Cool Hunting Capsule Video: Collection

Our video on conceptual artist Rirkrit Tiravanija and his newest video project

Rirkrit Tiravanija has continuously proven himself to be at the forefront of modern conceptual art. Extremely social in nature, Tiravanija’s exhibitions range from feeding gallery-goers to recording footage of a road trip and displaying it, along with the car that made the journey, for everyone to see. In this video, Cool Hunting talks to the artist about his current project as part of Absolut’s 365 Days initiative in Mexico and the culture’s attitudes towards art.


Polyurethane Projects

Three designers experiment with polyurethane foam to create new, unexpected forms
Juan-Garcia-Swell1.jpg

by Jack Shaw

While the idea of elevating industrial materials to the level of high design isn’t new, recent creative experiments with polyurethane foam have yielded work that feels undeniably fresh. Widely used in the furniture production process, polyurethane foam rarely constitutes a visible part of the final product. The material’s amorphous nature and near instantaneous conversion from a liquid to a solid not only lend to its commercial application as insulation and interior support, but have also made it a favorite plaything for conceptual designers. These projects have yielded work of unconventionally beautiful and rare intellectual appeal.

Hans-Jorg-Walter-Vitra-2.jpg Hans-Jorg-Walter-Vitra-1.jpg

Berlin based product designer Jerszy Seymour has developed a career-spanning relationship with the polyurethane foam material. He has created an entire visual language of drips and goo, which he calls Scum. From lamps to a ‘house in a box’ kit Seymour has used the foam for projects of every scale. Seymour’s work has a humble honesty and a quality of being almost undesigned. His New Order Chair for Vitra Edition uses the foam to reconstruct a plastic garden chair into a design that is both experimental and elegant.

Juan-Garcia-7.jpg Juan-Garcia-Adami-4.jpg

Like Seymour, Massimiliano Adami’s work often incorporates found objects. In his Fossili Moderni series polyurethane foam is used to suspend common plastic containers and toys (of both children and adults) before being sliced into a desired form. The resulting magma of 21st century refuse is a surprising reinterpretation of everyday objects. There is a thoughtfulness to this immortalization of the everyday object, considering it could take up to 1000 years for the average PET bottle to degrade in a landfill questioning mass design and its consumption seems entirely appropriate.

Juan-Garcia-Swell2.jpg Juan-Garcia-Swell3.jpg

The Swell Vase, by Brooklyn designer Chen Chen, achieves its alien appearance by incorporating the contradiction between pressure and constraint into the production process. Made by injecting the expanding polyurethane foam into a net bag the tension between the two materials dictates the vase’s ultimate form. The work is made far more interesting by the idea of removing the designer’s control, and elevating the role of materials in the design process.

Jerszy Seymour has worked with such companies as Magis, Vitra, Kreo, Moulinex, SFR and IDEE. Massimiliano Adami has created designs for Cappellini, Meritalia, and Fendi. Adami and Chen Chen both currently have work on display at Moss in SoHo, New York City.

Images of New Order Chair by Hans-Jörg Walter, all others by Juan Garcia Mosqueda.


Numabookface

A fantastical mobile library with a conceptual twist
Numabookface_1.jpg

No offense to bookmobiles, but Numabookface—part installation, part bookstore—ups the ante on mobile libraries. A collaboration between design collective Nam and specialty publisher Numabooks, the whimsical pop-up shop launched earlier this year as part of Nam’s “A Fantasy in Life” solo exhibition at Public/Image 3D in Toyko.

Numabookface_2.jpg Numabookface_3.jpg

Made of 3,500 used books that fall under the keyword “fantasy,” the face-shaped bookshelf took one day to build. “We’d love to make this small, fantastic shop like a touring project, visiting various places and being observed as a graphic artwork as well as considered as a place to meet unexpected books,” says Takayuki Nakazawa, co-founder of Nam. “This is a little presentation against the severe situation the publishing business is facing.”

Numabookface_4.jpg Numabookface_5.jpg

The artfully-arranged stacks are not intended for browsing and page-flipping, but none of that’s necessary. In a surprise for readers, Shintaro Uchinuma of Numabooks choses titles for each individual customer based on how he or she answers the question, “Please tell me about yourself.” Available in sets of five for ¥1,800 ($22) or 50 for ¥9,800 ($122), purchases will be delivered after the installation’s run. “I love this rather surrealistic method of selling, as this seems to provide the customer with a chance to meet with new books that they cannot imagine,” says Nakazawa.

Numabookface_6.jpg

Numabookface is open through 31 July 2011 at the Ikejiri Institute of Design in Toyko (closed on Mondays).


