationship to the company that was, in essence, Charles Eames’s patron in furniture design and development. In addition to producing and marketing all of the furniture that issues from the Eames Office from 1949 to Charles’s death and beyond, the Herman Miller Furniture Company funded all of its development and prototype work. This volume also investigates the influence of Don Albinson, who was Charles Eames’s primary designer and technician from the mid-1940s to 1960.
The creation and spread of the landmark furniture design documented here is simultaneously the story of how modernism became established in homes and offices throughout the world. This second book celebrates Charles Eames’s vanguard cultural achievement of giving modern society the opportunity of materializing its identity through the Eames Office’s furniture.
ABOUT THE AUTHORS
The Story of Eames Furniture was written and designed by Marilyn Neuhart together with her husband John. Both worked with the Eames Office in various capacities from the 1950s until 1978, the year of Charles Eames’s death. Having been in close proximity to Charles and Ray Eames as well as the members of the Eames Office and their patron manufacturers for almost 30 years, Marilyn and John Neuhart had the extraordinary opportunity to absorb their stories. This book is a firsthand account of the Eames Office from within that meticulously portrays the history and development of Eames furniture based on the recollections of the Neuharts and those who worked closely with Charles Eames. More familiar with the material and protagonists than almost any other, Marilyn Neuhart has spent the last 15 years compiling the texts and images featured in this book.
ABOUT GESTALTEN
Gestalten specializes in developing content for aficionados of cutting-edge visual culture worldwide. The company is best known for documenting and anticipating vital design movements through more than 350 books we have published and currently distribute. Gestalten also offers a portfolio of services that fully exploits its role in the creative industries including curation and consulting, corporate design, and motion and interactive direction.
Always working directly with talented young designers and artists, Gestalten brings a deep understanding of visual culture on a global level to whatever we do and remains firmly committed to presenting visual trends with timeless substance.
Title: The Story of Eames Furniture
By: Marilyn Neuhart with John Neuhart
Price: € 150.00 / $ 199.00 / £ 140.00
Format: 25.5 x 29.2 cm
Features: 800 pages, full color, hardcover, 2 volumes in slipcase
ISBN: 978-3-89955-230-0
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Can’s see the movie? Click here.
At a gala held last night at New York’s Skylight Studios, Karl Lagerfeld and actress Carey Mulligan (in Chanel haute couture) announced that designer Billy Reid is the winner of the seventh annual Council of Fashion Designers of America (CFDA)/Vogue Fashion Fund Prize. Reid, who in February was named GQ‘s Best Menswear Designer in America, bested nine other finalists to take home a bigger-than-ever Fashion Fund prize of $300,000 and a steady stream of business mentoring from industry veterans. Runner-up honors (and $100,000 each, double the sum awarded last year) went to jewelry designer Eddie Borgo and breakout ready-to-wear star Prabal Gurung. The other finalists were Joseph Altuzarra, Christian Cota, Gregory Parkinson, Oliver Helden and Paul Marlow of Loden Dager, Moss Lipow, Pamela Love, and Robert Geller.
In addition to a lot more cash than in years past, the winner and runners-up were recognized with trophies for the first time. Sculptor Rachel Feinstein was tapped to create the bronze keepsakes. “After many years of this award ceremony, we finally realized that it would be great for the winners and runners-up to actually have an award to take home at the end of the evening,” said Vogue editor-in-chief Anna Wintour. “Rachel is not only a wonderful artist and sculptor but is also a true fashion original, and a muse and inspiration to so many designers.” Reid received a swan with its neck tucked under its wing, a design inspired by a Cesar de Santo reproduction of the lost Leonardo Da Vinci painting “Leda and the Swan,” while Borgo and Gurung each took home a bronze egg that makes us think of Veruca Salt (wasn’t her dress so Marc Jacobs?). All ten 2010 Fashion Fund finalists will receive a reproduction of Feinstein’s original sketches to commemorate the event. Meanwhile, past Fashion Fund winners and runners-up such as Sophie Theallet, Alexander Wang, and Doo-Ri Chung should watch the mailbox: their swans and eggs are on the way.
