Interview: Tom Dixonon MOST

In this interview filmed by Dezeen at Tom Dixon‘s London studio he introduces MOST, the new design epicentre that he’s instigated at the Museo Nazionale della Scienza e della Tecnologia in Milan during the Salone Internazionale del Mobile from 17 to 22 April.  Watch this movie on Dezeen Screen »

Tom Dixon on MOST

Dixon explains his plans to install a metal-pressing machine among the museum’s steam trains to stamp out chairs, lamps and other products, giving away 400 Stamp Lamps free to visitors on 21 April from 2pm. Golden tickets to win one of five chairs will be hidden inside five of the lamps.

Tom Dixon on MOST

Other highlights of MOST will include a simple restaurant installed in a monastic dining hall, our own Dezeen Studio powered  by Jambox where we’ll make a TV show every day, and presentations by Yves Behar, Studio Toogood and more.

Tom Dixon on MOST

Read more about MOST on Dezeen here and watch Dixon give a tour of his studio in our earlier movie (below).

MOST
National Museum of Science and Technology,
Via Olona 6, 20123 Milan, Italy
Entrance through Via Olona 6

Dates: Tuesday 17 April, 10AM – 9PM Wednesday 18 April, 10AM – 6PM
Thursday 19 – Saturday 21 April, 10AM – 9PM Sunday 22 April, 10AM – 6PM
Press Preview: Monday 16 April, 3PM-7PM

www.mostsalone.com

Dezeen Screen: Tom Dixon at The Dock

Dezeen Screen: As we prepare for our relocation to Milan for the Salone Internazionale del Mobile in April, we’ve paid a visit to British designer Tom Dixon, instigator of new design epicentre MOST at the Museo Nazionale della Scienza e della Tecnologia.

We’ll be setting up Dezeen Studio powered by Jambox at MOST to create a daily TV show in a studio furnished by Dixon.

In this movie he gives us a guided tour of the galleries, shop and restaurant at his riverside studio The Dock. You can also watch this movie on Dezeen Screen »

Read more about the highlights of MOST in our earlier story and more about Dezeen Studio powered by Jambox here.

See more stories about Tom Dixon here, including two new lamps he’ll be presenting at the show next month.

MOST
National Museum of Science and Technology,
Via Olona 6, 20123 Milan, Italy
Entrance through Via Olona 6

Dates: Tuesday 17 April, 10AM – 9PM Wednesday 18 April, 10AM – 6PM
Thursday 19 – Saturday 21 April, 10AM – 9PM Sunday 22 April, 10AM – 6PM
Press Preview: Monday 16 April, 3PM-7PM

www.mostsalone.com

Niall McClelland

Our interview with the Toronto-based artist on the process and progress of his photocopy tapestries
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Niall McClelland‘s art may be rooted in the subcultures of graffiti and punk rock, but its roughness has been refined through a well executed artistic process. His highly sought after “Tapestry” series includes large-scale works which are made by folding and wearing down large sheets of paper covered in photocopy toner. Toying with balance between control and chance, McClelland also makes vivid prints by allowing inkjet cartridges to seep into the corners of rugged Japanese papers that have been folded and bound, leaving striking psychedelic stains.

We recently caught up with the Toronto-based artist to ask about his process and his upcoming projects.

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You have an obvious affection for cast off common objects—ink cartridges, light bulbs, bed sheets, photocopies, etc. How did this develop? What’s the appeal of these things?

It developed as a practical way of making work. I needed to use affordable material for budget reasons, but it’s also what I’ve been surrounded by forever—used clothes, used furniture, thrift shop or junk pile everything. It seems like a natural, honest starting point for me to make work. Developing an eye for the potential in trash or cheap familiar materials. Being resourceful I think is the appeal, there’s a pride that comes from that.

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How much of the process are you able to dictate, and when do you know to just let things happen?

I like the idea of working with material that has had a bit of life to it, something that has existed outside of a studio. I tend to set up scenarios for the work to be created within, so setting up parameters that I’ve pre-determined then letting the material do its own thing within them—anything from weathering canvases on my roof, to folding paper and walking with it in my pocket. As far as when to know when to let go, that’s just experience with the materials and learning restraint. Having an eye for what works and what is shit.

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Tell us about how the folded photocopies ended up as the fabric design for Jeremy Laing’s Spring 2012 collection.

