Hasta La Ideas

The 213-room property is an ode to craftsmanship, with a focus on harmony in design and atmosphere

In any other year, we would have joyfully visited Kyoto’s new Ace Hotel close to its opening (which occurred in June), but as such a trip isn’t possible yet in 2020, we opted for a virtual tour. What’s immediately clear is this lovely hotel balances the Ace’s familiar laidback, minimal style and ethos with craftsmanship and materials utilized in traditional Japanese architecture—an appealing, subtle amalgamation of Eastern and Western influences. The resulting spaces are airy and bright, but rich, textured and welcoming.

The brand’s first property in Asia, the Ace Hotel Kyoto—formerly the Kyoto Central Telephone Company building, built in 1926—was developed and designed with aplomb by the team at Atelier Ace, globally revered Japanese architect Kengo Kuma, and longtime Ace collaborators Commune. “When we approach any new Ace project, we always begin by searching for an intimacy with the place itself: its history, its community—the essential soul of each location. In that way, Ace Kyoto is both the same and also totally unique to any other Ace Hotel,” Atelier Ace partner and chief brand officer  Kelly Sawdon tells us. “Since the beginning, we’ve been fascinated by the interplay that’s always taken place between designers in the East and West, and with our first property in Asia, it was exciting to finally be able to fully engage that—drawing so much inspiration from Kyoto’s history of elegant craft, and finding our own dialogue with the city and the natural world around it.”

When first approaching the 213-room hotel’s combination of renovation and new build, Commune principal Roman Alonso says the brief was loose, but it was clear that an international blend of inspiration would be key. “Working with Kengo Kuma we immediately realized the design had to be based on a conversation between East and West,” Alonso tells us. “Kyoto is the cultural capital of Japan and it has a long tradition in the arts and crafts. Ace, Kengo Kuma and Commune all share a love of the handcrafted. We decided that conversation would happen through craft.” From contemporary takes on elements used within traditional machiya townhouses to bright screen-printed artworks, this focus on craft and tradition proves discernible without becoming twee, cliche or gimmicky.

Every material, texture and hue was chosen with atmosphere front of mind. As Alonso explains, “We wanted the spaces to be vibrant in color and texture, but to feel peaceful and relaxing. We wanted to honor fine Japanese workmanship and for details to be refined but for the interiors to feel casual and democratic.” Materials including tamo and cedar wood, washi, stucco, ceramic tiles and copper—all traditionally used in Japanese architecture—have been incorporated with, as Alonso says, “a Western eye, in unexpected ways. The use of organic materials that patina is a love we share with Kengo Kuma—this is another element we were well aligned on from the beginning. The materials add a great deal of texture to the spaces and we are certain they will age beautifully.”

Located within walking distance of the popular Nishiki Market and one of our favorite smaller shopping streets, Teramachi-dori, the hotel offers more to the area than just a place for tourists to sleep. In true Ace form, there are venues within the hotel intended to foster a community for guests and locals alike. These take form as three restaurants and a cafe: Mr Maurice’s (with a menu by Philadelphia chef Marc Vetri) for Italian-American, Piopiko (a partnership with chef Wes Avila) for tacos and cocktails, Portland chef Naomi Pomeroy’s yet-to-open and still-unnamed eatery, as well as a Stumptown Coffee Roasters cafe. “We aimed to create a hospitality experience that is unique and unexpected in Kyoto. It’s important that guests know they are in Japan but for the design to feel cosmopolitan,” Alonso says.

As for the 213 guest rooms, the options are aplenty: Standard King, Standard Twin, Deluxe King, Terrace Twin, Historic King, Historic Twin, Tatami Suite, Ace Suite and Loft Suite. While differing in size and amenities, every room boasts a Japanese soaking tub and original artworks made by local artists. “We worked with our friends Shin Nakahara and Aya Shimizu from Landscape Products on an art program that reflected the narrative,” Alonso says. “They are old friends of Commune and through the years they have shown me my favorite side of Japan. We traveled together all over the country for about four years, meeting and working with approximately 50 different artists and craftspeople. The program is completely democratic, following the Japanese tradition of elevating craft to the level of art and including many generations. Our oldest artist is in his 90s, our youngest are students still in school in Kyoto.”

