While SF-based photographer Michael Jang has taken famous black-and-white shots of Jimi Hendrix, Ronald Reagan and David Bowie, he’s become well-known for doing what people do everyday all over the world: taking photos of their family….
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Milan 2014: Dutch designer Maarten Baas‘s circus-themed show at Milan design week, featuring a welded metal gum ball machine and modified arcade game, was created to “emphasise the circus that Milan is” (+ slideshow + interview).
Baas‘s show was installed in an empty garage in the new 5 VIE design district during the Salone Internazionale del Mobile, which took place from 8 to 13 April.
Visitors followed a red carpet that led them through a presentation with fairground music and surreal objects created specifically for the event, as well as some of the designer’s latest work for clients and galleries.
“The starting point was to emphasise the circus that Milan is,” Baas told Dezeen, adding that the event has become more about presenting photogenic objects for promotional purposes than retail-ready products.
“It hardly makes sense to develop a piece from A to Z and then present it in Milan because in the end it’s nothing more than a snapshot for sharing on Facebook, and the product is never sold even though it’s widely published,” he said.
Baas and his team spent three weeks in Milan producing pieces for the exhibition, many of which were deliberately fabricated to look good in photographs, but were, in fact, very roughly finished.
These pieces included a chair with a randomly shaped seat upholstered in a red fabric that was held together at the back with sticky tape.
To enhance the idea of creative freedom and that “everything was possible”, Baas exhibited new limited edition works for London and Paris gallery Carpenters Workshop Gallery alongside pieces made from polystyrene that were thrown out after the fair.
To tie in with the circus theme, Baas replaced the playful seats of rocking rides commonly found at fairgrounds or shopping malls with a range of adulterated alternatives including a welded metal box, an upholstered four-legged creature and a foil-covered blob embellished with coloured lights.
Inside two booths built against the walls of the exhibition space, actors dressed as clowns sat surrounded by everyday paraphernalia, representing Baas’s recent collaborations with Dutch theatre group De Kwekerij.
A gumball machine in Baas’s cartoon-like style dispensed oversized pills instead of sweets, while chairs and lamp shades were presented on a carousel with a stripy tree at its centre.
Summarising his thoughts on the overwhelming volume of products launched by design brands in Milan and the reason for his own avant-garde presentation, Baas said: “for the visitor [to Milan], your whole critical system is kind of wobbling in the end – you kind of swallow everything and that’s what I wanted to break open.”
The exhibition was coproduced by Ventura Projects, the organisation behind the Ventura Lambrate design district. It was presented alongside a separate show dedicated to the work of designers and companies with whom Baas collaborates, including Den Herder Production, Bertjan Pot and Nightshop.
Photography is by Kazoe van den Dobbelsteen.
Here’s an edited version of Dezeen’s interview with Maarten Baas:
Marcus Fairs: Tell us about the show you’ve set up in Milan.
Maarten Baas: In the Circus there’s a lot that reflects my ideas. The starting point was to emphasise the circus that Milan is and also that things are very much about showing nice pictures. It hardly makes sense to develop a piece from A to Z and then present it in Milan because in the end it’s nothing more than a snapshot to share on Facebook or whatever. And then the product is never sold, even though it’s widely published. So I think it’s not needed to develop the product totally. So I made a lot of improvised pieces that look good from one side and are taped together from the back side in order to anticipate that way or working.
That’s one thing and another thing that was important was that it was so crazy, I wanted to get rid of all the critical voices in your head saying “This is not done!” “You cannot do this!” All the things that in the creative process are blocking your creativity. I threw it all out, all the ideas, I put bronze next to polystyrene pieces, very expensive €40,000 pieces next to things that we are going to throw in the garbage after the fair. We cut a Bambi in half and made a trophy out of it, we made a rocket going through the sky, everything was possible and I wanted to explode all those ideas.
Also for the visitor, your whole critical system is wobbling in the end. You kind of swallow everything. That’s what I want to break open.
Marcus Fairs: Describe the show for people who haven’t seen it.
Maarten Baas: We’re here close to the Duomo, five minutes walk from the Duomo. I always like to be not in the popular zones. This is a new zone called 5VIE and it’s a kind of garage. Since I’ve put a circus in it you could say it’s a circus tent. It’s an open space where I put all my pieces around a red catwalk carpet. You walk in one direction and go around all the pieces in a certain order and then you go out having seen the entertaining show.
Marcus Fairs: You have some kiosks with actors dressed as clowns in them.
Maarten Baas: I collaborated a lot this year with other artists, other designers but also theatre people. Also last year I designed a set for a theatre play in Holland. I see design in the widest sense of the word as anything that is creative in whatever way and where the creativity becomes reality or hits the market. I want to use design as a platform where everything like that can happen. So theatre and music and all kinds of things that are somehow connected.