Jeremy saw my show last spring at Clint Roenisch gallery and got in touch, but we have a lot of friends in common so it wasn’t a huge stretch. We started getting together to talk about his upcoming collection and compare notes, he’s a sharp guy and we see eye to eye on things, so we just narrowed it down to several directions and I created the work which ended up as his prints for the Spring/Summer 2012 collection. Super simple, we’re friends now. I also have a couple really rad silk scarves coming out with Cast of Vices in the fall. We scanned some of the folded photocopies on this insane NASA scanner, and had them printed on really great silk, pretty badass.

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What’s on the horizon?

As far as upcoming projects, I have a solo show opening at Eleanor Harwood Gallery in San Francisco opening 7 April. I’ll be showing with Clint Roenisch at the NADA fair in May (to coincide with the first Frieze Art Fair in New York) alongside buds and great artists Hugh Scott-Douglas and Alexander Hardashnakov, which should be rad. All three of us will also be included in the group exhibit this June “Trans/FORM” at the Museum of Contemporary Canadian Art (MOCCA) in Toronto alongside five other artists. Can’t wait for that one too!

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Niall McClelland is represented by Clint Roenisch Gallery in Toronto, Envoy Enterprises in New York and Eleanor Harwood Gallery in San Francisco.


A.I. Selections

Beauty through balance in a sommelier’s portfolio of small-batch wines
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Acid Inc. may suggest an illicit obsession, but for sommelier David Weitzenhoffer and his partner Laura Supper, the name (professionally called A.I. Selections) relays their passion for wines higher in acidity—a key component for an exceptionally well-paired meal. “You can feel acidity in wine usually as that sort of prickling sensation toward the front of your tongue,” Weitzenhoffer explains. “To me acidity does several things with food but the most important is that it gets its claws into the flavors that are already on your palate and marries the flavors in the wine with that of the food. It also has an important role in cutting richness, and balancing out high acid dishes like crudo, tomatoes, vinaigrettes, etc.”

Wanting to learn even more about the fine art of such balance from beginning to end, Weitzenhoffer left his post at Lidia Bastianich’s renowned restaurant Felidia and moved to northwest Italy, where he worked with artisanal producers around the vineyards of Piedmonte. Four years ago he put this knowledge to serious use and began importing these small-batch wines to restaurants in New York, San Francisco and LA.

With just about 40 producers in their portfolio—most of which are organic or biodynamic—Weitzenhoffer and Supper concentrate on finding wine that is a reflection of the people making it, working off the ethos, “Good wine; good people”. They seek out conscientious farmers who know their terroir and distinctly cultivate their vines, leading to wines that have a clear focus and excellent finish. “Some of these artisan producers are making wines with more soul and character, great age-ability, and most importantly wines that are more food appropriate, all the while creating a wine that comes from a specific place—a wine that couldn’t come from any other place than their little piece of earth,” says Weitzenhoffer.

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We had the pleasure of tasting several wines with Weitzenhoffer recently, who guides you through a selection casually, but with great understanding of each wine at hand. We started with Champagne, tasting both a glass of crisp bubbly from Michel Rocourt and then one from Doyard—which Weitzenhoffer explains is “not so bubbly it sears your tongue, it has a rich yeasty quality while using acidity to keep it fresh. It’s why it is poured by the glass at places like Babbo, Jean Georges, AI Fiori, and others here in New York.”

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To accompany the classic cheese and crackers snack, Weitzenhoffer suggests a Lambrusco, especially the Ca’ Montanari Opera02 Lambrusco, which he says is unparalleled stateside. For white wine, Weitzenhoffer says he is a “sucker for Chablis”, which is made from Chardonnay grapes, but “due to the sea shells in the soils has a great minerality, and chalky character that makes it ideal for all sorts of early courses—trout, various crudo, pea soup, oysters!!!” He recommends a Chablis from the mother-and-daughter team at Château De Béru, an organic farm situated on the clay and limestone slopes of the Chablis Grand Cru foothills.

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“For me Nebbiolo is the most complex wine in the world and while it takes a little work and often time to fully understand the grape, it is so great with various foods from lighter meats, to heavy meat,” says Weitzenhoffer. Most wine drinkers know that a good Barolo or Barbaresco isn’t cheap, so he suggests trying a Nebbiolo d’Alba, a younger wine made from the same grapes. “Cascina Luisin makes one from old vines and is delicious”, he says. “I’d be thrilled to walk into a retail shop and spend $27 on a bottle like this that drinks like something much more expensive.”