R/S Too

New online concept store lets designers shop their cities for you
rstoo-4.jpg

Tapping into the excitement of traveling to foreign cities and discovering the rare, unique and otherwise special offerings, Relative Space‘s Tyler Greenberg took the idea of a concept shop online with a selection of “objects of interest” that represent designers and their cities. Every few months a new designer will take the reigns, selecting items that reflect their local narrative, starting with architect Juergen Mayer H and Berlin.

rstoo-2.jpg

Reflecting the “overlapping disciplines of art, architecture, industrial and product design,” Mayer H’s pick of Berlin‘s talents include a Heaven & Hell origami-inspired purse by Bless, Mark Braun’s gold-lined porcelain jewelry case, Judith Seng’s beautifully crafted solid wood Trift tables and more.

rstoo-bless.jpg rstoo-braun.jpg

The current stock also includes a limited run of six specially-designed soccer balls by Mayer H for the site, a testament to the award-winning architect’s talent for playing with pattern and form.

rstoo-balls1.jpg

Like the first edition, future designers will each select four to ten different items, which will sell online until sold out. A few objects may show up at Relative Space’s NYC or Toronto showrooms (or in a special show such as the recent “$H!T Happens in Berlin” display during ICFF), but the selection will sell chiefly online.

rstoo-balls2.jpg

With Brooklyn as well as many more inspiring places on the horizon, R/S Too is a site worth keeping tabs on. Best of all, its simplified layout makes it easy to shop—whether by designer, city or style.


Cool Hunting Capsule Video: Martin Creed

Our latest video looks at a conceptual artist’s meditation on gray

by
Gregory Stefano

On a recent trip to Mexico City we had the chance to stop by the Zona Maco Art Fair to check out what’s happening south of the border. We explored some great galleries, saw some fantastic work, and one piece that jumped out immediately was by London-based artist Martin Creed called “Untitled” from 2010. We had a chance to discuss it with one of the gallery reps at Hauser and Wirth to get some insight on the scope of the work, as well as the importance of having a presence in the Southern Hemisphere. Check out the video and look out for more from our experience at Zona Maco and Mexico soon.


Rashid Rana

Things are not as they appear in this Pakistani artist’s pixelated works
rashidrana2.jpg

Working across mediums—sculpture, video installation and large-scale photography among them—Pakistani artist Rashid Rana explores the singular issue of South Asia’s struggle between tradition and modernity. Typically he uses a pixelated aesthetic to express how globalization and the media impact the region’s identity.

This approach separates out and reassigns associations between the part and whole as a way of challenging stereotypes. His work—on view at London’s Lisson Gallery—teeters between 2D and 3D perspectives, creating tension and forcing his audience to question reality while underlining his position that “we live in a state of duality.”

rashidrana11.jpg

Rana’s series of sculptures, aptly called “Books,” are really aluminum cubes printed with pixelated photographs, putting the perceptions of three-dimensional space and form into play by toying with our sense of concrete information.

rashidrana10.jpg

Described by Rana as “unpacked abstraction,” his large-scale photographic work looks like a chaotic field of geometric shapes from afar. As you focus closer, the pixels reveal themselves as smaller, context-specific images disrupting the serenity of the work as a whole with their sheer volume.

rashidrana1.jpg

Rashid Rana’s show will be at Lisson Gallery from 30 March 2011 through 30 April 2011, and is accompanied by a new monograph on the artist.


Alfa Romeo 4C

Alfa Romeo’s supercar concept hints at re-entry into the U.S. market

alfa-romeo1.jpg

Drawing steady crowds when it debuted at the Geneva International Motor Show last week,
Alfa Romeo’s
new 4C concept was on the tip of nearly every editor’s tongue as a show favorite. While the allure of the two-door’s matte red finish and seductively crisp design flourishes turned heads, the marriage of supercar inspiration with a compact body will go into production in 2012 and suggests a bold future—perhaps even a hotly-anticipated return to the U.S. market—for the brand.

