Social Adhesion: New Museum Dedicated to the History of Stickers

For most of human history, art was created one piece at a time. When it moved from cave walls to portable canvases, that must have blown minds. Ditto for when we gained the ability to reproduce art, cranking out millions of copies. But an often overlooked innovation that really got art, or minor art at least, into our lives was simply to add an adhesive backing.

To several generations’ worth of youth, stickers were the fastest way to prettify something, vandalize something or establish some attempt at identity by slapping favorite brands or subversive messages onto notebooks and laptops. Custom sticker company StickerYou points out that stickers accomplished more than that, everything “from revolutionizing the UK postal system in the 1800s, to the first Velvet Underground album featuring a saucy banana sticker designed by Andy Warhol, to inspiring countless pieces of street art from around the world today.”

To celebrate their stock-and-trade, StickerYou is launching the History of Stickers Museum at their home base in Toronto (which is the largest sticker store in the world), kicking it off with a permanent art exhibition called Stickers: RePEELed.

Curated by Dave and Holly Combs, editors of the seminal sticker zine Peel Magazine, Stickers: RePEELed takes a look at the unifying art of stickers, bringing together hundreds of pieces of original sticker art from around the world. The exhibition includes works from artists including Shepard Fairey, who celebrated the 30th anniversary of his iconic Obey Giant sticker-turned-brand last year, Rodger Beck, Robots Will Kill, Matthew Hoffman and more.

The History of Stickers Museum is located at the company’s retail location at 677-679 Queen Street West, on the edge of Toronto’s Fashion District.

Single Pot Still Irish Whiskey

A limited-edition tribute to the traditional Irish pot still style, Kilbeggan’s Single Pot Still Irish Whiskey draws inspiration from recipes used at the historic distillery in the late 1800s. With a mash bill of malted barley, raw barley and 2.5% oats (a nod to Ireland’s oat-growing past), the liquid is only the second to be distilled and matured entirely at Kilbeggan Distillery since its restoration in 2010. From a light spice to an acidic, fruity crispness, the 43% ABV whiskey lingers through its creamy finish.

Pensole Offering Tuition-Free Master Class on Sustainable Design

Looks like Nike’s not the only one thinking about designing sneakers created from cut-offs.

PENSOLE Academy, D’Wayne Edwards’ venture for training the next generation of footwear designers, has partnered with direct-to-consumer footwear brand Allbirds to offer a master class on sustainable design.

Only 12 designers will be selected for the tuition-free, housing-free three-week class, which will be hands-on and held at PENSOLE’s Portland, Oregon location from March 23rd thru April 10th.

“We want to reshape the way aspiring designers view sustainability by having them incorporate it into their designs from the very beginning,” Edwards says of the class. “Rather than focus on future innovation, we’re challenging our students to utilize existing resources in a way they’ve never been used before.”

The class will encompass apparel in addition to footwear, and applicants will need to put together the following:

“Footwear and apparel designers are invited to submit designs inspired by household items such as an egg carton, cupholder, mesh produce bag, coffee filter or teabag. Color and materials designers are asked to submit a one-page color/materials mood board inspired by biodegradable items.”

“The central purpose is to help redefine what is considered sustainable by showcasing the creative process of people reusing and repurposing items,” Edwards says.

Applicants can register from now until March 9th at

Property fair MIPIM to go ahead as Geneva Motor Show cancelled

Property fair MIPIM to go ahead as Geneva Motor Show cancelled

The Geneva Motor Show has been cancelled, while the MIPIM property fair will happen despite numerous withdrawals, as coronavirus continues to disrupt events across Europe.

The organisers of the Geneva Motor Show, which was due to open on Tuesday 3 March, announced today that this year’s fair has been cancelled due to a government ban on large events.

“We regret this situation, but the health of all participants is our and our exhibitors’ top priority,” said Maurice Turrettini, president of the Geneva Motor Show foundation.

“This is a case of force majeure”

The Geneva Motor Show is one of the world’s most significant auto fairs where car manufacturers unveil new models and future concepts. It was expected to attract more than 500,000 visitors.

The show was forced to cancel its event after the Swiss Government made the decision yesterday to ban “large-scale events involving more than 1000 people” until March 15, in response to the coronavirus outbreak.

“This is a case of force majeure and a tremendous loss for the manufacturers who have invested massively in their presence in Geneva,” continued Turrettini. “However, we are convinced that they will understand this decision.”

The statement from the Geneva Motor Show could mean that car manufacturers and attendees will not be compensated, as force majeure clauses are commonly included in contracts to release an organisation from liability in extraordinary circumstances.