The project’s most powerful influence is 97-year-old artist Samiro Yunoki, who Alonso describes as “the graphic soul of the project.” Alonso was introduced to the Japanese mingei (meaning art of the people) artist “early in the process and his work was inspiring for so many reasons. It has such a strong graphic quality and such humor and innocence. It felt so right for Ace and so right for the moment we are living in, I was determined to include it in some way. After much convincing, he agreed to create the hotel logo and font as well as several original textile pieces and works on paper.”

From the abstract gridded façade to screens filtering the breeze from courtyard gardens and textiles by Shobu Gakuen, the treasures in the hotel cover the spectrum from bold to hidden in plain sight. “For me there are a number of jewels,” Alonso says. “The hammered copper doughnut-shaped reception desk is a beautiful piece of craftsmanship. The bar die on the mezzanine, created with a chainsaw by Ido Yoshimoto in JB Blunk’s studio in California out of salvaged old growth redwood, is something so incredibly unique and special. The tile used throughout comes from a factory in Shiga prefecture—it was all discontinued, and we convinced the factory to put these glazes from the ’60s and ’70s into production just for the project. I can go on and on…”

The harmony within the design and atmosphere of the hotel echos that of the very large teams of talented individuals working together. Alonso says, “No exaggeration, sometimes there’d be 60 people discussing a construction detail. I’m proud that from the beginning we were able to get everyone on board (ownership, architects, clients, countless consultants, makers and builders) and truly understand the design intent. I can think of a million design conversations between East and West, how was ours [going to be] any different? It’s an idea that can be pretty trite and I’ve seen it fail. But I believe we pulled it off, mostly because of the immediate emotional connection everyone had to the idea. It happened completely organically—everyone simply believed in it without question.”

The Ace Hotel Kyoto is open now with plenty of health and safety precautions in place. Rooms right now start at ¥31,000 or $293 USD.

When you think of electric cars, the first name to come to your mind is Tesla. Elon Musk’s company has almost become synonymous with the words ‘electric car’ and it is challenging for other automakers, especially new ones, to get the spotlight. However, there is a new electric car on the horizon that is set to break the monopoly-in-the-market barrier, and its called Lucid Air!

How can Lucid Air trump Tesla or get close? Well, they take the best of the brand’s successful tips and the best of their original design to give the world a legitimately good alternative to owning a Tesla. “Our mission is to deliver sustainable luxury with a class-leading range in the form of the lucid air, and we are closer than ever to turning that dream into reality,” said Peter Rawlinson, CEO and CTO, Lucid Motors. As we all wait for the global reveal that is now happening online instead of the New York Auto Show, we already know that Lucid Air has raised the bar for electric vehicles with its estimated EPA range of 517 miles (832.03 km) on a single charge which makes it the longest-range electric vehicle to date. And it doesn’t stop there, Lucid Air is also set to be the fastest charging electric vehicle ever offered with the capability to charge at rates of up to 20 miles (32.19 km) per minute. for owners charging their lucid air in real-world conditions on the road, that can translate into 300 miles (482.8 km) in just 20 minutes of charging.

“We designed every aspect of the Lucid Air and its platform in-house to be hyper-efficient, from the powertrain to the aerodynamics, and we’ve set several new benchmarks. With our ultra-high voltage 900V+ electrical architecture and the proprietary Wunderbox, we have significantly increased the speed of energy getting into, around, and even out of the vehicle, delivering the world’s fastest charging EV packed with future-ready charging features,” says Eric Bach, VP of Hardware Engineering, Lucid Motors. Say goodbye to range anxiety and long hours of charging. Lucid Air also comes with its own intelligent technology called the Air which will keep your smart lifestyle integrated with your rides. “An onboard virtual assistant tracks usage patterns and preferences, integrating seamlessly with your digital life. Everything is tuned to your liking, from cueing up your favorite music to setting the perfect temperature for your arrival home.” says the team. Using this system, it lets you control key vehicle features no matter where you are seated in the car.

