Russell Houghten nous présente sa nouvelle vidéo appelée “Open Horizon”, du même titre de la bande-son composée par Richard Houghten. Avec des images du désert conjuguées à des images de skateboard, le rendu simple et très efficace est à découvrir dans la suite.
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Did you get your hands on a bottle of that coral-infused red polish that became a must-have accessory for designing women? Achieve a pedicure that pops thanks to Cato Pink? These trendy shades aren’t the latest creations of Chanel’s Peter Philips but part of a popular series of upholstery-themed nail colors from…KnollTextiles. Founded in 1947 by Florence Knoll (née Schust), the company prides itself on creating fabrics that “combine beauty and function in the Modernist tradition” and recently was the subject of a color-soaked (and widely lauded) exhibition at the Bard Graduate Center in New York. What began as a one-off holiday marketing move—the December 2010 introduction of Knoll Red nail polish—quickly gained traction in the design community. Soon Facebook fans were begging for limited-edition bottles of the company’s signature orangey red, and the polish even inspired a tablescape at DIFFA’s 2011 Dining by Design benefit gala. KnollTextiles wasted no time in debuting a second hue: a bright pink tribute to its beloved Cato fabric, which turned 50 last year. Its latest lacquer is Tryst, a pewter-toned polish that celebrates the unique polyurethane upholstery of the same name (pictured above, in the icicle colorway). Designed by Dorothy Cosonas, the elegant horizontal stripe has already attracted some discerning fans: earlier this year, the Smithsonian’s Cooper-Hewitt, National Design Museum acquired the textile for its permanent collection.
New Career Opportunities Daily: The best jobs in media.
Like many of their fellow student exhibitors at Milan’s Ventura Lambrate district (and elsewhere, the eight Master of Interior Architecture & Retail Design candidates at Rotterdam’s Piet Zwaart Institute made a strong showing. The exhibition, entitled “FABRIKAAT,” marked the culmination of an intensive three-month design studio that took the garden as a broad theme for exploring traditional technique and craft.
FABRIKAAT is an exhibition at Ventura Lambrate 2012 investigating the re-emerging role of the garden through a “research through making” approach to design and craft. In a digitally saturated world, this body of work celebrates and promotes research, ideas and the nuances of making by hand.
Program Director Alex Suarez noted that, even as each of the four student pairs focused on one of the broad categories of fabrication methods—molding, knitting/weaving, folding/bending and cutting/scoring—each team was encouraged to explore the historical significance and evolution of these through experimentation.
Hence, the extensive “making-of” component to the exhibition, including various iterations of the bricks and woven textiles in particular, as well as a video accompaniment for each project, highlighting the process as much as the final product, if not more so.
Hell, even the promo clip of the logo is nicely executed:
Check out all of the videos (which have no audio as far as I can tell) and descriptions in one place after the jump, plus many more photos on the project pages on the Fabrikaat microsite.
This Tokyo house by Japanese architect Sou Fujimoto has hardly any walls and looks like scaffolding (photos by Iwan Baan).
House NA has three storeys that are subdivided into many staggered platforms.
The few walls that do exist are mostly glass, making certain spaces secure without adding privacy.
See more projects by Sou Fujimoto here, including a stack of four house-shaped apartments.
See more images of this project on the photographer’s website.
Here’s some more information from the architects:
House like a single Tree
House standing within a residential district in central Tokyo.
To dwell in a house, amongst the dense urbanity of small houses and structures can be associated to living within a tree. Tree has many branches, all being a setting for a place, and a source of activities of diverse scales.
The intriguing point of a tree is that these places are not hermetically isolated but are connected to one another in its unique relativity. To hear one’s voice from across and above, hopping over to another branch, a discussion taking place across branches by members from separate branches. These are some of the moments of richness encountered through such spatially dense living.
By stratifying floor plates almost furniture-like in scale, throughout the space, this house proposes living quarters orchestrated by its spatio-temporal relativity with one another, akin to a tree. The house can be considered a large single-room, and, if each floor is understood as rooms, it can equally be said that the house is a mansion of multifarious rooms. A unity of separation and coherence.
Elements from furniture scales come together to collectively form scale of rooms, and further unto those of dwellings, of which renders the city.
The steps between the plates at times will become seating and desks, at times as a device segmenting a territory, and at times each akin to leaves of the foliage filtering light down into the space.
Providing intimacy for when two individuals chooses to be close to one another, or for a place afar still sharing each other’s being. For when accommodating a group of guests, the distribution of people across the entire house will form a platform for a network type communication in space.
The white steel-frame structure itself shares no resemblance to a tree.
Yet the life lived and the moments experienced in this space is a contemporary adaptation of the richness once experienced by the ancient predecessors from the time when they inhabited trees. Such is an existence between city, architecture, furniture and the body, and is equally between nature and artificiality.