“We re-confirm that MIPIM will run as scheduled”

In neighbouring France, the organisers of MIPIM, which is described as the world’s leading real estate market event, announced that the property fair would take place as scheduled on 10-13 March.

It will go ahead despite around 10 per cent of architects and developers deciding not to travel, according to the organisers.

“Whilst we appreciate the situation is continually evolving, as of today more than 90 per cent of companies remain committed to attend MIPIM,” said a spokesperson.

“Therefore, we re-confirm that MIPIM will run as scheduled on 10-13 March.”

The fair takes place in Cannes in the south of France and was expected to attract 23,000 people to the city.

BDP and HOK among architects to withdraw

Although the event is going ahead, numerous developers and architects have made the decision not to attend the fair.

The UK’s second largest architecture studio BDP is among the studios that have decided not to attend. As is architecture firm HOK.

“The health and safety of our employees is our top priority and we have taken the decision not to attend this year’s MIPIM due to concerns regarding the spread of COVID-19 in Europe,” BDP chief executive John McManus told Dezeen.

“We had planned to send 12 representatives to the event from eight different studios and we are concerned about the potential impact on the wider BDP community and their families.”

Other architecture studios including Grimshaw and Herzog & de Meuron told Dezeen that they were currently intending to attend, but were monitoring the situation.

“France and Cannes are not identified as areas of concern”

MIPIM said its decision not to delay the fair was based on the latest advice from the World Health Organization and the fact France was not an “area of concern”.

“Our decision is based on current facts and guidance from local, national and international authorities including the World Health Organization,” its statement continued.

“There is no travel ban in place across France, and France and Cannes are not identified as areas of concern.”

The coronavirus outbreak was first reported in Wuhan, China, in December 2019. In total more than 80,000 people have been reported as infected by the virus in around 50 countries.

It has impacted numerous events across Europe with Salone del Mobile in Milan the most significant event that has been postponed. The furniture fair will now take place in June, while the Light + Building fair in Frankfurt has been postponed until September.

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Monolithic brick volumes hide courtyard in Esrawe Studio's Casa Sierra Fría

Casa Sierra Fría by Esrawe Studio

Hector Esrawe‘s design studio has completed its first residence – a red-brick house in Mexico City that encloses a lush courtyard at its centre.

Esrawe Studio designed Casa Sierra Fría for a family of four who wanted a house with plenty of privacy.

Casa Sierra Fría by Esrawe Studio

It comprises two parallel volumes that are joined by a hallway to make a U-shape around the patio. The courtyard has a sunken, paved stone floor flanked by beds of greenery.

Slim, red bricks cover the outer walls and floors of the house to form continuity. There are also almost no windows on the exterior to add to the obtuse look.

Casa Sierra Fría by Esrawe Studio

“The main intention is expressed by a brick of long proportions, we aim to have a monolithic and introspective expression of the house, which contains the garden as the core that connects the social and private areas,” Esrawe told Dezeen.

Casa Sierra Fría by Esrawe Studio

Glazed walls wrap the courtyard on the ground floor to offer views to the greenery and bring in daylight. These windows are only revealed as one enters the residence.

“The multiple volumes shaping it become the skin containing and framing the privacy,” said the studio.

Casa Sierra Fría by Esrawe Studio

“It is not until you enter the house that a continuously-flowing space is revealed, surrounding the garden, as the heart of the design, the element bringing it all together,” it added.

Measuring 576 square metres, Casa Sierra Fría is the first residence by Esrawe Studio, which industrial designer Esrawe founded in 2003.

Casa Sierra Fría by Esrawe Studio

The atelier, which is considered one of Mexico’s best-known design studios, originally focused on furniture but has since expanded to include interior design and architecture.

“In our studio, 30 per cent of the team is conformed by architects” said Esrawe. “It was a natural path for us.”

Casa Sierra Fría by Esrawe Studio

A large wooden door punctures the brick walls and swivels open to provide access inside.

Esrawe Studio chose a pale material palette for the interiors to contrast with the exterior. Stone and wood in matching hues cover the floors, while walls are rendered in light tones.

Casa Sierra Fría by Esrawe Studio

Stone steps inside lead from the entrance into a sunken living room, where Esrawe has built a low-lying wooden shelf into the wall.

This is among a series of built-in furniture that the studio created for the house.

The kitchen and dining room are located on the other side of the home – accessed by the slender hallway. Sliding glass doors open the dining room to a covered area for eating outside.

A staircase in the hallway leads up to the first floor of the house.

