The ship has been a popular metaphor for statecraft since at least the Ancient Greeks. The ‘ship of state’ was mentioned by Aeschylus in Seven Against Thebes (467 BC), and more influentially by Plato in his Republic (380 BC).
Plato was making an anti-democratic point by equating statesmanship …
Toby Ng Design a imaginé et réalisé une série d’affiches jouant intelligemment avec ce “Village of 100 people”. Il permet d’imaginer le monde comme s’il était un village de cent personnes avec différents graphiques. Des visuels soulignant des vérités criantes.
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Kube è un giocoso tavolino di Casamania che ho visto su Casa & Design di Repubblica. Il progetto è semplice da spiegare: si tratta di un grande mucchio di post-it colorati, tanto grande da montarci su delle ruote e usarlo come tavolino basso per uffici cool, sale d’attesa o camerette dei bambini.
Il progetto è di Loris Lucatello, un designer che non conosco e di cui non ho trovato traccia nel web. Ho scelto di pubblicare Kube perché è un tavolino simpatico, che non passa inosservato, e può essere utile come lavagna orizzontale per riunioni o per avere sempre sottomano la tovaglia di carta del colore giusto.
Sono disponibili formati diversi, e naturalmente fogli da acquistare in un secondo tempo per ricaricare il tavolino mentre si consuma.
Dopo una ricerca su Google, ho tuttavia scoperto il Note Table dell’inglese Tom Seymour, un progetto pressoché identico che ha vinto un Peugeot Design Award nel 2002, ma che non credo abbia avuto un grande riscontro commerciale.
La proposta di Casamania è più rifinita perché prevede un guscio in plexiglas per proteggere i fogli: chissà se sarà sufficiente questa miglioria, e la firma di un’importante azienda italiana, a decretare un maggiore successo all’idea.
English translation below by Gianluca Gimini.
Kube is a playful side table by Casamania that I saw on Casa & Design di Repubblica. The project is very simple to explain: a giant pile of colored post-it notes, so big it was put on wheels and it can be used as a small side table for office spaces with a fresh look, waiting rooms and kids’ bedrooms. The design is by Loris Lucatello, a designer I had never heard of before and that unfortunately I wasn’t able to find on the web. Kube was chosen for publication because it has personality, and it doesn’t remain unnoticed. It can be useful in business meetings as a horizontal blackboard or become a colored placemat dispenser.
It’s available in different sizes and naturally you can also buy additional reams of paper to substitute the ones you gradually use up.
After searching Google however I found out Note Table by the British designer Tom Seymour, basically an identical project which even won a Peugeot Design Award in 2002, but I don’t think ever saw a satisfactory commercial outcome.
Casamania’s proposal has a better finish because it includes a Plexiglas shell to protect the sheets of paper: time will tell us if this improvement and the signature of an important Italian brand will make this version of the project more successful.
The book »Kommunikationsdesign als Marke« deals with self marketing and brand development in communication design.
The trick with naming a movement the “Young British Artists” is that eventually that “Young” is going to age. The Guardian‘s Vanessa Thorpe is perhaps the first to issue an official statement that the heady days of the YBA, which made up of artists like Damien Hirst, Tracey Emin, and Sam Taylor-Wood, are now over (well, the first along with Gregor Muir‘s recent book, Lucky Kunst: The Rise and Fall of Young British Art). Thorpe reports that the UK’s current art scene “appears to have turned its back on the ironic jokes and personal confessions” and instead “focusing on objects in the world around them.” While she finds that there’s still plenty of self-reference and high-concept jokes being used (artists are still artists, after all), the YBA’s influence seems to have dwindled to some degree and new artists who are being recognized throughout the country and internationally have, en masse, gotten a lot more serious. Not that this should do anything to damage the multi-million dollar careers of many of the top original YBAs, but even if Thorpe’s calculations happen to be off by a year or two, eventually the newness was bound to waiver and the attention would start to shift toward whatever’s next. Alternately, we can always just do like the Independent has and just slap the same old YBA title onto other artists.
New Career Opportunities Daily: The best jobs in media.