The Heirloom helps people to form an emotional connection with objects handed down through the generations of their family, encouraging them to consid..
Image courtesy of PLZ DNT TCH
We gave you a sneak peek of PLZ DNT TCH‘s furniture fair debut at SaloneSatellite about a month ago, and while the studio shots of work certainly piqued our interest, it was a pleasure to meet the trio of young designers who established the collaborative studio in Savannah, GA.
Studio PLZ DNT TCH is Bradley Bowers, Alejandro Figueredo and Matt Gray. PLZ DNT TCH is some form of attraction—design is our medium. Our work is a fusion of language, culture, design and playfulness. we use design as a vehicle for improvement and revelation; we invite your curiosity and exploration.
Bowers’ “Mona” (at top and bottom) and “Om” vessels: the latter, which is made from cotton, paper and natural latex, explores “expression through form, while staying ephemeral and fragile in an atypical manner.”
The tabletop objects sit atop PLZ DNT TCH’s “LI” table, a low dining table “designed to arouse curiosity.”
Its unconventional use of material invites you to discover and explore the structure, the process, and the dialogue among LI’s various components. It was made to represent the re-union of Nature and Man: the surface of the table is made from charred planks of wood (Nature), while the leg structure is made from Corian (Man). The use of the piece is dictated by its form and material composition, which allows for a new experience.
Similarly, Matt Gray’s “Ante,” which is made from brass, cast resin and real antlers, was also inspired by the man-nature dichotomy:
ANTE confronts society’s obsession with re-presentation. It sanitizes the natural world by fusing it with the precision of the industrial machine. ANTE shifts from a natural to a manufactured world… in an attempt to glorify what always was glorious.
The Serpentine Gallery in London has unveiled plans by Swiss architects Herzog & de Meuron and Chinese artist Ai Weiwei for this summer’s Serpentine Gallery Pavilion: they’ll conduct an archaeological dig to find traces of past pavilions on the site then line the resulting trenches with cork.
The plan involves excavating down to groundwater level, revealing buried traces of the past eleven annual pavilions and creating a well at the bottom that will also collect rainwater.
A pool of water will also cover the surface of the circular roof, supported just 1.4 metres above the ground by twelve columns that represent pavilions past and present. It will be possible to drain this water down into the well to create an elevated viewing platform or dance floor.
The temporary pavilion will open to the public on 1 June and will remain in Kensington Gardens until 14 October.
The twelfth annual pavilion follows previous structures by architects including Peter Zumthor, Jean Nouvel, SANAA and Frank Gehry. You can see images of them all here, watch our interview with Peter Zumthor at the opening of last year’s pavilion on Dezeen Screen and read even more about the pavilions in our Dezeen Book of Ideas.
See also: more stories about Herzog & de Meuron and more stories about Ai Weiwei.
Here’s some more information from the Serpentine Gallery:
Serpentine Gallery reveals plans for Pavilion designed by Herzog & de Meuron and Ai Weiwei
The Serpentine Gallery today released plans for the 2012 Serpentine Gallery Pavilion designed by Herzog & de Meuron and Ai Weiwei. It will be the twelfth commission in the Gallery’s annual series, the world’s first and most ambitious architectural programme of its kind.
The design team responsible for the celebrated Beijing National Stadium, which was built for the 2008 Olympic Games, comes together again in London in 2012 for the Serpentine’s acclaimed annual commission, being presented as part of the London 2012 Festival, the culmination of the Cultural Olympiad. The Pavilion is Herzog & de Meuron and Ai Weiwei’s first collaborative built structure in the UK.
This year’s Pavilion will take visitors beneath the Serpentine’s lawn to explore the hidden history of its previous Pavilions. Eleven columns characterising each past Pavilion and a twelfth column representing the current structure will support a floating platform roof 1.4 metres above ground. The Pavilion’s interior will be clad in cork, a sustainable building material chosen for its unique qualities and to echo the excavated earth. Taking an archaeological approach, the architects have created a design that will inspire visitors to look beneath the surface of the park as well as back in time across the ghosts of the earlier structures.
Julia Peyton-Jones, Director, and Hans Ulrich Obrist, Co-Director, Serpentine Gallery, said: “It is a great honour to be working with Herzog & de Meuron and Ai Weiwei, the design team behind Beijing’s superb Bird’s Nest Stadium. In this exciting year for London we are proud to be creating a connection between the Beijing 2008 and the London 2012 Games. We are enormously grateful for the help of everyone involved, especially Usha and Lakshmi N. Mittal, whose incredible support has made this project possible.”
