Hasta La Ideas

organized by BCD Barcelona Design Centre is an
international business focused congress framed in the field of design
and aimed at those companies ..

Looks from the Miu Miu spring 2011 and Prada resort 2012 collections flanked by Elsa Schiaparelli gowns designed with Jean Cocteau (left) and Salvador Dalí (right)

“Fashion is instant language,” Miuccia Prada has said. That gives curators Harold Koda and Andrew Bolton plenty of material for the conversations they’ll imagine between Prada and Elsa Schiaparelli (1890–1973) for the Metropolitan Museum of Art’s 2012 Costume Institute exhibition. Opening in May, “Elsa Schiaparelli and Miuccia Prada: On Fashion” will explore the affinities between the two Italian designers from different eras. “Given the role Surrealism and other art movements play in the designs of both Schiaparelli and Prada, it seems only fitting that their inventive creations be explored here at the Met,” said museum director Thomas Campbell in a statement announcing the exhibition. “Schiaparelli’s collaborations with Dalí and Cocteau as well as Prada’s current Fondazione Prada push art and fashion ever closer, in a direct, synergistic, and culturally redefining relationship.”

Inspired by a series of “Impossible Interviews” written by Miguel Covarrubias for Vanity Fair in the 1930s, Koda and Bolton will collaborate with director, screenwriter, and producer Baz Luhrmann and film production designer Nathan Crowley to develop and film simulated conversations between Schiaparelli and Prada on topics such as art, politics, and women. The resulting videos will be shown in the Met’s first-floor special exhibition galleries alongside approximately 80 designs by Schiaparelli (from the late 1920s to the early 1950s) and Prada (from the late 1980s to the present). Meanwhile, Luhrman and Crowley will assist Raul Avila in designing the 2012 Costume Institute Gala Benefit, which will be co-chaired by Prada, Anna Wintour, and actress Carey Mulligan, who will play Daisy Buchanan in Luhrman’s film adaptation of The Great Gatsby. Another bookish tie-in? Amazon is sponsoring the exhibition, and Jeff Bezos will serve as honorary gala chair. Does this mean Prime members get to jump the line?
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New Career Opportunities Daily: The best jobs in media.

Sketches by this year’s Pritzker Prize Laureate Eduardo Souto de Moura covered several curving walls at the Portuguese architect’s former school in Porto last month (photos by José Campos).

Twenty years worth of drawings accompanied a collection of models and photographs that document fifty competition entries.

Chests of drawers made from oriented strand board displayed the models alongside working drawings, construction photographs and additional sketches.

Curators André Campos and Pedro Guedes Oliveira arranged the exhibition at the Álvaro Siza-designed Porto Faculty of Architecture (FAUP). Siza recently renovated another FAUP building, which we featured on Dezeen.

You can see a selection of completed projects by Eduardo Souto de Moura in our special feature from earlier this year and watch a movie about Casa das Histórias Paula Rego by Eduardo Souto de Moura on Dezeen Screen.

Here’s a description of the project from architect and critic Carlos M Guimarães:

The path to the Pritzker

The exhibition on the 2011 Pritzker Prize winner Eduardo Souto de Moura named “Competitions 1979-2010” is a tribute to a specific design approach and working method.

It is also the first exhibition taking place at Oporto Architecture School (FAUP) concerning the works of a former student and professor.

Instead of focusing on built projects and shiny photographs of the final product, the idea of the organisers André Campos and Pedro Guedes de Oliveira was to reveal the intense and sometimes obsessed working process behind this architect “ouvre”.

In the two room exhibition gallery of Álvaro Siza’s Architecture School we can check for sketches, physical models, accurate drawings, photomontages, photographs and historic data of 50 projects prepared for competitions between 1979 and 2010.

As we can read in the intro of the exhibition book, we are dealing here “with an informed architecture, produced with conceptual accuracy, commitment, engagement, just like a scientist who searches for a solution and an artist who knows precisely the path he does not want to take.”

See also:

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Casa by Eduardo Souto de Moura	Projects by Souto de Moura	Souto de Moura wins Pritzker Prize

A recent shakeup at one of the world’s largest and most well-known art fairs is still making waves into this week, with the news that the Venice Biennale‘s chairman for the last four years (and for two years back at the end of the 1990s), Paolo Baratta, has been let go. The Art Newspaper writes that Baratta has been largely responsible for turning the exhibition around, making it not only more successful but more approachable as well, by providing and thinking through the necessary logistics to pull off such a large event that regularly pulls in more than 300,000 visitors. However, as of January 1st of next year, he’ll be replaced by Giulio Malgara, a food importer and founder of a successful company that tracks television ratings. Given Baratta’s legacy, this change hasn’t been received the most favorable of responses, with the AN reporting that Venice’s mayor has publicly criticized the move, claiming that it reeks of political lobbies in “this rotten system” and that “Giulio Malgara is an unsuitable person to carry out the role of chairman of the Venice Biennale.” As the next exhibition isn’t until 2013, we suppose we’ll just have to wait and see how it all pans out, or at least until the cracks start showing, if at all.

New Career Opportunities Daily: The best jobs in media.

Dezeen Wire: last week Dezeen reported on the opening of a new exhibition examining the creative processes of architecture practice OMA at the Barbican. Here’s what the critics have been saying about the show.

Writing in The Observer, architecture critic Rowan Moore describes the volume of exhibits on display as “opaque and baffling” before summarising the overall result as “a display of fierce energy and intelligence.”

In The Telegraph, the exhibition’s curators, Belgian collective Rotor, explain how they tackled the problem of representing architecture in an exhibition by presenting “a story of struggle and entanglement with the world as it really is, rather than with a world made to look good in pictures.”

In a review for Wallpaper magazine, Ellie Stathaki compares the stripped-back presentation style to a “construction site” before praising the exhaustive nature of the selection, which organises the exhibits around different aspects of the design process.

There are interviews with Rem Koolhaas filmed at the exhibition on Dezeen Screen and you can see all of our previous stories about OMA here.

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