Competition: Dezeen has partnered with publisher Particular Books to give away three copies of B is for Bauhaus – a “personal dictionary of design” by Deyan Sudjic, director of London’s Design Museum.
Covering subjects that range from authenticity to Grand Theft Auto, Jorn Utzon, Dieter Rams and Postmodernism, B is for Bauhaus is described as Deyan Sudjic’s “essential tool kit for understanding the modern world”.
The book offers a highly individual take on various elements of modern culture from Sudjic, who has been the director of London’s Design Museum since 2006.
His career has included stints as a critic for the Observer and the Sunday Times, a period as editor of Domus, and curatorships in Glasgow, Istanbul and Copenhagen. He was one of the co-founder of Blueprint magazine in the 1980s and directed the Venice Architecture Biennale in 2002.
B is for Bauhaus draws on all of this experience to create an “a highly eclectic, intensely personal dictionary of design”, said Particular Books.
Published this spring, the 480-page hardback book is “about what makes a Warhol a genuine fake; the creation of national identities; the mania to collect,” said the publisher.
“It’s also about the world seen from the rear-view mirror of Grand Theft Auto V; digital ornament and why we value imperfection. It’s about drinking a bruisingly dry martini in Adolf Loo’s American Bar in Vienna, and about Hitchcock’s film sets,” the publisher added.
Competition closes 15 May 2014. Three winners will be selected at random and notified by email. Winners’ names will be published in a future edition of our Dezeen Mail newsletter and at the top of this page. Dezeen competitions are international and entries are accepted from readers in any country.
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News: leading figures from London’s design institutions have warned that new immigration rules which make it harder for international students to stay in the UK after graduation could be a “disaster” for the city.
Kieran Long, senior curator at the V&A museum, described London as “a crossroads for great creative people to come and learn from their peers,” but warned: “Anything that stops that would be a disaster.”
Design Museum director Deyan Sudjic said: “London has really based its success on having 150 years of great art schools. They have been somewhat industrialised, got too big, and the government has also got quite curious about allowing students to stay once they’ve graduated. We need to be an open city, that’s what London always been.”
Last month the UK government announced changes to immigration rules that add “genuineness” interviews to the existing points-based hurdles students must clear if they wish to extend their leave to remain in the country once their course ends.
The new rules also introduce the power to refuse an application for a student visa extension where the applicant cannot speak English.
“It would be a disaster for London,” agreed Nigel Coates, professor emeritus at the Royal College of Art. “For creative people, London is the most attractive city in the world, partly because of its schools. But the government, confused as always, seems to be shooting itself – and us – in the foot.”
“It’s making it very, very difficult for AA students,” said Sadie Morgan, president of the Architectural Association school. “They give huge amounts to the UK economy. It’s a really big issue. It’s damaging and short-sighted of the UK government. They’re looking to be doing something aggressive about immigration but it is hugely damaging for schools like ours.”
Architectural firms can apply for visas on behalf of overseas graduates they want to employ, but Morgan said it was a “convoluted and expensive” process.
Sudjic added: “London is a remarkably successful place at attracting really smart, gifted young designers. They come to study here and lots of them build a practice here, not necessarily based on clients here, but on clients all around the world. London is a great place to be but it can’t be complacent and one of the things it has to do is go on attracting smart and new people and get them to stay.”
“London is welcoming, enterprising and full of opportunities”, said Max Fraser, deputy director of the London Design Festival. “It’s multiculturalism is one of its great selling points. We want to retain the best talent and the new visa restrictions are not conducive to that.”
London mayor Boris Johnson is understood to share the institutions’ concerns and convened a meeting with leading London arts schools this summer to discuss the issue. However, the mayor has no influence over national immigration policy. The UK’s Conservative government introduced the rules to appease backbench MPs, who demanded a tougher stance on immigration.
Dezeen spoke to leading figures in the design world during the London Design Festival last month to get their views on London’s position as a centre for design and the reasons for its current strength as a creative hub. The pre-eminence of London’s arts schools and its openness to immigration were the most-cited reason for the city’s standing as one of the world’s leading international centres for design.
“I think London has always been a place thats incredibly tolerant of new things, of people arriving in the city,” said Kieran Long. “We know that the city is based on immigration, and the people that are already here tolerating them and we’re really comfortable with that. In terms of design and architecture, we have some of the greatest schools in the world, a lot of people come to study here.”
He added: “I think there are threats to that, certainly we should keep London as open as it possibly can be and any political agenda that’s about closing that down somehow, to me, is anathema to what London really is.”
Sudjic said: “London is a great place to be but it can’t be complacent and one of the things it has to do is go on attracting smart and new people and get them to stay.”
Alex de Rijke, dean of the School of Architecture at the Royal College of Art, added that funding cuts and the rising reputation of schools abroad presented new threats to London. “Inevitably you produce a lot of architects that stay for a while then go and forge a career, whereas perhaps in the future that will not be the case as emerging economies all over the world will inevitably take over cultural production. So I see, not necessarily a lessening in the influence of education here, but certainly more of a diaspora of talent.”
“As other universities around the world offer amazing opportunities for the global student population, it’s increasingly difficult to be able to offer added value,” agreed Morgan. “The added value is being able to stay and work in the UK because of the huge kudos you get from working for UK practices.”
In an interview with Dezeen during the festival Patrizia Moroso, creative director of leading Italian furniture brand Moroso, praised London’s openness to students from overseas and contrasted it with the situation in Italy, where she says underinvestment in schools is leading to the collapse of its creative industries.
“The schools [in Italy] are collapsing,” she said. “When I see our universities and design schools, they are not the best in the world, they are not so important unfortunately. If you don’t give importance to learning, not immediately but in ten years you lose a generation of material culture.”
Last month the mayor of London proposed a new “London visa” to allow exceptional creative talents to bypass the lengthy new visa application system to set up businesses in London. He told the Financial Times (£): “It is a clear message to the elite of Silicon Valley or the fashionistas of Beijing that London is the place they should come to develop ideas, build new businesses and be part of an epicentre for global talent.”
Dezeen Wire: the director of London’s Design Museum Deyan Sudjic claims the museum’s new home at the former Commonwealth Institute will offer a platform for future designers and that Britain can regain its reputation as creative power, “provided we go on investing in design” – The Guardian
Sudjic describes the Design Museum’s original incarnation at the Victoria & Albert museum as “a little like an upmarket squatter in the V&A basement,” but suggests that “contemporary design is now firmly on the cultural agenda.” He claims that Britain must support design education in order to stay ahead of emerging economies, adding that “design is a way to create or safeguard jobs.”
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