Exhibition: The Road to 2012

Currently running at London’s National Portrait Gallery as part of the London 2012 Festival, the BT Road to 2012: Aiming High exhibition contains 40 new portraits of some of the key players in Team GB’s 2012 Olympic effort, photographed by Anderson & Low, Nadav Kander and Jilian Edelstein…

The exhibition, which runs until September 23, represents the National Portrait Gallery’s biggest ever commission, with the images shot over the last three years.

As well as shooting ten Olympic torchbearers for the exhibition, Nadav Kander took four black and white shots of rising stars including discus thrower Lawrence Okoye (above) and Paralympic cyclist Jon-Allan Butterworth (below).

Anderson & Low have shot numerous single and group portraits for the exhibition including swimmer Fran Halsall, shot at Loughborough High Performance Centre:

Paralympic rower Tom Aggar at Eton Dorney:

And this portrait of rowing administrators Maggie Neto and David Tanner, shot at The Old Rowing Tank (GB Rowing HQ) in London, which echoes the composition of Grant Wood’s American Gothic painting:

Jillian Edelstein‘s images shot specially for the show aren’t of sportsmen and women but of people involved in various cultural aspects of 2012. Here’s her portrait of Gerard O’Sullivan and George Whitelock, chefs at the Athlete’s Village dining hall and kitchens at Olympic Park, London:

The images by Anderson & Low, Edelstein, and Kander will be shown alongside a further 30 portraits by Brian Griffin, Bettina von Zwehl, Finlay MacKay and Emma Hardy which document preparations for London 2012.

BT Road to 2012 runs until September 23 at London’s National Portrait Gallery, St Martin’s Place, London, WC2H 0HE.

More info at npg.org.uk.

 

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CR in Print
The July issue of Creative Review features a piece exploring the past and future of the dingbat. Plus a look at the potential of paper electronics and printed apps, how a new generation of documentary filmmakers is making use of the web, current logo trends, a review of MoMA New York’s group show on art and type, thoughts on how design may help save Greece and much more. Also, in Monograph this month we showcase a host of rejected design work put together by two Kingston students.

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Screenplay by Oyler Wu Collective

Architects Oyler Wu Collaborative wound more than 13,000 metres of rope through steel frames to create this screen wall for Dwell on Design 2012 in Los Angeles (+ movie).

Screenplay by Oyler Wu Collective

From some angles the wall appears to be organised in a pattern, but from other directions the surface seems distorted and irregular.

Screenplay by Oyler Wu Collective

The rope is also tied around the framework of a bench, which protrudes from one side.

Screenplay by Oyler Wu Collective

Oyler Wu Collaborative’s previous projects include a moving installation for the LA Forum for Architecture and Urban Design and an aluminium staircase in the SCI-Arc gallery in Los Angeles.

Screenplay by Oyler Wu Collective

The movie is by Them Too Productions.

Screenplay by Oyler Wu Collective

Photographs are by Oyler Wu Collaborative and Clifford Ho.

Screenplay by Oyler Wu Collective

Here’s some more information from Oyler Wu Collaborative:


Screenplay by Oyler Wu Collaborative will be on view from 6/22 to 6/24 at Dwell on Design 2012 at LA Convention Center.

Screenplay is conceived of as a ‘play’ on one’s visual perception. This 21-feet-long screen wall is constructed of 45,000 feet of rope strung through a series of lightweight steel frames.

Screenplay by Oyler Wu Collective

The wall is designed with the intention of provoking a sense of curiosity by slowly revealing its form and complexity through physical and visual engagement with the work.

Screenplay by Oyler Wu Collective

The wall is made from a repetitious steel framework with rope infill that varies over the length of the wall in three dimensions, forming a thickened undulating screen made up of dense line-work. In its orthographic, or ‘straight on’ view, the wall forms a meticulously organised series of patterns easily recognised by the viewer.

Screenplay by Oyler Wu Collective

As the viewer moves around the wall, its three-dimensional qualities reveal a more complex system of deep sectional cavities, twisting surfaces, and material densities.

Screenplay by Oyler Wu Collective

The experience is meant to build on an ‘on again/off again’ system of pattern legibility, using optical effects as a means of provoking engagement in the work.

Screenplay by Oyler Wu Collective

Project Design and Fabrication Team: Dwayne Oyler, Jenny Wu, Huy Le, Sanjay Sukie, Yaohua Wang, Qing Cao, Farnoosh Rafaie, Jie Yang, Clifford Ho, Joseph Chiafari, Tingting Lu, Qian Xu, Mina Jun, Vincent Yeh, Kaige Yang, Shouquan Sun.

