Hasta La Ideas

Molti di voi sono sicuro avranno già sentito parlare del St. Agostino Market, l’appuntamento domenicale del mercatino più fico della Bergamo Alta. La stessa atmosfera si trasferisce ora al coperto con il progetto Factory Market. Sempre organizzato dai ragazzi di Coffee.n.Television, il 15 dicembre dalle 15.00 alle 22.00 all’interno degli spazi della 341 Factory, 60 espositori provenienti da tutto il nord d’Italia venderanno il meglio tra i capi vintage, accessori, vinili, curiosità, modernariato e illustrazioni. All’interno dello spazio troverete anche l’angolo delle dolcezze a cura di Sweet Irene, birra di Beertop e cocktails mixati da Doma cafè. Ovviamente il tutto verrà accompagnato da Dtape Collective, Gipsy Guy, Jopparelli, Marco Fasolini, Kinky Rebels, Coloppio e il live dei Finistère.
Apertura ore 15:00, ingresso gratuito.

Factory Market
341 Factory
via Trento 26,
Curno – Bergamo

We never get a chance to see how the hot and cold water blend together within the faucet, before it cascades out like a stream. The Pavati Tap builds upon this element, to showcase how beautifully the two streams of water can create drama whilst you wash your hands. A Y-shaped waterfall effect mixes the cold and hot water into a single mutual waterfall, for your viewing pleasure. Sweet!

Details:

• All the components of traditional taps such as the spout and dials were incorporated into the Pavati’s body.
• The dual streams will vary in position and size depending on how the temperature dials are adjusted and thus the dual waterfalls also lend themselves to becoming a visual indicator of the current water temperature.
• The Pavati uses standard mechanical parts which are in strong contrast to its avant-garde design aesthetic.
• Using standard tap components was a very important factor in the design of the Pavati tap. The tap fits standard basins and uses generic cartridges for regulating the flow of water. When changing the temperature, the rotational force applied to the temperature dials is transferred via a flex shaft to the 180 degree turn cartridges.
• Due to the use of standard components, the tap installation can easily be achieved with standard tools.

Designer: Salmon Nortje

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(Hot and Cold Waterfall was originally posted on Yanko Design)

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1. Yipee It’s A Waterfall Sink
2. Personalized Cascading Waterfall In Your Bathroom
3. Not Too Hot, Not Too Cold, Just Right

Opinion: Kieran Long argues that while it’s fun to be cynical about pop cultural artefacts like Katy Perry Lashes, a recent expose on the conditions in which they’re made proves that it’s vital for design criticism to move beyond semiotics.

I’ve always felt, in that completely unfair way we tend to judge big stars, that Katy Perry was the most cynical and dead inside of all the questionable female role models in the pop cultural landscape. The Popchips poster campaign she fronted earlier this year is burned into my retina. I saw her every morning at South Kensington Tube station, looking over the top of her sunglasses in a sarcastic gesture of astonishment at just how extraordinary a bag of crisps can be. Her fingernails were like talons and her steel grey eyes were framed in false eyelashes.

“All Katy Perry lashes by Eylure are handmade, 100% natural and each style is reusable,” reads the description on the box of fake eyelashes that sits on my desk as I write. This comes just before “Katy’s top tips”, the instructions, in the voice of the gazillion-selling pop star, about how to wear the lashes to their best effect.

There may be no more emblematic product of contemporary capitalism than Katy Perry Lashes, the false eyelashes endorsed by the megastar singer. They are made of real hair and the Cool Kitty style (one of three different designs available) of lash has an undulating profile, with longer and shorter hairs alternating and creating an effect that Katy Perry herself models in a photo on the front of the box.

Perry has a self-consciously plasticky, robot-from-the-1950s aesthetic that is always accessorised with false lashes, nail varnish and a comicbook hairdo. With this Stepford/Bladerunner thing, she seems to invite identification. Something about her plain, cybergirl-next-door look makes young women feel that they somehow should be her, or be like her. It’s no coincidence that most of her merchandise is products for the body: perfumes (a whole range of them), body lotion, makeup. By buying these objects, you are somehow transforming your physical substance into Perry’s. The lashes allow young people to get inside Perry’s body, to look out at the world through her eyes. This out-of-body experience is available for the reasonable price of £5.95 in high street pharmacies.

When her partnership with Covergirl cosmetics was announced, Perry was quoted as saying: “In addition to music, I’ve always considered makeup to be a powerful creative avenue of self-expression.” In Perry’s world, you have to design yourself, to draw a new you on your own skin: she’s the perfect articulation of how contemporary pop culture raises narcissism to an art form.