The post Maarten Baas’s surreal solo show created to
“emphasise the circus that Milan is” appeared first on Dezeen.
by Laura Feinstein Nordic countries aren’t known for their mild climates. Whether it’s the near-mythic winter darkness of the Scandinavian “polar night,” or the periods of 24-hour light that characterize the Midnight Sun, this is a region of stark contrasts. “Darkness & Light:…
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Milan 2014: a product designed by Dutch designer Pepe Heykoop to be made in an Indian slum has been a runaway success, creating employment for 80 families within a year of launch (+ movie + interview).
Speaking to Dezeen in Milan last week, Heykoop said workers making his Paper Vase earned the equivalent of eight Euros per day, which is eight times the average wage in the Mumbai slum.
“The ambition is to have 700 people out of poverty in ten years time,” said Heykoop. “We are pretty much half way”.
Initially launched in February last year, Heykoop presented the vase at Ventura Lambrate in Milan this year along with a range of other products he designed as part of a project organised by charity the Tiny Miracles Foundation to lift people out of poverty in Mumbai.
Online orders for the vase are averaging around 100 per day, allowing the foundation to keep 80 families in regular employment.
However the other products proved unsuitable to the project, which struggled for the first couple of years.
“In 2012 we never thought this was actually happening and now there’s light at the end of the tunnel and there’s a really good vibe going,” Heykoop said.
The success of the flat-pack vase – which is made of paper and sewn together – has led Heykoop to develop another folded paper product. Prototypes of his flatpack Paper Lamp were on show at Ventura Lambrate.
“The paper vase was the breakthrough and for 2014 I have this paper folded light, which has the same principal and has been flat-packed in an envelope,” said Heykoop.
After they’re made, the products are shipped from Mumbai to Heykoop’s studio in Amsterdam then distributed to consumers worldwide. However, if the buyers live east of India then the designs are shipped straight from there to save them travelling all the way around the world.
The Tiny Miracles Foundation, set up in 2010, is half way towards its goal for 2020 to provide 150 families with a wage of ten euros a day – the UNICEF standard for a middle class wage – in return for their production skills.
Heykoop’s original ideas for the project were lampshades from lambskin, transforming traditional water carriers into leathery vases, but the products proved difficult for the community to produce and too expensive for consumers to purchase.
“I started off with leather lampshades; they’re like 550 Euros in the shop,” he said. “It’s nice when you sell a bunch of them but you have work and then you don’t have work for a few weeks. These ladies were coming to me and asking ‘can I work next month’, and I wanted to say yes but I couldn’t, because the products were not selling on a daily basis.”
Heykoop hopes to train the families in Mumbai to manage the distribution themselves, so the process becomes contained within the community after the programme finishes in six years time.
“This foundation stops in 2020 but it doesn’t mean that this workshop stops in 2020,” Heykoop explained. “If we stop the workshop in 2020, it will all collapse again. If the foundation stops providing the information, then they should be self sustainable.”
Here’s an edited transcript of the interview with Pepe Heykoop:
Marcus Fairs: Tell us about the project that you’re showing in Milan.
Pepe Heykoop: I’ve been a collaborator for four years with Tiny Miracles Foundation, which has been set up by my cousin. This community group that we’re aiming at lives in a slum in Mumbai and they used to be basketry weavers. They earned one euro a day for the whole family.
Most of them were illiterate, couldn’t count to ten it was like hardcore surviving on the streets. Then my cousin started the foundation and she asked me: “Pepe can you design some items that we can produce with them because we want to bring education, we want to bring healthcare but we also want to provide jobs so they can eventually pay for the healthcare and education themselves.”
So I went there and for me it was the second time in India, and it’s such a different world. When I started designing things, it was really heard to blend in with their way of thinking and their world and my world. It took two and a half years to find something that really worked.
Marcus Fairs: What’s the ambition of the Tiny Miracles Foundation? To employ people?
Pepe Heykoop: The ambition is to have 700 people out of poverty in ten years time. I’m only working on the creating jobs pillar and Laurien [Meuter] was taking care of the healthcare and education, other pillars.
Marcus Fairs: So the idea was for you to come up with some products that they could manufacture?
Pepe Heykoop: Well all of them can do basketry weaving with their eyes closed but I said I don’t want to do something with weaving or bamboo, because it has this ethnic look and this fair-trade image and I think we should focus on something new. That a product should sell itself. You want it because you like it, you buy it and then the story is a plus, an extra.