Among the few elements that stood out to us, we see the logo placement similar to Tesla. The front Garnish is unibody in design – usually, we see it in concepts so it is very exciting to actually see it in a production-ready vehicle. Lucid Air is also aiming to be a status symbol like Tesla with its large backseat that adds extra passenger space and gives them a luxurious experience, especially with the executive rear seats for a reclining experience. There is additional storage space in the front and the back so it doesn’t sacrifice functionality for the sporty look. Glass roofs are not revolutionary but this car has a sweeping glass canopy that elevates the game. If your car is not adding pollutants to the air, might as well roll back the roof and take a deep breath!

Designer: Lucid Motors

Dezeen Events Guide has relaunched and is offering free listings to selected digital and real-world events taking place in September, including London Design Festival participants.

The guide, which can be found at www.dezeen.com/eventsguide, has been revamped to offer listings for virtual events as well as physical ones and those that are a combination of the two. It will also feature selected online talks including discussions and webinars.

London guide launches

September will see the launch of the first of Dezeen Events Guide’s dedicated city guides, which will focus on London.

Any event taking place in the city will be considered for inclusion, with listings worth up to £1,250 being given away free. Inclusion is at Dezeen’s discretion.

Events taking place elsewhere in the world will also be listed for free, subject to approval.

Events are cautiously returning

Dezeen Events Guide launched in January this year and was an immediate success, clocking up over 100,000 page views in the first few weeks.

However, the coronavirus pandemic caused the cancellation or postponement of almost every major architecture and design event this spring and summer.

From September onwards events are taking place once again, albeit cautiously and with reduced schedules. Dezeen Events Guide’s offer of free listings is intended to support the sector as it gets back on its feet and adapts to the new realities.

Key September events

London Design Festival will be the first major design event to take place since much of the world went into lockdown earlier this year.

Other key events next month that are partnering with Dezeen include 3 Days of Design in Copenhagen from 3 to 5 September, the virtual International Design Conference from 17 to 18 September and LA Design Festival from 24 to 27 September.

Vienna Design Week takes place from 25 September to 4 October while London Craft Week runs from 30 September to 8 October.

October events

October features the online Copenhagen Architecture Festival from 1 to 11 October, Dutch Design Week from 17 to 25 October and Designart Tokyo from 23 October to 3 November.

Submit an event

To submit a listing for potential free inclusion in Dezeen Events Guide, email eventsguide@dezeen.com. Dezeen also offers media partnerships plus a range of services that can bring bigger audiences to events, including live streaming of talks and content-sharing arrangements, such as this collaboration with Forward Festival earlier this year.

The illustration is by Rima Sabina Aouf.

The post Dezeen Events Guide launches London guide and offers free listings to September events appeared first on Dezeen.

When I, like many other BIPOC graduates, decided to pursue a career in the creative industries, I was well aware of the difficulties that would occur to get in and stay in. The messages are clear throughout the university experience by the lack of representation in lecturers, or the little representation of others who looked like me during placements. It was clear that by choosing a career in the creative industries I would need to be the change in the space that I wanted to see.

We know that the creative industries are infamous for their lack of diversity, with the majority of diversity plans failing to succeed on promises to ensure better representation that not only recruits but aims to effectively retain staff.

The problem is circular: “The lack of BAME representation in our industry, especially in leadership, makes it less attractive to BAME talent, which then affects talent acquisition,” says Ete Davies, CEO of Engine Creative in Campaign. “The situation perpetuates itself and then you get ‘diversity churn’.”