If you wind up learning anything from us here at UnBeige, please let it be this warning: do not, under any circumstances, build a time machine and go back in time to either the late-60s or early-70s to design an album cover for a famous musician or band and then come back to the present, broke because you spent all your money on building a time machine and request that said musician or band to give you your image back. Such has famously happened to Peter Blake of course (minus the time machine bit) with his iconic “Sgt. Peppers” album cover for The Beatles, which he was originally paid somewhere around $200 for and has fought, unsuccessfully, to win the copyright from. Now the same is going on with Elton John‘s 1973 album, “Goodbye Yellow Brick Road.” The Daily Mail reports that the artist behind its cover, Ian Beck, has requested the original piece back, believing that the musician held on to it after Beck was paid £430 for it. The law apparently won’t be on the artist’s side, as it was stipulated at the time that “in 1973 whoever commissioned it owned it.” Though that changed two years later, it appears that Beck is hoping to appeal to Elton John’s generosity. Though getting past his representatives will be something of a hurdle. Here’s what they told the Daily Mail:
A spokesman for the singer says: “I have no idea whether Elton has it, but presumably if he does, he paid for it so it is his; £430 was a hell of a lot of money back then. A bit weird, isn’t it, to ask for something back 38 years later?”
New Career Opportunities Daily: The best jobs in media.
Let's keep it simple today, not too much text by me, but just images from beautiful designed objects by Studio Simple…
Studio Simple is run the by Ann Vereecken (1971) and Jeroen Worst (1974). Ann studied Graphic Design at the Royal Academie of Art in Ghent. Jeroen studied Industrial Design at the Gerrit Rietveld Academy in Amsterdam.
Studio Simple stands for objects/projects who have a clear relation with simplicity and time, local production and resources; hence a combination of what can be found nearby and something new, focusing on design footprint awareness.
This house on S. Michael Island in the Azores by Portuguese architect Bernardo Rodrigues comprises a jumble of curved and rectilinear volumes, creating little sheltered patios in-between them.
A large red square wall screens the house from the strong winds of the North Atlantic ocean.
An undulating roof terrace is sheltered behind this screen.
The ground floor spaces are open-plan and enclosed bedrooms are located on the first floor.
Photography is by Iwan Baan.
More stories about houses on Dezeen »
More architecture photographed by Iwan Baan on Dezeen »
Here is a little bit of text from the architect:
House on the flight of birds.
The house is located in the north side of S. Michael Island in the Azores.
The microclimate of this farmland offers frequent wind and showers so the first design strategy was to block with a wall those winds, offer diverse patios and covered courtyards on the ground floor protected from rain and open all living space to the natural green around by glass walls receded from the exterior.
On the upper-floor there’s the private rooms more enclosed and protected.
The typology follows almost classical Palladian and scamozzi central plan design with double height on living room and then two lateral wings enclosing one the kitchen, also quotes the high chimneys from popular residential architecture and a covered interior patio, and the other wing has the circulations for the first floor and to the roof terrace.
These two wings end in light entrances from the south. The roof offers possibilities of flight of views over all the island north shore.
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| Concrete House II by A-Cero | Moebius House by Tony Owen Partners | Zafra-Uceda by NO.MAD Arquitectos |
We’ve teamed up with Dutch design organisation Premsela to offer readers a chance to win one of five copies of Open Design Now: Why Design Cannot Remain Exclusive.
The book by Creative Commons Netherlands, Premsela and Waag Society examines the effect of 3D printers, accessible software and publicly-available blueprints on design and consumerism.
Due to be released next month, the book contains 15 essays by thinkers, designers and businesspeople, plus case-studies and a visual index.
Dezeen editor-in-chief Marcus Fairs will chair a panel discussion with experts in the field at the launch during DMY Berlin next week.
The talk takes place at 17.00 on Thursday 2 June at Planet Modulor, Moritzplatz 1 Kreuzberg, Berlin.
To enter this competition email your name, age, gender, occupation, and delivery address and telephone number to competitions@dezeen.com with “Open Design Now” in the subject line. We won’t pass your information on to anyone else; we just want to know a little about our readers.
Read our privacy policy here.