Marcus Fairs: You don’t buy it because you feel guilty, or feel sorry for people.
Pepe Heykoop: No, there’s a lot of good initiatives. You want to support them and then you get an ugly basket, you know what I mean. So these products don’t look like they’ve been made by these people living on the street and that’s where I wanted to go.
But it’s hard. It’s hard when people cannot count to ten to work with them but luckily there was this force within me to not give up and act like a pit bull, hanging on. We found something with the folded paper vase covering to be put around an empty bottle and shipped in an envelope. It comes as a gift and it works out really well. We’ve sold like 100 pieces a day at the moment and that’s why now, starting off with seven people in 2011, now we have over 80 people employed in 2014. We’e heading towards a goal of a group of 700 people, equal to about 150 families.
Marcus Fairs: So that’s the target?
Pepe Heykoop: This is half way. The project takes until 2020, so in four years we are pretty much halfway. In 2012 we never thought this was actually happening and now there’s light at the end of the tunnel and there’s a really good vibe going on since about one and a half years ago.
Marcus Fairs: Tell us briefly about the other two products.
Pepe Heykoop: The paper vase was the breakthrough and for 2014 I have this paper folded light, which has the same principal and has been flat packed in an envelope. The weight’s really low.
These samples I’ve been making during the last week in the studio are prototypes, and I’m testing colours now and colours of the treads and we’ll see which one it’s going to be. This paper should be coated and then within three seconds you just pop it up and there’s a certain tension in the paper, which gives it shape. So then we’re going to sell this separately, the electricity and separately the shade, if you want to change it for a different colour.
It should also be a low price range. The Paper Vase is 19 euros in the shop and this one we want to have 35, 39 euros for the other. Everybody can buy it, because that’s the only way we can have these women working on a daily basis.
I started off with leather lampshades; they’re like 550 euros in the shop. It’s nice when you sell a bunch of them but you have work and then you don’t have work for a few weeks and then there’s work and then there’s not work. These ladies were coming to me and asking “can I work next month”, and I wanted to say yes but I couldn’t, because the products were not selling on a daily basis.
Marcus Fairs: So what techniques do they use to manufacture these?
Pepe Heykoop: There’s paper and sewing. Actually I started off in 2011 with the welding and way too complex techniques, and I had failure after failure. Then at a certain moment, I said I’ll get a folding class and I invited 30 women to come and fold a sheet of paper in half. None of them could do this correctly and then I was shocked because I thought “this is the final try” if folding a sheet of paper doesn’t work.
So then of course after some training, I made something like a game out of it, because I want this workshop to have a really positive vibe and I hate production in China where you’re not allowed to see how stuff is done. If you know where your T-shirt is coming from in these factories in Bangladesh, you don’t want to wear it. So I said we can do, of course we can do production in such a nice way as I can do it in Amsterdam. We can do it there as well and we don’t just take something but we also give something back. That’s the whole.
Marcus Fairs: Do they work from home or is there a workshop they go to?
Pepe Heykoop: We started off with a really dark crappy spot near the street; there were rats running round and cockroaches and rain was coming in, but you should start from something. Then in 2012, we changed into a bigger room and now we have a big room, a proper room that’s clean and light. There’s no rain coming in.
Marcus Fairs: And you said that people get paid to eat, one euro a day. Do you pay them the same, or do you pay them more than the average?
Pepe Heykoop: No no no, they used to earn one euro a day with basketry weaving for the whole family and we go up to ten euros a day, which is the UNICEF standard for middle class. Now it’s eight euros but by 2020, it will be something around ten. If you increase the salary ten times more, you will only ruin the system over there because they will hate each other; who can work with us and who can’t. So we integrate this amount in education and doctor visits. So now behind the scenes we are paying that and every year they should pay 10 percent more for education and doctor visits. So within ten years, they are paying this themselves gradually.
Marcus Fairs: And finally, do they make the products and also ship the products to the customers, or do they put them in a big crate and send them to you in the Netherlands and then you do it from there?
Pepe Heykoop: For the moment, we have everything sent to Holland. Except for orders that go to Japan or Australia, like the other way round, then we ship them directly. But it involves a lot of training, because there should be final checks, so we do some final checking in Holland but we want to train them to do that.
This foundation stops in 2020 but it doesn’t mean that this workshop stops in 2020. So the foundation helps with understanding how it works, with the doctor visits and the schooling and whenever they make the money. If we stop the workshop in 2020, it will all collapse again. If the foundation stops providing the information, then they should be self sustainable.
The post “These products don’t look like they’ve been made
by people living on the street” – Pepe Heykoop appeared first on Dezeen.
