Hasta La Ideas

We really wish we’d told you about this yesterday, but fortunately there are a few more Mondays left between now and early August. Late last week, Los Angeles’ Museum of Contemporary Art announced that famous street artist, and included exhibitionist, Banksy, has sponsored free admission to the museum every Monday for the duration of its controversial street art exhibit, Art in the Streets. Like we sort of halfheartedly apologized for above, you missed yesterday, but if you want to catch the show and don’t want to pay for it, you have until August 8th, when it closes up shop and prepares for how it will terrorize Brooklyn next spring. Here’s a bit:

“I don’t think you should have to pay to look at graffiti. You should only pay if you want to get rid of it,” said Banksy. “MOCA is very grateful to Banksy for his unprecedented gesture,” said MOCA Director and exhibition co-curator Jeffrey Deitch. “Art in the Streets is drawing record attendance, and opening it up to everyone will have a lasting impact on communities in Los Angeles, many of whom have not been to the museum before.”

New Career Opportunities Daily: The best jobs in media.

German studio D’art have covered a wall in white paper boxes and spotty black lettering for the German Pulp and Paper Association at a Düsseldorf trade fair.

The lettering is made from circular black stickers and spells out the word ‘board’ in reference to the paperboard being promoted.

Filled with monochrome furniture, the temporary installation was on show 12-18 May.

Photography is by Lukas Palik Photography.

More stories about installations on Dezeen »
More projects made from paper on Dezeen »

Here are some more details from the designers:

Paperboard Architecture

For the fourth time, the D’art Design Gruppe from Neuss designed the appearance of the German Pulp and Paper Association (VDP) at the Interpack in Düsseldorf that took place from 12th to 18 May 2011.

The VDP presented itself together with Pro Carton, the Economic Associations Paper Processing (WPV), the Trade Association Folding Cartons Industry (FFI), the Trade Association Solid Cardboard Packaging (VVK) and the Foundation for Paper Technologies (PTS) on overall 96 square metres.

The area was divided into an information, exhibition and meeting area. The protagonist of the bright white fair appearance is paperboard as material. A large-scale folding carton sculpture communicates the topic packaging at this year’s packaging fair.

Cartons that are nested into each other form a dynamic collage on both back walls of the stand. Numerous marking spots that are pasted next to each other on the cartons form the writing “board” and convey the topic of the VDP fair appearance. In the daily routine the label stickers are used as shipping indicators on cartons.

Thanks to a versatile perspective they enhance the effect of the tridimensional paperboard architecture. Showcases with high-end cardboard packagings, which were awarded at the Pro Carton/ECMA Award, add to the stand design.

The D’art Design Gruppe from Neuss has developed the VDP’s fair appearance for more than 10 years: The first design was developed by the creative agency for the association’s millennium appearance in 2000.

With every appearance of the German Pulp and Paper Association the material is uniquely highlighted and paper, paperboard and cardboard and their respective functions are the central theme. Last, D’art Design created a paper wood for the VDP together with the realisateurs of the Projektpilot GmbH from Neuss. This design has been rewarded with the ADAM Award in the meantime and it even adorns the cover of the fair design yearbook 2009/2010.

Design: D’art Design Gruppe GmbH
Client: VDP
Project: Interpack 2011
Category: Stand Design
Location: Düsseldorf, hall 7a, stand B31
Size: 96 sqm

See also:

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IE-tag by Naruse Inokuma Architects	Paper Tea House by Shigeru Ban	Move by Amanda Levete Architects

DMY Berlin 2011: here are some photos of an exhibition presenting work by London designer Benjamin Hubert at the Direktorenhaus in Berlin.

Called Materiality, Hubert’s first solo show features products for companies including Italian brand Casamania, Dutch furniture brand DeVorm, and Swedish lighting firms Zero and Örsjö.

The pieces are presented in rooms overlooking the river Spree at the Direktorenhaus, which was built in 1935 as part of the State Mint in Berlin.

Curated by Johansssen Gallery, the exhibition continues until 30 August.

DMY Berlin took place 1-5 June. See all our stories about the event »

More about Benjamin Hubert on Dezeen »

The following is from the gallery:

The industrial design of Benjamin Hubert

Benjamin Hubert’s approach is inspired by a tactile response to raw materials and the experiences of a close working relationship between product, process and craftsman. The team will often starts projects by sourcing a new material or working closely with a production factory or process, before designing the physical object, in order to fully understand the subtleties and opportunities a material can offer.