New Career Opportunities Daily: The best jobs in media.
Dutch designer Chris Kabel has created a circular bench made from one 10 metre-long wooden beam.
Kabel cut the long beam into trapezium-shaped pieces then fitted them back together to form a ring that retains the grain of the wood.
These pieces are held in place by a metal strap.
The bench is in use for an installation called Shared Space III in the communal space of the Witte de With Center for Contemporary Art and Tent in Rotterdam.
Here’s some more information from the designer:
What do you like most about the project?
That the bench really works. If you sit with three people or more in it, it automatically becomes a very intimate space where the outside world dissapears. You really feel embraced by the tree.
What was the original concept and how does it differ from the finished project?
For the Shared Space III I wanted to make a circular bench. I liked this shape because it creates two very different spaces. Facing outward of the circle you can be alone and anonymous. You can read a book or look at the passers by. But as soon as you step into the circle you become part of the atmosphere created by the people that are already in there. It’s a bit like sharing a bath in the sauna but then without the nakedness and the wetness… It also reminds me of my early school years where on mondays we would all sit with our little wooden chairs in a circle and talk about the things we did in the weekend.
And then I thought of how I would make it. Obviously, wood first came to mind but I wanted to do something unexpected with the wood. Normally to make a circular bench out of something straight, you cut it in shape and glue or screw it back together. This however destroys the continuity of the wood grain, which for me is the most characteristic feature of wood. So that gave me the idea of cutting the wood in small trapezium shaped pie pieces that, when put back togheter, would create a circle of three meters in diameter. The bench consists of a hundred of those pieces, held together by a metal strap (just like a wooden bathtub or a wooden barrel). It actually works in the same way as the stones in an arch in a wall. Another good thing is that you can disasemble the bench, load it on a pallet and tranport it very easily.
Did you have any difficulties during the design process or assembly?
Yes, it was very hard to find a piece of wood of this dimensions. To be true to the idea I really needed a wood beam of ten meters long. Also it needed to be dry enough to cut without cracking open or breaking too much. Because when wood is freshly cut it is very wet and when it starts to dry out, the outside dries out quicker than the inside and shrinks and thus cracks because the inside didn’t shrink yet. Luckily I found this kind of wood and also a fantastic woodworker who works a bit like a mad scientist, he invents his own machines and techniques. He is a specialist in impossible projects. He has also worked for the Chinese artist Ai Wei Wei, Ettore Sottsas and Ron Arad, which made me feel confident he knew what level of finish I desired.
Do you have any anecdotes/ funny stories that occurred during the design process?
First I wanted to make the bench in my own workshop out of a thinner but also 10m long wood plank attached to a metal frame, and with the wood pieces cut by waterjet and glued together completely in one piece. We almost started doing this when I realised myself the immense size this bench would have and how we would transport it. So I measured the doors of the building and found out that after being finished, the bench would never leave the building because the doors were too small. After this desillusion the answer to make the entire bench out of pieces cut one much wider and higher wood beam and later strapped together by a metal strap, proved much more natural and logical… So in the end I thank the architect of our building (which used to be a hat factory by the way, items that easily fit through any door) for not making the doors too big…
What would you like people to take away after seeing this project?
I hope that they will have shared something with a complete stranger in this wooden circle.
About the project itself:
What materials and techniques did you use?
Oregon pine beam of 10m/ 40cm /30cm, a little geometry, and a lot of cutting… the wood is finished with a matte transparent varnish
Where were the materials found?
The wood originally comes from Canada, where it has been lying in the river for a year to wash out the wood acids. Then it has been drying to the air for two years in the Netherlands.
How long will the space be occupied by your design?
A year or maybe longer
What do you expect the bench to look like after 6 months- a year?