In the end, this is the psychological game for which the fake eyelashes are designed as a prop. In themselves they may not seem like interesting design objects: they derive their fascination for many of us from this pop cultural framing. The material things are simply two rows of hairs, each hair tied by hand and one-by-one onto a tiny piece of string. These are then trimmed and affixed to a small strip that can hold a latex-based glue. The glue fixes the row of hairs to the Perry wannabe’s own eyelid.

I probably wouldn’t have noticed these ephemeral bits of sub fashion design at all before I met Gethin Chamberlain, the journalist responsible for the remarkable expose of the manufacturing story behind the false lash industry, published in UK tabloid newspaper The Sun on Sunday 20 October. Chamberlain participated in a debate at the V&A museum about ethical manufacturing in the fashion industry, but just a few days before the event he published the story of the false eyelash industry. In it, Chamberlain traces Eylure’s production to small villages in Indonesia, where women weave the tiny lashes and earn as little as 20p per day for doing so. He describes how many workers in the lash industry (which is worth £110 million in Britain alone) do earn the legal minimum wage for that region (£50 per month) but that some factories outsource the work to homeworkers in more remote locations: many of these earn less than half that paltry wage.

As designers and critics, we can always enjoy being cynical about pop cultural artefacts like these lashes and idly patronise the industry around figures like Perry. I guess there’s a whole office devoted to selling Perry’s name, plastering it over merchandise from body lotion to perfume to iPhone covers to T-shirts. There’s even something reassuring for prospective businesspeople that it’s still possible to make money in this day and age selling fridge magnets with pictures of Katy Perry in the buff on them. If capitalism is that easy, I wonder why we aren’t all making more money.

But the story of these objects and their making is a sleight of hand, a trick that consumerism plays on us. So remote are we from manufacturing today that a company can celebrate the making of these objects as a positive marketing story (“handmade, 100% natural”), while indirectly employing workers in exploitative conditions. Thanks to journalists like Chamberlain we are all aware of this. If we are serious about design in the expanded field, we have to inquire after not just the semiotic resonances of these objects, but the human costs too.

Kieran Long is Senior Curator of Contemporary Architecture, Design and Digital at the Victoria & Albert Museum. He presents Restoration Home and the series The £100,000 House for the BBC, and is currently the architecture critic for the Evening Standard newspaper.

The post “We must examine the human cost of objects,
not just their semiotic resonances” appeared first on Dezeen.

Dezeen promotion: the Piet Zwart Institute in Rotterdam is accepting applications to study on its Master of Interior Architecture & Retail Design (MIARD) course.

The Piet Zwart Institute’s two-year MIARD postgraduate course is set up to provide Bachelor students with a further course in interior architecture.

Enrolled students will undertake four thematic design projects as well as work on their self-directed graduation project during their second year of study.

Work by current students and alumni has been presented at international design and architecture events such as Dutch Design Week and Tent London.

A group of students showed a collection of kitchen products that included patterned rolling pins to make edible plates and a meat grinder that squeezes out biodegradable bowls during Milan design week earlier this year.

The institute is part of the Willem de Kooning Academy, based in Rotterdam, the Netherlands.

Applications will be considered from Bachelor students with a degree in Interior Architecture, Interior Design, Spatial Design or Architecture.

The deadline for submissions is 31 January 2014. Visit the Piet Zwart Institute website to find the application documents and for more details about how to apply.

Keep reading for more information from the Piet Zwart Institute:

Piet Zwart Institute – Master of Interior Architecture & Retail Design [MIARD]

Open for Applications: Deadline 31 January 2014

Welcome to the Master of Interior Architecture & Retail Design [MIARD] at the Piet Zwart Institute – an international postgraduate programme that is part of the Willem de Kooning Academy Rotterdam University, located in Rotterdam, The Netherlands. The accredited small-scale programme is full-time and structured over two years.

At MIARD, we view the production of the interior as a multidisciplinary practice. Our programme is motivated by a design-research methodology that views interior architecture as an applied synthesis – integrating critical design practice, history, theory and technical skills through both digital and analogue means, specialised modules and self-directed research on the basis of a bottom-up strategy towards learning and innovation. We investigate making as a research and design process by mixing parameters, such as strategies and systems, techniques and tools, materials and technology, as well as other relevant and unexpected programmatic and cultural issues. As the practice of interior architecture continues to mature, we examine its performance and potential in the built environment at various scales and conditions to shape and advance the future of cities, neighbourhoods, buildings and their spaces, and for the communities and people that live in them.

Our students are trained to excel as a new generation of designers. Projects are researched in a dynamic atelier setting with highly equipped facilities working together with a diverse faculty of established architects, interior architects, designers, scholars and other specialists. Entrepreneurial practice and networking is encouraged throughout the programme to support and launch a student’s design career. Intrinsic to this Masters is a specialisation in Retail Design.