His desire to work closely with materials and process is a reaction to training and experience working for a number of established industrial design consultancies throughout the UK. This included Seymour Powell, DCA design and Tangerine, working on a variety of projects including transportation, consumer goods and interiors. Although valuable experience, these larger groups often work with a theoretical approach to materials and utilising heavily industrialised processes.

Ideation

When a project begins, Benjamin Hubert establishes the types of materials and process that are compelling for a given brief or strategic vision. At this point, ideation will starts with the generation of many ideas often in sketch form, models or prototypes.

The designer conducts this process covering the entire studio space with a world of sketches and models to integrate the design language, function, visibility and materiality of a project.

Detail development

The Projects undertaken by Benjamin Hubert often take up to 5 years in development before arriving on the market. This long process is due to the nature of the materials led approach, with the more unusual construction methods and material selection driving a long process of finding the right production partner.

The research can take the form of alchemy and experimentation in the studio or it can happen on the factory floor of the producer. This is a long process to get a partner to invest time and energy in diverting from standard production and guaranteed revenue to an unknown process. In this way of Focusing on trying to innovate with materials and technology allows the designer freedom and a platform to create new products that differentiate from the existing market.

Collaboration

Industrial design projects at the studio are a collaboration between the designer, material and craftsman. The studio works closely with the factory or workshop in any project whether it’s an injection moulding factory or a hand made ceramic process. The knowledge and experience of the people making the artefacts is utilised in every project to gain a better understanding of the material.

Projects also often change and develop through the insights learned from the crafts people as products are manufactured. The process behind each project is always documented and publicised to allow the consumer a greater connection and understanding of the finished article.

Material selection for a project is a defining aspect, with emphasise on material appropriateness in conjunction with a playful look at context to try and change the users perception of an everyday object.

See also:

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Cast Desk Tidy by Benjamin Hubert	Chimney by Benjamin Hubert	Maritime by Benjamin Hubert

Brooklyn-based artist & graphic designer Scott Albrecht will be exhibiting new works on paper and wood at the end of the month, when the exhibition ALONG THE WAY opens at Philadelphia’s Trick Go gallery in two weeks.

Albrecht continues his practice of hand-lettered typography and drawings on ‘found’ substrates. And why not? It makes for a winsome combination, if I say so myself. A graphic designer’s sense of geometry also figures into his work, in terms of the patterns, shapes and layouts.

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New York architects SO-IL have designed these coloured acrylic display cases in geometric shapes to showcase pieces by German porcelain brand Meissen in an exhibition at Kunsthal KAdE in Amersfoort, the Netherlands.

The 32 boxes sit on MDF plinths and enclose figurine’s from Meissen’s archive, including designs from the eighteenth century.

An exhibition of SO-IL’s work, entitled To Be Determined, is also on show at the galley.

The show continues until 28 August 2011.

Photographs are by Iwan Baan.

More about SO-IL on Dezeen »

The information below is from SO-IL:

MEISSEN X SO-IL

In the Netherlands, Meissen porcelain is often regarded as ‘high-class kitsch’.

Its sumptuous, often narrative style of decoration puts it at odds with the minimalistic and conceptual traditions of Modernism.

In this exhibition, KAdE seeks to challenge this prejudice and focus attention on the great sculptural, artistic and technical strengths of Meissen.

KAdE commissioned the Solid Objectives – Idenburg Liu (SO – IL) architectural office to design an ideal contemporary three-dimensional setting in which to present the porcelain.

In response, SO – IL has designed 32 modern, geometrically shaped showcases in bright colours and with ‘pointed tops’.

The porcelain in the exhibition will be drawn from a number of sources, including the Von Klemperer collection, the Meissen factory collection and various private collections in England and Germany.

The exhibition will be accompanied by a book discussing both the porcelain and the architectural philosophy of SO – IL.

The exhibition will also include pieces from the Meissen factory collection which were produced in the 19th or 20th century but based on 18th-century models. Among these are various Commedia dell’arte figures (Brighella, Gondoliere, Arlecchino, Beltramo and Avvocato).

‘To Be Determined’ (above and below), a presentation of recent work by SO – IL, will take place in KAdE’s second floor exhibition space. In autumn 2010, it was on show in Studio X in Beijing.

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Flockr by SO-IL	Shadowboxing exhibition by Slowscape Collective	Serpentine Gallery Pavilion by SANAA