On 8 October 2004, “Tarnation”—a film with a $218.32 budget—was released to American audiences. The documentary was unlike anything anyone had seen before. It was 88 minutes of emotional, kinetic storytelling culled from 20 years worth of…
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Each year during Milan Design Week we look forward to checking in on brands whose work we continuously admire. Normann Copenhagen is always an inspiring stop, and during our visit to Salone del Mobile in 2013, newcomer ,…
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Milan 2014: Japanese architect Toyo Ito spoke to Dezeen about his design for textile brand Kinnasand’s first Milan showroom and his “site specific” architecture (+ interview + slideshow).
Kinnasand, a company founded in Sweden over 200 years ago and now owned by Danish textile brand Kvadrat, asked the 2013 Pritzker Prize-winner Toyo Ito to develop its showroom interior for Milan design week.
Ito rarely designs interior projects, but in an exclusive interview with Dezeen the architect said that he agreed to collaborate with Kinnasand as he felt that several of its fabrics were reminiscent of the transparency and natural influences inherent in some of his architectural projects.
“What I have felt from the start is that it would be important to create an architecture that is more site specific, that is going to take into account what surrounds the human begins,” said Ito, who discussed the underlying ethos that connects the wide variety of styles and forms he has experimented with.
“When I think about a new piece of architecture, I think about making it as if it was a piece of clothing that must be wrapped around a human being,” he said.
Ito’s career has spanned more than four decades. Predominantly based in Japan, his best known projects include the Mikimoto Building, created for a jewellery company in the Ginza district of Tokyo – which features a series of irregular glazed openings all over its facade – and the Tod’s building in Tokyo with criss-crossed concrete bracing that echoes the silhouettes of the trees on the street it faces on to.
His more recent projects include the Sendai Mediatheque – a transparent glass cube that aimed to remove some of the architectural barriers around how space should be used. In 2011 he completed work on the Toyo Ito School of Architecture in Ehime, completed in 2011.
At the last Venice Architecture Biennale in 2012, he curated Japan’s award-winning pavilion presenting alternative housing solutions for the aftermath of the country’s 2011 earthquake and tsunami.
For Kinnasand’s showroom, he chose to translate the properties of the company’s textiles into the materials used for the showroom’s walls, floors and ceiling.
“Some of them were transparent, others were semi-transparent, all of them were very light and it really felt like they could float over the whole space of the showroom,” said Ito, describing the fabrics.
“I decided that the architecture for this space needed to be something that would not overwhelm the essence of these fabrics. It needed to be something that could leave the textiles the possibility to float around the space,” he added.
“This is the image that I had in my mind and this is also why I decided to use the reflective glass, but at the same time I decided it needed to be something with a not too strong reflection. I wanted to create a soft but deep environment for the showroom.”
The glass walls have a frosted finish that reduces their reflectivity and are complemented by the dull shine of the electropolished steel panels on the ceiling and the polished white limestone floor tiles.
Two curving metal poles suspended from the ceiling provide rails over which the fabrics can be draped to enclose the central area of the showroom and form its only product displays.
A storage area for further fabric samples is concealed behind floor-to-ceiling wooden doors featuring minimal metal handles at one end of the space.
The clean and bright aesthetic is enhanced by basic furnishings including a rounded meeting table and chairs made from pale wood, which reference the brand’s Scandinavian heritage.
Lighting is provided by spotlights and strips of LEDs hidden behind the edges of the ceiling that wash the walls in light that can be adjusted between different colours to alter the mood of the space.
Read the edited transcript from our interview with Toyo Ito:
Marcus Fairs: How did you get to come into contact with the brand and how did you apply your architectural ideas to an interior?
Toyo Ito: About one and a half years ago, I had a visit from a Kinnasand person that arrived in Tokyo with a suitcase full of textiles and I was asked if I would be interested in doing the interior design for the showroom. And I have to say that usually I don’t do just interior design, I do architecture. But in this case, the textiles that I had the chance to see were so beautiful, so brilliant, that I really wanted to do just the interior design for the space.
Marcus Fairs: Tell us about the way you’ve used the space here.
Toyo Ito: I had the chance to take first a look at all the textiles of Kinnasand and I realised that is was very sensitive fabric. Some of them were transparent, others are semi transparent, all of them were very light and it really felt like they could float over the whole space of the showroom. They could actually envelop, they could wrap the whole environment.
So I decided that the architecture for this space needed to be something that would not overwhelm the essence of these fabrics. It needed to be something that could leave to these the textiles the possibility to float around the space. This is the image that I had in my mind and this is also why I decided to use this reflective glass that you can see here but at the same time, I decided it needed to be something with a not too strong reflection. I wanted to create a soft but deep environment for this showroom.