The wood will become even better with age so I hope it will last a hundred times longer than that…
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| Seam Chair and Bench by Chris Kabel | New work by Chris Kabel | More furniture stories on Dezeen |
 | A lot of our favorite celebs and style icons have been talking about mixing their fave high-end statement pieces with more lower-priced items and while this is a great idea and gives any look an air of luxury, it’s hard for us mere mortals to mix in a different thousand dollar piece into every one of our outfits. But that doesn’t mean we can’t partake in this way of dress ourselves. The trick is to look for high-end designer staples that can be mix-n-matched with a plethora of different ensembles and that will stay in fashion for years to come. Here our some of our high-end staples that are worth the investment and how to wear them, plus take a look at our slideshow to see some face picks and where to get them!
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OK Go has announced a musical event taking place in Los Angeles tomorrow. Described by the band as a “big, awesome psycho-spatial geo-musical techno-sonic parade party”, it forms part of a tie-in between the band and the Range Rover Evoque. And they want us all to join in…
Via the use of the Range Rover Pulse of the City iPhone app, which allows you to make an image of any journey you make around town, the OK Go LA parade will result in a giant digital sign being created over the city. As the film above explains, the band are keen that everybody around the world perform their own street parade and create their own GPS images, and then upload them (along with any videos you may make on the way) onto the helloevoque.com site from tomorrow.
“The idea is that we, OK Go, are using the world as our palette, and our GPS devices as our brush,” say the band. Which sounds fun to us – let’s hope the results are as exciting as that sounds. Visit helloevoque.com for more on the project. Agency: Brooklyn Brothers.
Physical clutter is easy to identify in our lives because you can touch it, take a picture of it, and point to it during an argument with your roommate/co-worker/child/spouse.
“That thing, right there, should not be there!”
Other forms of clutter are more nebulous. If you are worried all the time, you can’t pack that anxiety up and sell it on Craigslist. If your schedule is overbooked, it’s difficult to know which of dozens of activities is the one too many.
To help identify the non-physical clutter in my life, I give myself a timeout. I’ll sit in a comfortable chair, holding a pencil and notebook, and close my eyes. I try to clear my head of all thoughts. Whatever thoughts slip in, I quickly open my eyes and write them down on the notebook paper. Then, I close my eyes again and try to clear my mind of all thoughts. After about 30 minutes, I’m usually able to settle down and enjoy a few moments of real silence.
When I get up from my timeout, I’ll look at the list and try to address everything on it as quickly as possible. Almost everything I write on the notebook paper is related to clutter in some way — I’ll pick up the phone and call a friend I’ve been worried about to see how she’s doing and if she needs anything, I’ll schedule 15 minutes to research information regarding a decision I need to make, or I’ll make a long-overdue appointment with my eye doctor. Even if I can’t solve the problem completely, doing at least something helps to relieve or reduce the clutter burden I’ve been carrying.
I’ve discovered that a monthly timeout helps me to keep the non-physical clutter from growing out of control in my life. If you haven’t tried it before, give the timeout a try and see what happens. Worst case scenario, you’ll fall asleep and conclude you are free of non-physical clutter.
Like this site? Buy Erin Rooney Doland’s Unclutter Your Life in One Week from Amazon.com today.
 | Celebs from across the globe have been trying the new short hair trend, a look that is for the truly self confident and daring! The great thing about a short style is that it’s highly versatile going from sassy one day and easily translating to sweet and girly the next. Plus, short hair is easy to manage and fun to adorn with eye-catching hair accessories! Audrey Tautou looked fun and girly with her loose curls and fun hair bow, but was not a favorite amongst Hivers. Carey Mulligan’s sweet and simple do made for strong competition, but it was Keira Knightly’s wispy bangs and smoky eyes that got the win with 53% of the votes. Her longer bangs that just graze her eyes give her hair added sex appeal, as does a sultry smoky eye. You loved the look and we’re here to show you what you need to emulate it! Just click on the slideshow to see some products that make getting Keira’s sexy, bold look a cinch! |
The Shokki collection is the result of a culinary sandstone tradition and a cosmopolitan lifestyle which desires speed and pleasure. Those recipients ..
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