The Crate Series by Studio Makkink & Bey

Crate Series by Makkink & Bey

Dutch designers Studio Makkink & Bey present furniture and household appliances combined with packing crates at Spring Projects in London.

Crate Series by Makkink & Bey

Called the Crate Series, the designs were inspired by mobile shops and workspaces made from crates in India.

Crate Series by Makkink & Bey

Every model has a specific function combined with objects like a vacuum cleaner, cabinets and sink, bath or bed.

Crate Series by Makkink & Bey

The show will run from 5 November until 16 December.

Crate Series by Makkink & Bey

Here’s more information from Spring Projects:


Spring Projects presents The Crate Series by Studio Makkink & Bey

5 November to 16 December 2010.

Crate Series by Makkink & Bey

The Crate Series re-defines functional, ordinary objects by infusing them with new narratives.

Crate Series by Makkink & Bey

Shipping crates usually used for temporary storage and freight are transformed into containers for living, domestic cabinets rich in detail.

Crate Series by Makkink & Bey

The result plays with our ideas of value; the container becomes the content, a by-product is metamorphosed into the product.

Crate Series by Makkink & Bey

Re-interpreting the container, Studio Makkink & Bey engage our perceptions of what a product’s purpose is. These shipping crates, normally used to temporarily house goods, take on a more solitary role as sized down household units.

Crate Series by Makkink & Bey

The Crate Series was inspired by a trip to India, where Rianne Makkink noticed how people used crates to make mobile shops and workspaces.

Crate Series by Makkink & Bey

At that time Studio Makkink & Bey were housed in an enormous industrial warehouse, the seemingly endless space in the high-ceilinged hall was the incentive to create workspaces on a more human scale.

Crate Series by Makkink & Bey

The first crate dwelling was conceived. A crate cupboard placed on an old desk, its doors shielding the user from sights and sounds, allowing greater concentration, in a space solely providing room for the absolute essentials.

Crate Series by Makkink & Bey

In its original guise as freight packaging, the crate protects its contents, but as furniture it also becomes a means of personal autonomy. These wooden retreats can be used to seclude oneself from the outside world, but when unfolded they can become furnishings inside an already furnished room.

Crate Series by Makkink & Bey

Whilst travelling, they form familiar spaces within unknown spaces. The various models encompass a specific function, concentrated inside the crate and in the material finish.

Crate Series by Makkink & Bey

The leather wrapping of the Bed Crate can be folded up as a wall panel or a headboard making it possible to adjust the furniture to varying personal needs for privacy.

Crate Series by Makkink & Bey

The Bath Crate transforms into a sauna or dry cleaning room when closed off.

Crate Series by Makkink & Bey

The Sink Crate is a wash unit for personal hygiene for enormous spaces, when bathing facilities are not close at hand.

Crate Series by Makkink & Bey

The crates change in status from commercial to domestic is further emphasized by the striking decorative motifs on their exteriors.

Crate Series by Makkink & Bey

The Vacuum Cleaner Crate wears its dusty content seemingly on the outside.

Crate Series by Makkink & Bey

This crate is covered with a layer of grey fibres flocked onto the surface of the crate.

Crate Series by Makkink & Bey


See also:

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WashHouse by
Studio Makkink & Bey
House of Furniture Parts by
Studio Makkink & Bey
Silver Sugar Spoon by
Studio Makkink & Bey

B-side by Hussein Chalayan at Spring Projects

B-side by Hussein Chalayan at Spring Projects

Fashion designer Hussein Chalayan presents work including these moulds used to make his Inertia series of dresses (see our earlier story) at Spring Projects in London.

B-side by Hussein Chalayan at Spring Projects

The show includes sculptures, films and animations by Chalayan.

B-side by Hussein Chalayan at Spring Projects

It focusses on the Inertia project that resulted in his Spring Summer 2009 collection of tight dresses with foam shapes protruding from the backs, as well as his Anaesthetics series of eleven films about the violence involved in processes we find normal, like air travel and the production of processed food.

B-side by Hussein Chalayan at Spring Projects

Called B-Side, the exhibition concludes tomorrow.