Competition closes 14 June 2011. Five 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.
Subscribe to our newsletter, get our RSS feed or follow us on Twitter for details of future competitions.
Here are some more details from BIS Publishers:
Open Design Now: Why Design Cannot Remain Exclusive
Essential book on the future of design and society to come out on 2 June
Design is undergoing a revolution. New technologies like 3D printers and accessible software mean anyone can be a designer today. Professionals and enthusiastic amateurs alike are using open design – the creation of products using publicly available blueprints and instructions – to share their work with the world. Consumers are designing cars, restaurants, even prosthetic legs. Open design is changing everything from furniture-making and education to the way designers earn a living. That’s why Creative Commons Netherlands, the Premsela Dutch design and fashion institute, and Waag Society have compiled Open Design Now, coming out on Thursday 2 June from BIS Publishers.
The book sheds light on the new movement and makes one thing clear: design cannot remain exclusive.
Open design empowers individuals as “part of a growing possibilitarian movement,” giving us “all the instruments to become the one-man factory,” Marleen Stikker argues in an introduction to the Open Design Now. Academics such as philosophy professor Jos de Mul, designers like Joris Laarman, and professionals including John Thackara and Bre Pettis look at what’s driving open design and where it’s going. They examine new business models and issues of copyright, sustainability, education and social critique.
Along with 15 essays by thinkers, designers and businesspeople, the book features case studies showing how projects varying from the RepRap self-replicating 3D-printer to $50 Fab Lab prosthetic legs are changing the world. And the Visual Index uses hundreds of images to illustrate aspects of open design from activism and copyright to co-creation and recycling.
As John Thackara puts it, “Openness is more than a commercial and cultural issue. It’s a matter of survival.”
Open Design Now is essential reading for designers, businesspeople, decisionmakers, students and anyone concerned with the future of design and society.
Book Launch Open Design Now – DMY Berlin – Thursday 2 June 2011
Open Design Now; Why Design Cannot Remain Exclusive will be launched internationally during DMY International Design Festival Berlin, on the 2nd of June.
Host is Marcus Fairs, one of the most influential and knowledgeable figures on the international architecture and design scene. He is founder and editor-in-chief of Dezeen.com and author of the books Twenty-First Century Design and Green Design. Fairs will give his view on open design and discuss the implications and the meaning of open design with authors and editors of the book:
Ronen Kadushin (designer), Michelle Thorne (Mozilla), Tommi Laitio (Domus), Marleen Stikker (Waag Society), Jürgen Neumann (Ohanda), Gabrielle Kennedy (Design.nl), Bas van Abel (Waag Society), Roel Klaassen (Premsela), Lucas Evers (Creative Commons) and Hendrik-Jan Grievink (designer of the book)
You can join the book launch of Open Design Now at Berlin’s new creative hub, Planet Modulor. Of course drinks and music will be open source too!
Open Design Now is the result of a collaboration between Creative Commons Netherlands, Premsela, the Netherlands Institute for Design and Fashion, and Waag Society, Institute for Art, Science & Technology.
When
Thursday 2 June
17.00 – 19.30 hr
Doors open at 16.30 hr
Where
Planet Modulor
Moritzplatz 1
Kreuzberg, Berlin
Buy this book and others at the Dezeenbooks store
(in association with amazon.co.uk)
This isn’t quite breaking news, but Thomas Callahan of Horse Cycles recently posted a short, sweet video introduction to his shop:
I had the pleasure of meeting Thomas a few weeks ago, at the New Amsterdam Bike Show, for which he was hosted the raucous afterparty at his 3,000+ sf shop in Williamsburg—thanks in part to eight cases of Heineken courtesy of the Dutch consulate. (Thomas also hosted the fellas from Geekhouse, who gathered reconnaissance on Thomas’s Raisin Bran addiction.)
These machines aren’t so much about the latest technology—in terms of fabrication or mobile partying—as they are about the bikes themselves; as Thomas says in the video, “it’s two wheels and a frame.” And while the custom framebuilding scene has definitely picked up quite a bit in the past couple years, Thomas stands out for his dedication to the craft, which comes through in the video and the final product.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