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The British public don’t understand the role of the architect


Dezeen Wire:
 the majority of the British public have “little idea” what architects do, according to a recent survey commissioned by online architect’s forum Inbuilding.org.

The results reveal that 15% of adults are unaware that architects design buildings, while as many as 72% don’t know that architects apply for the planning permission required for construction.

The full results of the survey can be downloaded from www.inbuilding.org.

Here’s the press release:


Survey Reveals Lack of Public Awareness About The Role of an Architect

A survey commissioned by Inbuilding.org, the new online community for architects, has found that the majority of British adults have little idea what architects do.

As part of the survey, which was carried out by YouGov, respondents were asked to select things that they think an architect does from a list of tasks which are allroutinely carried out by architects.

15% did not know that architects design buildings. 22% did not know that they prepare detailed construction drawings for building projects. 48% didn’t know that architects prepare specifications to be used for building projects. Even more surprisingly, 69% didn’t realise architects negotiate planning permission with the local authorities. 72% didn’t know they apply for planning permission in the first place. 74% didn’t know architects can deal with certification for building projects and 79% that they can ensure that the construction site complies with Health & Safety legislation. A staggering 86% were not aware that architects select, negotiate with and manage all the contractors and 91% that they run the financial accounts for building projects.

InBuilding.org Editor Richard Buxton said: “Gabrielle Omar, the architect who starred on the reality TV show The Apprentice was the inspiration for this survey. The results support what she said in an interview with The Architects’ Journal about the public not knowing what architects do, and the profession being in need of a brand overhaul.”
Gabrielle said: “It seems the public knows even less than I first thought about the services architects offer. I think we all need to work together to find creative ways to engage with and educate the public about what architects can do for them.”

Participants were then asked where they would be most likely to look for an architect. Those up to age 34 were most likely to search the Internet (45% of those aged 18-24 and 50% of those aged 25-34), whilst those over 34 would most likely ask a friend (43% of those aged 35-44, rising to 52% of those aged over 55). Notably, very few people in any age group said they would be most likely to refer to a printed directory (7%).

Having revealed where architects would be best advised to spend their marketing budget, the survey then asked respondents which three factors would most influence their decision to use one architect over another. From a list of nine possible answers, by far the most popular was: ‘that the architect is qualified and registered’ (71%). In second place (58%) was: ‘that the architect can provide good references from satisfied clients’. Architect’s fees were the third most important factor (46%). In fourth place were interpersonal skills, with 29% of respondents saying that whether or not they liked the architect and felt they could work with them was important. A ‘professional website which displays a portfolio of the architect’s previous work’ came fifth with 21%

Richard added: “There is an apparent contradiction here between the large number of people who said they would search online for an architect, and the smaller numbers that said they would be influenced by a professional website.
“In fact, there is no contradiction: it seems it is less important what your website looks like; rather more important that you have a high online visibility, of which your website may form only a small part.

“There are some other important lessons from this survey. Although other factors may be more important than your website, it should still shout the range of your services, how competitive your fees are, your qualifications and client endorsements.”

The full results of the survey are now available for download on www.inbuilding.org, where architects can come and discuss its implications in the forum with the survey’s authors, Richard Buxton and Arlo Guthrie, and with Gabrielle.

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Making a Mountain Out of a Piece of Plywood

ChristophSchindler-Fitzroy-0.jpg

Ok, so it’s actually just a combination of a wall-sized CNC-routed halftone and a climbing wall—a scaled-down scalable surface, but it’s a noteworthy DIY project nonetheless. For $200 and “not more than a day” of savoir-faire, 3-axis routing and elbow-grease designer Christoph Schindler (half of Zurich-based “furniture architecture” firm Schindler Salmeró) built the “Fitz Roy Climbing Wall” as a birthday gift for his son.

We used a 2500 x 1250 x 15 mm plywood-board and painted it. The hole pattern for the image and the holes for the climbing holds were drilled with an old CNC 3-axis-router. Although the pattern looks complex, there was no scripting involved and everything was prepared with standard software tools.