In order to have the materials of this architecture not take all the attention in this space, I give a lot of attention to small details and this is why I decided to choose simple materials. As you can see for those doors, you have a surface that is very plain and flat but at the same time is very simple and linear. So you do not have a frame where the doors are actually hidden, you have some doors that become the surface itself of a very linear construction, so that it could envelop this whole environment. This is something that I really wanted to give great attention to in the details.
Marcus Fairs: The white fabric with the pattern of circular dots on it reminds me of the facade of the Mikimoto building in Ginza, Tokyo, which has a similar pattern of circular windows. Did you spot that similarity?
Toyo Ito: Absolutely, I think that the fabric right behind me is perfect for my architecture. In relation to the building of Mikimoto in Ginza, it has got a very simple surface with several sized holes in it. Also, just by having a look at the fabric behind me, I think I would really like to use Kinnasand’s fabrics and textiles in my own architecture.
Marcus Fairs: Throughout your career, there’s a lot of different forms you use and different structural solutions. How would you describe your approach to architecture?
Toyo Ito: As you said, my style, the materials I’ve been using, has changed throughout several eras. Also the shape and the form of my architecture. But there is one thing that is consistent, which is that my own architecture is something made for human beings. You have other architects that think if human beings are not a part of the particular architecture, that architecture will look even more beautiful. I do not think so. I think that architecture is something that must be made for human begins. That human beings must be partners with the architecture itself. So when I think about a new piece of architecture, I think about making it as if it was a piece of clothing that must be wrapped around a human being. This is my image of architecture.
Marcus Fairs: Sendai Mediatheque was a hugely revolutionary building because of the structure and the way it used data, and the Mikimoto building is fun and it has a pattern on it. So what is the link between those two different architectures?
Toyo Ito: Both the Sendai Mediatheque and the Mikimoto building have got a very important point which is the structure. Of course what I wanted to create was a kind of structure that had not yet been seen until that very moment. But what I wanted to focus my attention on is that when you decide to use a new kind of structure, you have to think of how you can make it as human as possible. To turn it into a human space as much as possible.
For the Sendai Mediatheque, I decided to use pieces of wood like tubes that would give the human being inside the space the idea of being surround by a forest – so you have a human being that can enjoy a video or just some time inside the forest. And for the Mikimoto building, of course that was also commercial architecture, so we didn’t have the chance of making the interior design. As for the main architecture, I decided that it was also interesting in that case to have the light entering the building as if it were through the leaves of a forest and so in both cases, you have a very natural element that is strongly felt by the human being inside the environment and that’s the common point in my architecture.
Marcus Fairs: And the Tod’s building in Omatesando in Tokyo has a glass facade with large tree shapes set in it.
Toyo Ito: Of course Tod’s even more than the Mikimoto building, you would have the possibility to see a very strong and direct wooden silhouette, wooden structure. In that case, we didn’t have that much of a volume we could use and also the facade was L-shaped. In that case we decided to have a wooden structure and having it completely surrounded by wood you would feel like you were really surrounded and wrapped by nature and this is the image that I had when I created the design.
What I have felt from the start is that it would be important to create an architecture that is more site specific, that is going to take into account what surrounds the human begins. So it would be important to create an architecture that destroys that distance between human begins and nature. Up to now, human beings have lived in environments that are very far from nature and actually I would like the chance for human beings to live inside nature and to be surrounded by nature.
Of course you have to take one step at a time, and I think that if we do take one step at a time in that direction we can achieve some kind of evolution. And I can also tell you that to a certain extent, we are already going towards that direction, and if we continue completely towards the direction and arrive at the goal we will be able to enjoy a much more lively life. We will get back to a more primitive instinct that will give us the possibility to be more natural in our everyday life. Like animals to a certain point, having the possibility to completely enjoy the surroundings and that is the kind of architecture that I think we should all aim for.
Marcus Fairs: And when you say “we”, do you mean “we” as an architectural office, or “we” as a society?
Toyo Ito: Of course I mean my personal office but not only just that. I would like to think I am extending the meaning of what I just said to all people who are currently making architecture.
The post Glass, timber and stone showroom created by
Toyo Ito for Kinnasand’s “sensitive fabric” appeared first on Dezeen.
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In the garden of the Case Study House, Eames Demetrios—grandson of Charles and Ray Eames—settled in a shell chair to share stories of his family heritage and legacy, architectural preservation and the world travels he undertook…
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Vinay Venkatraman may not be your typical Danish product and interaction designer, but he’s an influential one. A quick glance at his CV shows that he was educated in India and Italy, co-founded the Copenhagen Institute…
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