Hasta La Ideas

Stockholm 2013: Swedish designers Claesson Koivisto Rune, Monica Förster and Folkform have collaborated with 400-year-old fine metals company Skultuna to produce this collection of brass objects.

For Stockholm Design Week, Skultuna’s brassworks teamed up with Stockholm studio Claesson Koivisto Rune to produce Face, three coat hooks made of solid brass (above and below).

Stockholm-based designer Monica Förster came up with a series of spun brass flower pots in three sizes (top), while design duo Folkform created a bookend based on geometric shapes (bottom).

Skultuna was founded in the Swedish town of the same name in 1607, and remains under royal warrant to produce fine metal objects such as chandeliers, candlesticks and cufflinks. In 2011, Venetian designer Luca Nichetto presented a series of brass bowls for the brand.

Other products launching in Stockholm this week include a collection of porcelain and wood pendant lamps and a chair that can be dressed up in an assortment of garments – see more products from Stockholm Design Week 2013.

See all coat hooks »
See all brass »

Here’s some more information from Skultuna:

Face wall hangers by Claesson Koivisto Rune

Face is a series of three wall hangers designed by Claesson Koivisto Rune for Skultuna. The wall hangers are cast in solid brass and highly polished to create an almost mirror like surface. The wall hangers are in the last stages of development and will be released during the spring of 2013. Skultuna is one of the oldest companies in the world, founded in the year 1607 as a brass foundry by King Karl IX.

Flower Pots by Monica Förster

Some time ago the Swedish design icon Monica Förster met up with Viktor Blomqvist, managing director of Skultuna and discusses a possible design cooperation. Skultuna is one of the oldest companies in the world, founded in the year 1607 as a brass foundry by King Karl IX. Staying true to the historic production methods of Skultuna, Monica Förster and her design studio came up with a series of three Flower Pots made in the very old method of metal spinning. Metal spinning is a production method that has been in constant use during the last centuries in Skultuna and makes it possible to make large round three dimensional objects out of sheet metal. The Flower Pots resemble classical pots made of terracotta with a small inclination in the lower part. The Flower Pots comes in three sizes and are made of highly polished brass plate.

Bookend by Folkform

The Bookend is the latest product from the red hot Swedish designer duo called Folkform. With its geometrical sharp shapes and the highly polished surface, the Bookend is a striking composition. The Bookend is in the last stage of development and will be released during the spring of 2013. Folkform consists of designers Anna Holmquist and Chandra Ahlsell that began their partnership in 2005. The Stockholm-based studio is already represented in the Swedish National Art collection and the National Museum of Art, Architecture and Design in Oslo. Folkform has previously designed the popular candlestick Collage for Skultuna.

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Skultuna appeared first on Dezeen.

Il telaio essenziale in acciaio verniciato a polvere di questo tavolo fa contrasto con il caldo piano in legno rendendolo il tutto molto affascinate. Prodotto da Vipp.

News: the UK government has abandoned controversial plans that would have removed design and other creative subjects from the school curriculum, it was announced today. Campaigners who fought the plans described the move as “fantastic news” for the design industry.

Education Secretary Michael Gove admitted that proposals to introduce an English Baccalaureate (EBacc) that focusses only on maths, English, sciences, languages and a humanities subject were “a bridge too far” for secondary school students. Instead, he plans to “restore rigour” to the existing GCSE system by offering students these five subjects, plus three more that could include art or design.

“My idea that we end the competition between exam boards to offer GCSEs in core academic qualifications and have just one – wholly new – exam in each subject was just one reform too many at this time,” said Gove, as he announced the U-turn.

The move has been celebrated by members of the #IncludeDesign campaign, who have been rallying against the plans and gaining support from key industry figures, including Apple’s Jonathan Ive, designer Terence Conran and architect Norman Foster, as well as brands and organisations from Adobe to the Design Council.

“This is fantastic news for the whole of the design industry and creative economy,” said campaign organiser Joe Mcleod. “As an industry this gives us an opportunity to work with education leaders and the government to help support the shared vision of a world-class syllabus that offers students a fully rounded education.”

Mcleod, who is also a director at digital design studio ustwo, explained that the move will help to secure the future of the UK’s creative industries. “Without these changes to the EBacc, we would have lost the designers, architects and creatives of the future, as their talents would have been constricted by schools being pushed to prioritise an unnecessarily narrow range of subjects that reflected the past and not the future.

“The creative industries are worth more than £60 billion a year to the UK economy and it would have been a catastrophe if creative subjects such as design and technology had been lost from schools.”

The Royal Institute of British Architects (RIBA) also supported the decision, but insists that there is still work to be done to ensure creative subjects are promoted alongside the academic curriculum.

“The creative sector – including architecture – is a vital contributor to the UK economy,” said RIBA president Angela Brady. “The teaching of creative subjects must be maintained to retain our creative assets and nurture future talent. However we are still concerned at the league table measures which do not include creative subjects, we will continue to lobby the Government to ensure creative subjects are not undermined.”

D&AD president Neville Brody previously described the government’s plans to “demolish and smash” creative education as “insanity” and told Dezeen: “The creative industries need high-quality creative graduates. If we’re not getting the graduates, we’re not going to sustain the industry.”