Casa Sierra Fría by Esrawe Studio

The stair has a few stone treads at the base and then wooden treads that are cantilevered from the wall, providing a hint to the materiality across the residence.

A bedroom suite is located in the northwestern volume comprising a living area, study and a bathroom. The latter is covered in marbled grey stone and has access to an outdoor patio.

Casa Sierra Fría by Esrawe Studio

Two more bedrooms, a bathroom, lounge and study are housed across the corridor. Another set of wooden stairs leads from here up to the third studio and rooftop.

Esrawe Studio’s recent projects include furniture for an experimental housing project in Hidalgo, Mexico. The designs will later be used to furnish social housing all over the country.

Photography is by César Béjar.

Project credits:

Creative direction: Héctor Esrawe
Architectural concept: Esrawe Studio
Architecture, interior design and furnishing: Esrawe Studio
Project leader: Angel Campos
Design team: Javier Garcia Rivera, Alessandro Sperdutti, Juan Pablo Uribe, Eduardo González, Daniela Pulido, Daniel Torres, Enrique Tovar, Luis Escobar, Abraham Carrillo.
Structure: CARUNTI
Engineering/installations: COR Ingeniería
Lighting: LUA Luz en Arquitectura
Landscaping: Entorno Taller de Paisaje
Construction: Leydam Consultores SC

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Apple's $400 Mac Pro Wheels Have a Major Design Flaw

I’d argue that in order to design effectively, designers have to live in the real world, rather than hunker down in carefully curated studios. The danger of achieving great success and wealth is that those things can isolate you from the experiences of common people, and particularly the imperfection of their situations.

Apple has made their share of Ivory Tower gaffes. Remember the brouhaha over their HomePod speaker leaving indelible rings on wood surfaces? You couldn’t help but feel the designers had only ever tested the product on a stainless steel or glossy laminated surface.

Their latest design error is just as bad, maybe worse. It’s to do with the optional, $100/each wheels for their Mac Pro. Marcus Brownlee demonstrates:

Yep, no locking mechanism. I bet the floors of Apple’s design studios are dead flat. Me, I don’t think I’ve ever lived in an apartment that didn’t have sagging floors. The fact that the Mac Pro, which starts at $6,000, might roll away either never occurred to them, or they felt that a locking mechanism would ruin the aesthetic of those sleek, hubless wheels.

A suggested design solution comes from the Jony Ive Parody Twitter account:

via Creative Bloq

Industrial Designer Michael DiTullo's Thoughts on Sketching

While the folks at Freethink had the cameras rolling for that video on Jonathan Ward and Icon, they captured participating designer Michael DiTullo talking about sketching. Not all of that footage was relevant to the Icon video, so they spliced it together into this short-‘n-sweet video capturing DiTullo’s thoughts on sketching:

Says DiTullo: “[Sketching] isn’t a talent anymore than learning to speak French is a talent. It is a skill that is cultivated overtime through discipline and practice.

“Sketching is a way of thinking and a way of communicating. It is a way to transfer an idea from one mind to another, and that is what I love it so much. When I was 13 I said I want to draw stuff from the future, 30 years later that is still the best description for what I do.”

Wonderful Japanese Paper Cut

Ayumi Shibata est une artiste originaire du Japon, dont la spécialité est la traditionnelle découpe de papier japonaise. A travers son travail, elle souhaite attirer l’attention sur la relation entre les humains et l’environnement, et sur la manière dont nous nous soucions de la nature et du monde. Elle réalise ainsi des sculptures en papier représentant des villes et des paysages naturels aux nombreux détails, qu’elle positionne parfois dans des récipients en verre ou encore dans des livres. Elle utilise du papier blanc afin d’exprimer le yang et la lumière, et l’ombre projetée par les formes de ses découpes représente le yin, la part d’ombre.


Tom Dixon, Ross Lovegrove and other leading designers respond to Salone postponement

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Leading designers have supported the decision to move Salone del Mobile from April to June due to the coronavirus outbreak, although some say the event should be cancelled for environmental reasons and others feel the Milan experience needs an overhaul.

Ross Lovegrove, Lara Bohinc, Luca Nichetto and Note Design Studio all voiced their support for the postponement of the world’s biggest furniture fair to 16 to 21 June, as Italy battles to prevent further spread of the virus.

“I think it is the right thing to do, to show that the country is still alive and wants to move on,” said Nichetto, an Italian designer based in Sweden.

“It was a very complicated decision to take for sure, but I have the feeling that to postpone and not cancel the Salone is more important as a message for the city of Milan than for the exhibitors.”