Based on the success of their flagship, limited-edition
8C Competizione
, introduced in 2007, as well as the 8C Spider, the rear wheel-drive 4C shares a look “shaped by the wind.” Designed by the Alfa Romeo Style Center, the body doesn’t just borrow lines from vintage Alfa Romeo’s, like the famed 6C 1500 and 6C 2500, but uses the same weight and power distribution ratio that made those cars so fast.

alfa-romeo2.jpg

What the 4C lacks in power (four-cylinders compared to the brawny eight of its forerunners), it makes up with clever suspension layout and a lighter-weight frame, comprised mostly of carbon and an aluminum rear, to ensure maximum agility—which isn’t to say that the engine doesn’t pack a punch. At 200+ horsepower with a top speed of 250 km/hr, a new “twin dry clutch” transmission, going from zero to 100km in under five seconds) and a system that eliminates turbo lag, you can already find this gasoline engine in current production models like the Giulietta, a compact Alfa that has fans salivating for it to come stateside.

alfa-romeo-back.jpg

If parent brand Fiat coming to the U.S. is any indication, the company will likely use its Chrysler platform for the 4C, which would make it the first model to hit these shores since Alfa Spiders ceased production in the mid-’90s. While there’s no word on price yet, (though it will hit somewhere below the Competizione’s $100,000 tag), here’s hoping a suitable repair network comes with it.


Staged Photography

Une belle série de clichés et des travaux par le photographe américain Kevin Van Aelst qui transforme les objets du quotidien dans des explorations visuelles et des concepts. Des idées et des images à découvrir de manière complète dans la suite de l’article.



vanaelst02

vanaelst03

vanaelst04

vanaelst05

vanaelst07

vanaelst08

andalliask

moonweb

herculesweb

ursaweb

flyingweb

cemeteryweb

dimensionweb

carpetunhweb

tragedyweb

shoppingcartweb

heart-web

carpetweb

photoaddfriend

brain-web

blackhole-web

circulatory-web

hawaiiweb

























Previously on Fubiz

Copyright Fubiz™ – Suivez nous sur Twitter et Facebook

Mini Rocketman

See Mini’s LED-lit concept car’s dual-hinged doors and drawer trunk in our video

MiniRocketman.jpg

Making a good thing better is hard enough, but making a small thing smaller may be even trickier.
Mini
invited us to see how they did both when yesterday in Milan they unveiled their new concept car Rocketman, a forward-thinking ride with features that suggest not just a future of more compact cars, but one that boldly uses materials, lighting and other features.

Lit entirely with LEDs, the all-glass roof (also embedded with LEDs) makes for a glittering look, accented by the carbon-fiber body, which also lends fuel-efficiency. Its diminutive size, measuring just over three meters and seating three, is geared for urban markets and, perhaps most impressively saves space with a sliding drawer-style trunk, that can be left open for toting snowboards or other bulky items. Hinged doors make squeezing into tight parking spaces easy and allow passengers to get in the reat seat without too much trouble.

We caught up with BMW design head Adrian van Hooydonk at dinner and learned all about the Rocketman’s spirit animal, his predictions for car design’s future and more.

MiniRocketman2.jpg

Is there a danger of being too cute with Mini?

The lines are more crisp and taut on this concept, because we feel that a Mini should always be like a friend, let’s say. But if it becomes too cute, than maybe people will see it like a toy, a teddy bear. Of course we like to appeal to young customers, but Mini traditionally is a car that appealed to people of all ages, cross-gender and all around the world.

The elements in this car, we believe are elements that could do that: keep Mini exciting, interesting fun, endearing, but also something to be reckoned with, also serious. Almost like a British bulldog—a small dog, but people take it seriously.

What are the challenges of designing small?

On a big car, it’s easy to make things move, do a door opening or a trunk. On a small car, it’s much, much harder. But exactly what Mini stands for, right from the very beginning, is being clever in a small space. And this car is full of ideas for a small space. The way the trunk opens, the original Mini had that too. In a tight parking spot, if a car is parked behind your Mini, you can still open this trunk and put your stuff in. Or the side doors, they have a double hinge that allows you to open the door, even when there’s another car parked right next to you.

How much less room does the door need?

I would say one-third, if you have to put a number to it. The Mini has quite a long door, because it’s a four-seater but a two-door car. If you open it with one hinge, you hit the other door and then you have to sort of squeeze in. With the Rocketman, we solved both issues. You can crawl in the back because the door’s quite long, but you don’t have to squeeze in through a narrow opening because of the double hinge.

That’s actually why we called the car Rocketman. On the one hand, Rocketman sounds like a brave little guy—and Mini is that, a brave little guy. But this car to us is so full of ideas, that we thought it’s rocket science by Mini. That’s why we call it Rocketman.

How did you treat the interiors for this car?

Of course we are dealing with a small car, but as a designer you can do a lot to give the feeling or the sensation of more space. We did this in the Rocketman in the sense that there is no dashboard like we know it today.