See more stories about design and education »

Photograph is by Mark Burton.

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to “demolish” creative education appeared first on Dezeen.

Stockholm 2013: robotic arms move across a landscape of delicate glass objects at this installation inside Stockholm’s Skeppsholmen Caverns (+ slideshow).

Above: photo by Ann Wåhlström

Glass Elephant is an installation of glass pieces by Swedish designers inside the grotto-like Skeppsholmen caverns belonging to the Museum of Far Eastern Antiquities.

Above: glass objects by Ann Wåhlström

Each designer’s collection is paired with an industrial robot carrying out tasks such as brushing the objects with a feather duster, shining a spotlight on them or gently wobbling them.

Above: glass objects by Carina Seth Andersson

Participating designers include Whatswhat, Magnus Elebäck and Chris Martin of Massproductions, Note Design Studio, Johannes Carlström and Åsa Jungnelius.

Above: glass objects by Simon Klenell

“I wanted to personify the robots, to make them as much human as machine,” says Jungnelius. “They could be about to engage in some kind of jerky wrestling match.”

Above: glass objects by Simon Klenell

The objects are glamourised consumer items, she adds. “The desire for material things is universal, but what exactly do we become without our fetishes and the props we surround ourselves with? Cave people?”

Above: glass objects by Simon Klenell

The exhibition also includes work by Simon Klenell and John Astbury, Ann Wåhlström, Carina Seth Andersson and Katja Pettersson.

Above: glass objects by Simon Klenell

Designed by Stockholm-based studio TAF Arkitekter, the exhibition is a collaboration between Stockholm Furniture & Light Fair and ABB and is open until 9 February at the caverns – called Bergrummen – on Skeppsholmen, Svensksundsvägen 5.

Above: glass objects by Simon Klenell

Also in Stockholm this week, Swedish lighting brand Wästberg unveiled an installation of 30 lamps by Japanese designers Nendo – see more design installations on Dezeen.

Above: glass objects by Simon Klenell

We’ve reported on lots of products at Stockholm Design Week so far, including a chair that can be dressed up in an assortment of garments and a tiered spun metal lamp – see all products and news from Stockholm Design Week.

Here’s some more information from the Stockholm Furniture & Light Fair:

Glass Elephant – fragile glass and heavy industrial robots in a poetic installation

An elephant in a china shop? No – just heavy industrial robots in a landscape of glass. As part of Stockholm Design Week 4-10 February 2013, Glass Elephant, a design installation in the borderland between industrial design, craftsmanship and performance, is on show in the Museum of Far Eastern Antiquities’ Skeppsholmen Caverns.

Glass Elephant is a unique, creative collaboration between Stockholm Furniture & Light Fair and ABB.

“The purpose of the installation is to diversify and vitalise Stockholm Design Week’s image as an innovative and dynamic meeting place for the best in Scandinavian design. We want to create inspiring experiences and added value for both industry professionals and interested members of the public,” explains Cecilia Nyberg, Event Manager of Stockholm Design Week and Stockholm Furniture & Light Fair, which acts as the hub around which Design Week has developed in the last decade.

The exhibition explores the properties of glass as material and muse, and tells a story about the meeting of contrasts. Gossamer glass meets robot arms of steel and the advanced tactile technology of the hand meets the indefatigable precision of the machine in a floating, inquisitive interplay. The exhibition architecture has been designed by TAF Arkitekter.

“Our basic concept originates in the cavern setting, which is completely without natural light. We want to emphasise the existing space and have added what was not already there. So the installation design has windows as a theme – they are symbolic, as you can’t see out,” says Gabriella Gustafson, TAF Arkitekter.

The work of some of Sweden’s most trendsetting designers is featured in Glass Elephant, including Åsa Jungnelius:

“I’ve chosen to concentrate on the rock and the forces living within it. That’s why I wanted to personify the robots, to make them as much human as machine. They could be about to engage in some kind of jerky wrestling match. There’ll be a number of glass objects around the robots, fetishes from the consumer society, including a giant pink diamond. This is intended to create a somewhat abrasive image of the love of consumerism, something that’s in the process of changing. The desire for material things is universal, but what exactly do we become without our fetishes and the props we surround ourselves with? Cave people?” wonders Åsa Jungnelius.

Other designers taking part are Ann Wåhlström; Carina Seth Andersson; Katja Pettersson; Magnus Elebäck and Chris Martin, Massproductions; Johannes Carlström, Note Design Studio; Simon Klenell and John Astbury, Whatswhat.

The installation is open to the public 5-9 February 12-6 pm and is located in the Skeppsholmen Caverns, the Museum of Far Eastern Antiquities.

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at Stockholm Design Week appeared first on Dezeen.

Le créatif Martin Rosete a réalisé avec la société « Kamel Films » ce superbe court-métrage appelé Voice Over. Ayant déjà reçu 44 prix et récompenses à travers le monde, ce projet propose de découvrir 3 scènes d’agonie annoncée par un narrateur. De superbes plans à découvrir en images dans la suite de l’article.