Lovegrove added: “The Salone remember is primarily about global trade and distribution of new design, so it’s better to postpone and guarantee its cultural and commercial success later.”

Other designers and studios, including Tom Dixon and Lee Broom, have said they are optimistic about their ability to reschedule their exhibitions, due to take place in the city as part of the unofficial programme of events known as the fuorisalone.

“We are already planning and plotting to get on the road physically and digitally right now to take our newness straight to customers in April and May, and end up in Milan in June with an even bolder show in the summer sunshine,” said London-based Dixon.

“Logistically we now have a lot of hoops to jump through,” added British designer Broom. “This is nothing that cannot be managed and, on the positive, we have a little more preparation time, which has never happened before.”

“None of this is really a big problem”

Despite some initially baulking at the cost and logistics, most Milanese curators have announced plans to move their events to match the dates of the Salone fair. Design districts including Brera Design Week and 5Vie will move, as will the Alcova and Spazio Rossana Orlandi exhibitions.

Design brands Mutina, Moroso, Magis, Glas Italia have all confirmed they will exhibit in Milan in June, as have regular exhibitions Norwegian Presence and Design Variations.

However, some designers have hinted that their participation will likely be scaled down for June.


“We are going to postpone some new product launches but maybe rethink the installations in the city we were working on,” said Cristiano Pigazzini of Stockholm-based Note Design Studio.

“None of this is really a big problem,” he said. “It might be positive; we have more time to work and finalise the projects.”

Nichetto also revealed some disruption. “The situation is creating big problems for us,” he told Dezeen. “Some of our partners have decided that the investment will not pay back, so they have cancelled.”

“I think there will be less visitors for sure,” he added. “I don’t want to say that the event is compromised, but for sure it will be different.”

Postponement gives Chinese designers a chance to exhibit

According to Lovegrove, the decision to postpone Salone del Mobile has revealed how important the Asian market has become to the design industry in Europe and beyond.

“The wider implication is the relationship with Asia, because in recent years the numbers of Chinese in particular visiting the fair have really grown and there is a firm and visible interdependence,” he said.

Many Chinese designers, who would have been forced to pull out of exhibiting in Milan due to restrictions on travel from China to Italy, may now be able to attend in June.

“I will go to the Salone del Mobile at the rescheduled date and have changed my booking accordingly,” said designer Chen Min. “I have to be fully supportive of my clients and some of my colleagues need to experience the Salone other than by always watching it online.”

“I had cancelled my participation with the organiser before the announcement of the postponement,” said designer Shaw Liu. “Now I have to contact them and see if I can claim my space again.”

Other Chinese designers said it would be impossible to attend in June, even if they are able to travel to Italy, as the new dates are too close to major fairs in China that have already been rescheduled due to the coronavirus outbreak.

“We won’t be able to consider exhibiting at the new date,” said designer Mario Tsai. “We will finish Design Shanghai on 29 May, and Shenzhen Furniture Fair is at the beginning of June. It would be too much of a hurry for us.”

Other designers questioned whether travel restrictions will be lifted in time.

“We will not make a decision now about the postponed exhibition because at this point no one can predict what the situation will be at that time,” said Hongchao Wang of Benwu Studio.

“Better if they had cancelled”

As there is no guarantee that the coronavirus epidemic will be under control by June, some designers have called for the event to be cancelled rather than postponed.

“I think it would have been better if they had cancelled the whole event,” said Dutch designer Richard Hutten. “That would be good for the planet; half a million people not flying to Milan.”

“Anyway it will be much less busy in June compared to April since there are a lot of other design weeks and other design events around the globe in that period,” he added.

Scottish designer Nick Ross is also in favour of cancelling this year’s event for environmental reasons. “I think it could be a good thing not having Salone at all this year,” he said.

“A bit of breathing space for reflection could be a good thing. We already need to slow things down in the industry and start producing way less, so this might be a good excuse to start that.”

“Postponing it only two months is a big risk”

Not all designers take such an extreme view. Benjamin Hubert, founder of London studio Layer, believes Salone is crucial for the design industry and that a later date should have been chosen, to avoid the risk of the new dates being affected if the coronavirus outbreak is not contained by then.

“I think it is wise to postpone, but I think postponing it only two months is a big risk, as the situation is extremely fluid and has the potential to be disruptive far beyond June,” said Hubert.

“The real loss is the sense of community and networking that Salone offers, which is critical for the design industry,” he added. “This loss would be particularly felt if Salone is postponed again or cancelled.”