THE IMPACT OF CORONAVIRUS ON GRAD SCHEMES

For many, entry into the creative industries comes in the forms of graduate schemes, placements or internships that are specifically calling for BIPOC talent. But as coronavirus hit and job security left, many were just entering the industry when their placements were stopped.

According to a report from Creative Access and Campaign, “since the crisis, 85% of current trainees say they are either not being kept on after their internship or are unsure if they will be. Before Covid-19, 90% of trainees moved on to full-time work at the end of their positions.”

So in this challenging environment, how can we better equip the newest generation of BIPOC creatives for the industry as we continue to find our way in a post-Covid world?

What uni doesn’t tell you is that finding your feet in the industry isn’t a linear process, even if you’ve secured a graduate scheme placement that Covid-19 hasn’t scrapped, or have planned to take some time off. There are no amount of lectures that can prepare you for the realities of jobhunting in the industries, but here are some things I wish I’d known before I started:

SHARE YOUR WORK

A common phrase that you will come across when interviewing or having #virtualcoffees is that people want to “see how you think”. The creative industries are mostly visual, so while you may be a great graphic designer or writer, you will need more to show for yourself than your great university grade alone.

This is a great opportunity to shape where you would like to go. “Use the time to be introspective and ask yourself what do you actually enjoy doing by looking at your interests as a starting point to work out what direction you want to be going,” says visual designer Israel Kujore. Since his placement was stopped due to the pandemic he’s been sharing his work on social and gained wide attention.

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New Balance X Jaden Smith Vision Racer ????✨ @newbalance @c.syresmith

A post shared by Israel Kujore (@israelvisual) on Jul 22, 2020 at 5:39am PDT

“It’s important now to be sharing your work,” Kujore says. “In the short time that I’ve been putting out work, it’s brought opportunities my way. My tutor in uni used to say, ‘an idea is nothing in your head’. Try to find the balance with making the most of social media and taking time out.”

FIND YOUR TRIBE AND NETWORK

“I’m interested in the idea of blue-collar creatives, so people who are not senior but not necessarily junior and how we can create together,” says Jamiel Thompson of @londonlovelockdown, a BIPOC-led digital networking account that fosters community online. “I think working from your culture gives you strength.”

Pushing aside all of the cringey #squadgoals hashtags that brands and socials want you to buy into, it’s important to build a relationship with peers across disciplines that you can relate to and collaborate with during this period and beyond.

BUILD A PORTFOLIO

“When you’re in university you have to stick to a brief and the work that you’re given is not diverse. Take time to explore what appeals to your interests. Create your own briefs that appeal to you and create work that you want to see,” suggests Nicole Crenstil, co- founder of Black Girl Fest.

However, be prepared that the industry may not be ready to receive this work: it’s important to find advocates to help champion your ideas.

WORK OUT YOUR ELEVATOR PITCH

When you’ve graduated it’s typical for you to sell yourself as a graduate, but it is important to describe yourself as how you would like to be seen. Being part of the ‘Slash Generation’ could mean that you have many skills and hats that you wear. Whittle them down to two or three sentences so when you’re asked what do you, it’s clear.

WHAT THE INDUSTRY CAN DO

While it’s important that new grads prepare themselves as much as possible for entry into the industry, adland must actively seek BIPOC creative work through making a conscious decision to engage with their efforts. This can take shape in many forms such as offering mentoring opportunities and portfolio reviews. There must be intention between both parties in order to establish an inclusivity that isn’t just a hashtag.

But most of all, whether you’re a recent graduate or recently unemployed BIPOC: think about how you can pull from your culture and interests, as the future is yours and your insight is your currency.

Top image: Symone Barden; Leonie Annor-Owiredu is a cultural strategist and writer; thisisdiversityinaction.com

The post The diversity challenge: how to break into and stay in the creative industries appeared first on Creative Review.

Pitching as someone new to the creative industries can be tough, so here we talk to four creatives to get their tips on how to pitch and what to do with feedback that is less than positive

The post The do’s and don’ts of pitching appeared first on Creative Review.