Hasta La Ideas

The Londoner est un projet de réalisation de couverture de magazines fictifs qui célèbre Londres dans une série d’illustrations de différents artistes.

L’effort créatif suit les traces de projets similaires tels que The New Yorker, The Parisianer et The Tokyoiter. Lancé par l’artiste commercial Sharm Murugiah, The Londoner invite différents artistes à illustrer une couverture de magazine qui rend hommage à la ville. Chaque illustration est accompagnée du profil et de l’histoire de l’illustrateur, expliquant les différentes méthodes de conception. Darya Shnykina, Ella Masters, Freya Betts et Dan Nash font partie des artistes participants. Visitez le site pour de futures publications.

In Japan, chisels for striking are always hooped. That is to say, the butt end of their handles is encircled in a ring of metal. This is a good idea since they traditionally use steel hammers to hit their tools. In the West mortise chisels, which get the heaviest battering, and most bench chisels, which can still take a fair whacking are usually not hooped. So a good rule of thumb is to always use a mallet that is softer than the chisel handle. The reason is very simple. It is cheaper to replace an English joiner’s mallet every few years, than it is to rehandle a chisel.

The mallet in the foreground is my old one, which is well-used. The mallet in the background has been in action for a few months and just has a few dents. Mallets seem to stabilize with a few dents, and then a bunch of years later the big cracks start.

Some of you might point to the super-hard lignum-vitae carver’s mallet. Carvers hit their chisel handles too, and you don’t see them complain. But it’s about force. Malleting in cabinetmaking is, especially in mortising, a question of power. You want to hit the chisel really hard. The softer wood mallet does give less “feedback” because the face will distort, but overall the goal is power.

With the lighter mallet, you need a longer stroke to deliver similar power, but the longer stroke is less precise. With carving, precision is everything, and a shorter stoke with a heavier, smaller mallet gives you more control. Even if you are taking away lots of material you want to do it in a series of controlled strokes, so you don’t split away the wrong wood. So a denser, harder, mallet gives you more feedback, you can use a shorter, more controlled stroke, and overall you use less power per-stroke. The tool handle is in much less danger from a carver than a joiner.

While lignum-vitae is an endangered wood now, and lignum-vitae have never been the most stable of woods anyway, there are lots of other options for carvers on the market now.

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This “Tools & Craft” section is provided courtesy of Joel Moskowitz, founder of Tools for Working Wood, the Brooklyn-based catalog retailer of everything from hand tools to Festool; check out their online shop here. Joel also founded Gramercy Tools, the award-winning boutique manufacturer of hand tools made the old-fashioned way: Built to work and built to last.

Dezeen promotion: Ramy Fischler has been announced as Designer of the Year for Maison&Objet‘s September 2018 edition, and will exhibit his work in a self-designed space at the fair in Paris.

The Belgian designer, who is based in Paris, has been awarded the title for the next edition of the French Furniture and Decoration Fair – set to take place from 7 to 11 September, 2018.

The fair organisers describe Fischler as a “free spirit” who is strongly influenced by cinema and practices design in the same way a director makes a film.

“Rather than focus on the formal aspects of space or product design, Ramy Fischler prefers to question the value of function: anticipating tomorrow’s behaviours, defining the reason and use of each project, visualising the environment where a piece would be effective, these are the preliminary steps in his creative process,” said Maison&Objet.

“For Ramy Fischler, design must make sense,” the organisers continued. “Fiction and collaborative work are the twin pillars of his process.”

“His interior design projects for private residences and restaurants regularly give him the opportunity to design furniture, which he produces himself and shows in galleries,” the organisers added.

“He also creates hybrid objects that illustrate his capacity to blur the boundaries between disciplines.”

Originally from Belgium, Fischler moved to Paris in 1998. His “taste for experimentation” began when he was studying design at École nationale supérieure de création industrielle (ENSCI) in Paris, where he graduated from in 2004.

He continued to develop this experimental tendancy while working alongside French industrial designer Patrick Jouin, where he explored all avenues of design.

This led him to establish his own studio in 2011, which is where he developed his own approach. Since early 2018 he has been focusing on his work as a scenographer for the opera.

This includes designing the set for a version of Hamlet directed by Cyril Teste, which is expected to debut in December at L’Opéra Comique in Paris.

He is also working on an exhibition titled L’Intelligence de la Main for the Bettencourt Schueller Foundation, as part of the Homo Faber exhibition exploring the notion of “know-how”, which opens in September at the Giorgio Cini Foundation in Venice.

Maison&Objet names a designer of the year for both the January and September fairs. Each edition brings together around 3,000 brands, and more than 90,000 visitors.

The chosen winners are typically in keeping with the specific focuses of each of the two shows – a product or industrial designer for January, and a designer more recognised for their work in interiors for September.

At the fair, the Designer of the Year showcases their work in a space entirely designed by and dedicated to them.

The most recent recipient was Scandinavian designer Cecilie Manz, who was awarded the accolade thanks to her “advocate of warm minimalism.”

Other winners include interior architect Tristan Auer, London designer Ilse Crawford, French designer Pierre Charpin and Japanese studio Nendo.

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Dezeen has won the award for Best Small Digital Publisher of the Year at the Association of Online Publishers‘ annual awards, with judges praising our “stand-out editorial focus” and our “change-inducing campaigns”.

The award was presented at a ceremony in London on Wednesday night, where Dezeen was also highly commended in the Best Online Media Brand: B2B category.

AOP Digital Publishing Awards judges described Dezeen as “game-changers”.

“For a stand-out editorial focus and tech strategy, a clear understanding of audience, multiple examples of editorial and commercial successes and an excellently crafted entry that showed the publisher to be game-changers in this category,” the AOP said.

Judges singled out our Brexit Passport Design Competition and our survey of the gender balance at the world’s 100 largest architecture firms as being particularly impressive.

“The judges were really impressed with their change-inducing campaigns for Brexit passports and gender study within architecture. The judges loved it,” said the AOP.

AOP Digital Publishing Awards are the premier awards for the UK’s digital publishing industry. This was the fifth time Dezeen has won trophies at the awards.

At last year’s ceremony Dezeen won both the Editorial Team of the Year and the Best Use of Video categories. In 2015 we won the Commercial Partnership category for our Dezeen and MINI Frontiers collaboration, while in 2012 we were named Digital Business Publisher of the Year.

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