Based in Rotterdam, a dynamic European capital of architecture and design, we plan projects directly with and for the city and local affiliations, as well as actively participate at well-known international design platforms. We offer public events in the form of lectures, exhibitions, field excursions, and interdisciplinary workshops. Our students have access to extensive university and outside resources, fostering collaborative opportunities with specialists from peripheral disciplines.

Programme approach

MIARD situates itself firmly in applied-research, critical reflection and the professional field of interior architecture. It operates from the point of view that an educational master’s program must be adaptable to a variety of external forces and should resist institutional idleness.

We aim to foster graduates who are experts in the field of interiors and to excel as designers. A designer whose practice can modify to cultural, technological and industry changes and set precedents for new and innovative methods of operating. We work with the reality that the profession of the interior architect is a young practice, historically framed between the disciplines of architecture and product/furniture design. As our discipline matures, the programme plan is to contribute to its emerging identity as a relevant and necessary profession with its own theoretical, historical and research policies.

Making further defines the MIARD design approach. It is rooted in the position that interior architecture is about making places in the material-physical world and that interiors and its constituents (analogue or digital) play a significant role in forming the identity and logics of the built environment. We investigate making as a bottom-up approach to the creative process and material innovation. This approach allows students to acquire a diversity of essential, advanced and inventive skills as designers.

We stay involved and contribute to the professional field by working with noted and award-winning international staff and guest tutors. The program participates at national and international design events, conferences, competitions, and we host an active public lecture series throughout the academic year. Current students’ and alumni’s work have been presented at international design and architecture platforms, such as Milan Design Week, Dutch Design Week, Sunlab, TENTLondon, and their design projects have received extensive international press recognition with publications in Domus, Frame, Dezeen, and Designboom, among others.

Consequently, the interior architect needs to be someone who shapes, informs and advances the discipline and it’s meaning through critical and meticulous analysis of the role of the interior and its conditions in contemporary society, and furthermore he or she needs to understands the scope and potential of the interior’s role in a larger social, political and historical context.

Core teaching staff, visiting tutors and guest lecturers

Ruth Baumeister, Bart de Beer, Herman van Bergeijk , Jan Boelen, Sander Boer, Silvio Carta, Amélia Desnoyers, Bob Dinwiddy, Gabriella Fiorentini, Nuno Fontarra, Ulf Hackauf, Deborah Hauptman, Kai van Hasselt, Lisa Hassanzade, MarkDavid Hosale, Jos de Krieger, Maartje Lammers, Edwin Larkens, Sang Lee, Marta Male-Alemany, Michiel van Malenstein, Ilaria Mazzoleni, Lutz Mürau, Cristina Murphy, Yukiko Nezu, Mauro Parravicini, Brian Peters, Frank Schoeman, Gerrit Schilder, Tanja Smeets, Catherine Somze, Alex Suarez, Eline Strijkers, Aynav Ziv, Cristina Murphy, Mauro Parravicini, Frank Schoeman, Eline Strijkers, Robert Thiemann, Füsun Türetken, UXUS, Thomas Vailly, Dries Verbruggen, Francesco Veenstra, Robbert de Vrieze, Petar Zaklanovic.

Thematic design projects

Over the course of two years, students will take four Thematic Design Projects that are the core of the curriculum. These projects explore and open-up themes relevant to the field of interior architecture and other related and contemporary forms of design practice. One of four of these main design projects will be dedicated to the specialisation of Retail Design.

Thematic Design Projects are lead by either a core tutor, a team of core tutors, and/or guest tutors, who come from a variety of disciplinary backgrounds. Whether an architect, designer, interior designer, artist or retail expert these specialists offer advanced insights into contemporary design practices and issues relevant to the professional field.

The Thematic Design Project structure offers students a framework for reflection, discussion, joint research and production. In other words, the particular selected theme serves as a matrix for exploring and scrutinising specific interior and built environment practices and broader design challenges. This module aims to develop the students’ understanding of their work in relation to others in the professional field and to help them define their design practice/profile within a broader cultural, technical and social context.

Complementary courses, public events, excursions and guest lectures are integrated with the design projects each trimester to provide historical, theoretical, technical, material and industry knowledge, skills and expertise.

If you have questions about the programme and application process please feel contact us at:

Piet Zwart Institute
Master Interior Architecture & Retail Design
P.O. Box 1272
3000 BG Rotterdam
The Netherlands

E-mail: pzwart-info@hr.nl
Facebook: www.facebook.com/PZIMIARD

www.pzwart.wdka.nl

The post Apply now to study at
the Piet Zwart Institute appeared first on Dezeen.

Pour la campagne de Fish Love, un association qui critique les pratiques massives et illégales de la pêche, le photographe Denis Rouvre a photographié des célébrités telles que le couturier Kenzo, l’actrice Gillian Anderson ou encore Aure Atika totalement nues, accompagnées de poisseaux. A découvrir dans la suite.