B-side by Hussein Chalayan at Spring Projects

See all our stories about Chalayan »

The following information is from Spring Projects:


B-SIDE
Hussein Chalayan

17th September to 23rd October 2010

This autumn, Spring Projects presents B-side, an exhibition of work by Hussein Chalayan. From pieces that are being shown for the very first time, to others that are represented in exciting new ways, B-side will showcase Chalayan’s explorations into the body, movement and voyeurism and highlight his fascination with form and process.

B-side by Hussein Chalayan at Spring Projects

While Hussein Chalayan is known first and foremost as a designer of radical fashion, investing his clothing with ideas and narratives – speed, displacement, cultural identity and genetics are favourite themes – he has also created a significant body of art works which are collected internationally. In B-side, we see Chalayan as sculptor, film-maker and animator. The exhibition rounds up two discrete projects Anaesthetics and Inertia. Though independent works, together they create a coherent articulation of Chalayan’s key themes.

Chalayan’s films allow him to animate his own designs and work with movement, narrative and sound. (Music has always been an important part of his fashion shows, with soundtracks provided by a range of musical choices from a live Bulgarian choir to songs by Antony and the Johnsons to Hussein himself playing electric guitar.) He describes Anaesthetics as a “film sketch book”.

B-side by Hussein Chalayan at Spring Projects

It consists of 11 “chapters”, each based on what Chalayan calls “institutions which codify behaviour in order to conceal violence”. If that sounds extreme, he is referring to situations we find normal – the strange conditions of air travel where artificial air and entertainment keep us subdued; the aggressive way that much refined food is prepared.

B-side by Hussein Chalayan at Spring Projects

While the film will be shown in its entirety, Chalayan has created lightboxes that isolate imagery from the film, with three dimensional objects. These will be displayed for the first time.

B-side by Hussein Chalayan at Spring Projects

Inertia was the name of Chalayan’s Spring Summer 2009 collection, in which the showstoppers were body hugging dresses with dramatic protruding backs created in rubber foam and finished with a liquid sheen. A snapshot of speed and the moment of collision, they added to his inventory of dresses as narrative objects. Previous examples include breakable dresses formed in resin and others that translated into pieces of furniture.

B-side by Hussein Chalayan at Spring Projects

In B-side, he has chosen to display the moulds, which offer a fascinating insight into the creation of the work. “The moulds are really beautiful in their own right,” says Chalayan. “But showing them is about process and the in-between moments. I always talk about movement and animation in my work, but this instead is the monumentalisation of the frozen moment. A freeze frame.”

B-side by Hussein Chalayan at Spring Projects

Hussein Chalayan was born in Cyprus in 1970, but has lived in England since the age of 12. He graduated from Central Saint Martins in 1993, and received instant recognition for his graduate collection, “The Tangent Flows.” The pieces – they had been covered in iron filings and buried in his back garden – set the tone for an illustrious career as a fashion designer and artist. His innovative and challenging work has determinedly blurred the boundaries between fashion and art. “The exciting thing about Hussein Chalayan is the way he refuses to let himself be claimed as the territory of any one tribe. He is part of the fashion world, but equally at home with design, art and architecture,” says Deyan Sudjic, director of the London Design Museum. Combining a fascination with culture, technology, science, geography and the human body, Chalayan’s alternative approach has made him one of the most exciting artists and designers of his generation.

B-side by Hussein Chalayan at Spring Projects

Spring Projects is a contemporary custom-built gallery space situated in Kentish Town, London, which opened in February, 2008. Under the direction of Andree Cooke, the gallery has received phenomenal critical acclaim and media attention as a space that seeks out work which takes a broad cultural perspective and an interest in the cross-pollination between creative fields, work that is risk-taking and experimental in its approach.“I think there is a special energy in London’s smaller centres, like Kentish Town, which is emerging as a cultural enclave,” says Chalayan. “There are very few spaces in Britain which are interested in the fluid relationship between art and design. Spring Projects is one of them, actively promoting and respecting work which falls between different disciplines.”


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Jaime Hayon at
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