The Serpentine Gallery Pavilion will operate as a public space and as a venue for Park Nights, the Gallery’s high-profile programme of public talks and events. Connecting to the archaeological focus of the Pavilion design, Park Nights will culminate in October with the Serpentine Gallery Memory Marathon, the latest edition of the annual Serpentine Marathon series conceived by Hans Ulrich Obrist, now in its seventh year. The Marathon series began in 2006 with the 24-hour Serpentine Gallery Interview Marathon; followed by the Experiment Marathon in 2007; the Manifesto Marathon in 2008; the Poetry Marathon in 2009, the Map Marathon in 2010 and the Garden Marathon in 2011.
The 2012 Pavilion has been purchased by Usha and Lakshmi N. Mittal and will enter their private collection after it closes to the public in October 2012.
Sarah’s site has more information about this and other topics on inspiring and honoring your creativity. Her treasure trove of resources is worth the click.
She concludes:
“Starting a creative journey or daily creative ritual can be difficult at first. Like anything it requires discipline and consistency. Finding a friend or family member to join you can help and seeking out a group of like-minded creatives can also make the experience a beautiful one.
Just remember to always follow your heart and beautiful things will happen.”
We first spotted designer Mark van der Gronden’s Krattenkast (“crate cabinet”) storage units at last year’s Milan show, and now we’re pleased to see they come, like the crates they contain, in all shapes and sizes.
Dutch contract furniture manufacturer Lensvelt produces the steel frames in a variety of shapes, each filled with repurposed plastic industrial conatiners that serves as the drawers.
Denmark’s notoriously conceptual fashion designer in a new book spanning boobies to mint
The new self-titled book from Henrik Vibskov is a lot like his work—slightly haphazard yet cohesive; purposeful, but ultimately entertaining. Since graduating from London’s Central St. Martins in 2001, the Danish designer has penetrated the regimented fashion industry with a distinct style that bucks conventionality and traditional seasons in favor of more conceptual shows and collections that reflect his artistically driven mind.
“Henrik Vibskov” the book is set up to explore these themes and his larger creative oeuvre in a natural progression, starting with a preface split between five contributors that loosely alerts readers to the collage-like layout that lies ahead. The collaborative foreword is written by Vibskov’s brother Per, German professor of experimental fashion design Dorothea Mink, New Museum deputy director Keren Wong, Danish artist Jørgen Leth and Röhsska Museum director Ted Hesselbom. Together they shed a little insight on Vibskov while referencing five keywords that help define his career—”donkey”, “boobies”, “mint”, “tank” and “shrink wrap”. Before delving fully into what these words mean, social anthropologist Camilla R. Simpson offers a more serious biography in the three-page essay “The Vibskov Scenario”, which is followed by an equally extensive but completely different story—novelist Jokum Rohde’s “Science-Fiction Noir”, an imaginary work that draws from Vibskov’s various show titles over the years.
From there Vibskov takes over, detailing his career to date with randomly ordered sketches, candid commentary, inspiration shots and behind-the-scenes images of his shows and art installations (which are sometimes one in the same). While slightly confusing at first, the arrangement actually works out well and fans will enjoy how the book mimics the same sentiment expressed in his bizarre ensembles. At first glance there is a lot going on on the page, but further inspection reveals a beautiful chaos. As Wong comments in the preface, Vibskov’s work is always full of contradiction—to her, he simultaneously evokes confidence and humor, and inspires performance and relaxation.
The layout also shows how his projects continue to evolve and more importantly, how many different artistic elements they incorporate. Stating in his short note at the beginning that this is a book “mainly based on visual materials”, Vibskov, who is also a serious drummer, shows how his vision applies to a myriad of media. For example, an over-sized blue cardigan sweater from his A/W 2008 collection, “The Mint Institute”, is featured on the page opposite his explanation of “Drumming Friday”, a concept initiated in 2007 where Vibskov and musician Mikkel Hess send out a text message asking who wants them to stop by. They then hit the streets with their drums while donning blue plastic tarps. In 2009 he employed the same shade of blue in his S/S collection called “The Tent City”.
Vibskov notes that in retrospective they should have named that show “The Tent City Blues”, but it isn’t until 20 pages later that he speaks candidly about the importance of show titles. “I think in general it’s nice to have bizarre, twisted names for the collections, and actually we end up spending a lot of time talking and discussing what the name of the collection should be,” he writes. After emailing around for ideas, he lets it hang there for a few weeks and typically makes the decision at the last minute, which, he says “mostly works out well”.
Leaving things to chance to work out well seems like a modest understatement for the industrious designer. By allowing his imagination to lead the way and exploring fields outside of fashion, his collections are highly original and fully developed, making his one of the most honest and interesting labels to watch.
“Henrik Vibskov” sells online in Europe and soon the US from Amazon and Gestalten.
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