ChristophSchindler-Fitzroy-3.jpg

For those of you who have said resources, Schindler’s provided detailed instructions of the entire process:

First we selected a nice image, in our case we decided for an image of Fitz Roy in Patagonia. Then we created a surface with the “heightfield from image”-operation in Rhino, choosing a height of 3mm (see below). The milling is done with “Plunge Roughing,” a standard CAM operation. In Plunge Roughing, the tool makes a series of plunges to remove cylindrical plugs of material. To get our pattern, we chose for an usual large distance of the plunges. The selected tool is a 6 mm-Ballnose-Tool. To use the radius of the ballnose for different hole diameters, the height difference of the surface equals the radius of the tool (this is were the 3mm come from). If the paint is applied before milling, the holes and the white background contrast sharply.

ChristophSchindler-Fitzroy-2.jpg

(more…)


Analogic CTRL

Analogic CTRL

Atipo Breathes New Life into A.M. Cassandre Posters

It may be impossible to improve upon an A.M. Cassandre poster, but Spanish design studio Atipo has outdone itself with this tribute to his famous “Dubo, Dubon, Dubonnet” triptych (above). Once you’re savored the last drop of loving homage, treat yourself to Cassannet, Atipo’s Art Deco-flavored font based on the lettering in Cassandre posters.

New Career Opportunities Daily: The best jobs in media.

Olympic Village furniture goes on sale


Dezeen Wire:
 London 2012 organisers have started selling off the furniture that will used by athletes in the Olympic Village before the games have even begun.

Items for sale range from beds and tables to clothes racks and mail sorters and can be purchased online at www.remainsofthegames.co.uk.

See all our stories about London 2012 »

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Office for Emu Films by Studio Swine

A pegboard wall with customised pockets provides flexible storage at this tiny Soho office by London designers Studio Swine.

Office for Emu Films by Studio Swine

Designed for production company Emu Films, the 10 square-metre office provides a workplace for up to four people.

Office for Emu Films by Studio Swine

Lamps and stationery hang from the pegboard wall alongside Studio Swine’s boxes and pouches, which were custom-made from colourful linoleum tiles.

Office for Emu Films by Studio Swine

Parquet mahogany flooring reclaimed from a local high school was used to create the floating desk underneath the pegboard wall.

Office for Emu Films by Studio Swine

Lichen-covered oak offcuts provide wall-mounted shelves, while a desk folds up from the wall alongside.

Office for Emu Films by Studio Swine

Studio Swine are Royal College of Art graduates Alexander Groves and Azusa Murakami. Other projects by the duo include a pair of spectacles made from human hair and a project to recycle plastic particles dumped in the ocean.

Office for Emu Films by Studio Swine

Photographs are by Studio Swine.

Office for Emu Films by Studio Swine

Here’s some more information from Studio Swine:


Studio Swine have completed an office interior for EMU films, a production company located in Soho, London. The space, which measures approximately 10 sq. m., is a work place for 2 – 4 people.

Office for Emu Films by Studio Swine

The office is tiled in marble and decorated in a palette of light grey and white punctuated with bright, highly patterned marmoleum tiles to create a utilitarian work space with pop elements.

Office for Emu Films by Studio Swine

The floating desk maximises the sense of openness whilst the pegboard and folding desks keep the space flexible to changing requirements.

Office for Emu Films by Studio Swine

The mahogany desk uses reclaimed parquet flooring from a local high school, and the shelves have been made from the radial offcuts of sustainably sourced Kentish Oak.

Office for Emu Films by Studio Swine

Marmoleum, which is made up of 97% natural materials, has been used throughout the office for cladding cabinets, box files and stitched to form hanging pouches for stationery.

Office for Emu Films by Studio Swine

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Pink Ball Installation

Chaque année a lieu dans le village Gay de Montréal le festival « Aires Libres » du 14 mai au 16 septembre. A cette occasion, le designer Claude Cormier et Gilles Arpin ont réalisé cette installation en plein village composée de balles roses sur toute la longueur de la rue Sainte Catherine. A découvrir en images.

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Dezeen Watch Store Summer sale: 40% off Neko by SANAA for Alessi

dezeen watch store sanaa for alessi

Get 40% off this watch by Japanese architects SANAA to look like a cat curled around the wrist in the Dezeen Watch Store summer sale. Available in green, yellow or pink, the Neko watch is now only £45 (UK and EU) or £37.50 (rest of the world). Get yours here »

Don’t forget you can get 10% off any product at Dezeen Super Store at 38 Monmouth Street, London WC2 with this flyer.

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Neko by SANAA for Alessi
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