The coronavirus outbreak, which was first reported in Wuhan, China, in late 2019, has infected more than 80,000 people in 50 countries. Over 2,800 people have died from the virus so far.

Many countries have put international travel restrictions in place, and other events have been postponed, including Design Shanghai and Festival of Design in China, and the Light + Building fair in Frankfurt.

“Bigger problems often lead to more creative solutions”

Both designers and brands are broadly concerned about the impact that coronavirus, and the measures being taken to prevent its spread, could have on their business.

“I worry about the consequences of a widespread sense of fear and uncertainty on sales for design brands,” said British designer Lara Bohinc.

However, some designers are suggesting that the virus outbreak offers a chance to reflect on whether the entire Milan experience could be rethought.


“Maybe we don’t need to be so addicted to going every year,” suggested British designer Paul Cocksedge. “We’re living in a time when we need to think carefully about how much we’re travelling.”

“There’s a huge amount of energy and materials that goes into building these kinds of temporary shows each year, which is something we need to question, and perhaps this is a chance to do that,” he continued.

“Maybe this year is an opportunity to understand other ways for people to get their design kick, instead of flocking to Milan en masse.”

Sabine Zetteler, head of PR agency Zetteler, points out that many small studios and independent designers will be unable to afford to reschedule their plans to June. She encourages them to team up with brands to explore alternatives to the annual Milan exhibition.

“Bigger problems often lead to more creative solutions; if design brands discover and pursue new strategies that don’t depend upon Milan, this could be a seminal moment for the industry,” she said.

Photo of Brera Design District is by Chiara Venegoni.

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Jaguar’s Revised F-Type Surprises on the Back Roads of Portugal

Test-driving reveals much about two variations of the new-generation vehicle

In Portugal, driving two variations of the new-generation Jaguar F-Type, we remembered that sometimes a car will surprise you. The F-Type R, with a 5.0-liter V-8 engine, has a starting price of more than $103,000. The other is a four-cylinder model—less interestingly named the P300—which starts at a more approachable $61,600. It’s that one—the less obvious example—that brings us the surprise.

We’re on back roads that connect backwater villages, the kinds of locales that are largely agricultural and upon which you may still find a horse cart traveling shakily down the lane. The roads are winding narrow, and they do not encourage the type of high speeds that the V-8-powered F-Type calls out for with its heady 575 horsepower.

In contrast, the less potent F-Type is ideally suited. The body is the same, of course, with the long hood and swelled rear fenders that harken to Jaguar’s glory days and its archetypal E-Type. But the 2.0-liter turbocharged unit weighs far less than the big engine, and is placed further back in the body, taking weight off the front.

This F-Type noses eagerly into turns, ably adapting to abrupt changes in direction. We’ve never really thought of the F-Type as a car that was light on its feet. It’s more the type of instrument where you lean hard on the brakes, get around a corner cautiously, and then hammer back on the gas. Point and shoot. This one allows you to carry momentum into and through turns, the sound of the Pirelli tires working hard underneath you. The top speed is 155 miles per hour. Enough to get you thrown into jail, so therefore quite quick enough.

Also, this is the only version of the F-Type currently offered as a rear-wheel drive, retaining the purity of an old-school sports car. The smaller engine still makes some good gurgling noises, especially when you suddenly come off the accelerator. The one we tested was a convertible, which is probably the right choice as a weekend play thing, but it’s also offered as a coupe.

Which brings us to the changes to the F-Type overall. Both the coupe and convertible are being treated as new, second generation cars, with tweaks to the exterior, interior, and significant suspension changes.

The F-Type was first launched in 2013 as a return to Jaguar’s sports-car form. Facing the popularity of crossovers and competition like the Porsche 911, it never really succeeded in the marketplace. You don’t see them on the street very often, which is in some sense a selling point of its own.

It was always a pretty car, penned under legendary designer Ian Callum. He’s gone now and his successor, Julian Thomson, has completely changed the headlamps, going for a high-tech look with a strip of super-thin LEDs. The grille is also slightly larger, and the bumpers have been refashioned. The interior feels familiar. Most notable is the upgrade to electronics, namely a digital screen in front of the driver and an updated and much improved infotainment system.

For those who do want to go the way of the R and its ample power, the chassis has been re-crafted with new anti-roll bars, aluminum rear knuckles, dampers, and springs. The brake-based torque vectoring was also reworked. This new level of precision plays nicely with the ample power, making the R more fluid than before.

When it comes to cars that are primarily for enjoyment, the elements of joy and surprise are fundamental. The F-Type—in whatever guise—delivers on that contract better than ever before.

Images courtesy of Jaguar