The dashboard takes up a lot of space. In the old Mini there was only a steering wheel and one big dial, and that’s what we’ve done in this Rocketman as well. But the steering wheel and the big round center dial have grown together into a structure. And then the rest of the dashboard is gone, you don’t need it.

Continue reading…

The lighting is another feature which I believe can do a lot to create a very nice atmosphere, even in a small space. We’ve played with that a lot in the car, and we believe that the light or the light color in the future is going to play a bigger role in the whole color and material set up of the car. Right now the light is treated very separately from the materials that we use in the car, and in this concept we made it an integral part. We thought about it from the beginning, it could light up in red or blue or some other colors.

You could customize to your mood, which is something that Mini offers today. There’s just one or two LEDs in the Mini interiors today so you can change the color seamlessly from orange to blue. But in this car now, there’s big surfaces of light. And the roof of course is transparent which is another element that increases your sensation of spaciousness.

What other examples of industrial design inspired the car?

We’re constantly not just looking at other fields of design, like industrial design, furniture design or fashion design, we also have a part of our team—actually a large part of our team located in California—called Design Works. And this design consultancy, we do industrial design for other companies as well. We are actually in touch with other industries, like aircraft industry, or boating. We design airplane interiors or boats exteriors and interiors.

And you always learn, so as a designer you become more creative the more you work on different types of products, or design problems. LED light is something that is coming anyway, also in furniture, also in housing. It is simply very small, it uses less energy.

It led to a whole creative outburst, because now we can position these lights in places where in the past a lightbulb would have to go in and there wouldn’t be the space. Without LED we couldn’t have done this roof or the illumination of the door panels, or the tail lamps where the air can pass through. It wouldn’t be possible.

What about the headlights?

In the headlamps, the way we use LED is we would like to make the light in a way that is soft and homogenous. We don’t like to see the dots actually, because we think it’s a little bit too bright, a little bit too cold. And we want to have the light be somewhat soft and warm.

What are the features you think are most likely to go to market?

When you’ve just presented a concept car that’s meant to go very far in the future, then that’s probably the toughest question to ask. But, the lighting ideas for sure. I would say things like the hinges, or the way the trunk works. This would be possible to put in production.

Also a lot of the surface features, the design the ideas, the form ideas we’ve put in the car, both in the interior and the exterior. I can see a lot of potential in using those because that is not necessarily technically difficult. That’s just a matter of seeing how it was received—judging by tonight that was good but let’s see if the broader audience in Geneva sees the car.

And this was also deliberate. If people see this car as part of what could be Mini, then we have just broadened our palette. We’ve just given ourselves more room to play. Because Mini has such a strong history, such a strong heritage in one car. Of course everything gravitates towards this one original car. Does it look like that car or does it not? I think this concept car will help us widen the palette a little bit, which I think is necessary to develop the brand into the future.

Take our reader survey and enter to win a CH Edition Jambox!


The Quick Brown Fox Jumps Over The Lazy Dog

Artist Michael Riedel’s first introspective show reinterprets source code as textual printed matter

riedel-fox2.jpg riedel-fox3.jpg

A man seemingly obsessed with extraction, abstraction and repetition, Michael Riedel takes printed matter and toys with it until most sense is lost. With an almost “Matrix” style of approach, Riedel uses text to “write with writing,” a technique in which he excerpts the works of others in order to make his own statement. His current work—on display at the David Zwirner gallery in an exhibition titled “The Quick Brown Fox Jumps Over The Lazy Dog“—finally sees Riedel use himself as his subject.

riedel-fox5.jpg

Culling HTML code from websites that feature Riedel (mostly MoMA and David Zwirner), the Frankfurt-based artist created massive linear collages by copying and pasting the text in InDesign. By layering and turning the text, the arrangement appears nonsensical at first glance, but there is a clear pattern defined on each canvas. There is also seemingly a theme for each of the silk-screened “poster paintings,” with individual keyboard commands like “click,” “print,” “color” and “alt” highlighted in bold type.

riedel-fox4.jpg

Hung against a wallpaper backdrop of even more black-and-white code, the canvases are accented by colorful circles—a new foray for Riedel. The color not only helps to balance out the web of text, but with their geometric pie-like structure they also seem like the spinning beach ball Mac users encounter when their computer is processing.

riedel-fox6.jpg riedel-fox7.jpg

A pangram used to test typewriters and keyboards, here “The quick brown fox jumps over the lazy dog” underlines the detached relationship Riedel found between text, canvas, paper, and architecture.

The exhibition opens today and runs through 19 March 2011 at David Zwirner gallery, where he will also be signing his catalogs on 5 March 2011 from 4-6pm.