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With the mentality that “wine is for the people”, Weitzenhoffer and Supper’s approach sets out to enlighten palates with perfectly balanced, yet ultra-interesting wines that enhance food and transport you to the place where it was created. A.I. wines can be found in restaurants like Craft and Blue Hill in NYC, Terroni in LA and Bar Tartine in San Francisco.


Cool Hunting Video Presents: Blood Orange

Our chat with Dev Hynes about his musical past, his inspirations and basketball

In our latest video we had the chance to sit down with Devonté Hynes, the musical mastermind behind Blood Orange. This latest iteration of Hynes’ music talent combines live performance and vocals with a driving, otherworldly electronic backbone. We spoke with Hynes in a studio space in Brooklyn, NY about his inspirations, roots and future.

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Sleepwalkers Box

Artifacts collected from Doug Aitken’s cinematic installation

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Following his lauded MoMA installation “Sleepwalkers” (2007), Doug Aitken has just released a limited edition box set of materials related to the project in collaboration with Princeton Architectural Press and DFA Records. The original piece turned MoMA’s multiple courtyard facades into an interactive multiplex, simultaneously screening eight vignettes that each starred a different character. For fans of Aitken, the 1,000 numbered box sets—which cover the video project, music and stills—bring a new life to his ambitious project, providing insight into the process behind the work.

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Accompanying the DVD of the installation are two audio CDs and a vinyl disc, both of which are covered by original artwork by Aitken. Designed specifically to be spun at 33rpm, the record comes to life with an animation when played. The CDs act as soundtracks to Sleepwalkers, and the record includes three unreleased tracks by Broadcast in addition to an opera from Aitken entitled “The Handle Comes Up, The Hammer Comes Down”.

An interview on the DVD between architect Jacque Herzog and Aitken anticipates the installation of Sleepwalkers on the soon-to-open new location of the Miami Art Museum, which was designed by Swiss firm Herzog & de Meuron. As with all publications from Princeton Architectural Press, the box and components are meticulously bound to create a visually striking collection.

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The look of the original exhibition at MoMA is replicated in miniature form in two flip books in the set, and Aitken provides a double-sided poster as well—one side original artwork, the other a collage of movie stills and inspiration. Aside from the film itself, the most compelling piece is a book that shows the creation of Sleepwalkers through images and text. All told, the collection marks a testament to the artist’s prolific range and talent across mediums.

The Sleepwalkers Box is available online through www.sleepwalkersbox.com for $300.


Design Indaba: An Interview With Michael Bierut

The renowned graphic designer and captivating emcee sheds light on Cape Town’s Conference on Creativity

As a former speaker in both 2005 and 2010, renowned graphic designer and Pentagram partner Michael Bierut has also served as one of Design Indaba‘s masterful emcees for the past three years. Each day, wearing a shirt and tie matching his cheerful demeanor, he enthusiastically presents the impressive roster of speakers, adding valuable industry insight and witty commentary between presentations. With Cape Town named the World Design Capital for 2014, we checked in with Bierut to hear more about how the Conference On Creativity and the city itself have evolved over the years.

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You’ve been a moderator for three years now, how did you initially get involved with Design Indaba?

I was invited several times to present at Design Indaba, but I was never able to go because it almost always conflicted with my daughter Martha’s birthday. Finally, I was able to go in 2005, but I did it as a quick in-and-out. This works for some conferences, but at Indaba, it’s a terrible idea. Everyone, including the speakers, should come early and leave late. Doing it any other way misses the point.

I stayed in touch with organizer Ravi Naidoo after my first visit and I was invited back to speak in 2010. On my second visit, he asked if I could also help out by serving as a co-emcee. I had fun, came early and stayed late, and he’s asked me to come back in the same role in the two years since.

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How have you seen the conference grow since then?

Obviously, the attendance at both the conference and the expo have grown dramatically, with simulcast audiences joining in from Johannesburg, Durban, and elsewhere in Cape Town. More importantly it’s grown from being a design conference for insiders to being a galvanizing event for Cape Town and for South Aftrica that’s all about the power of creativity and design.

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What are some key moments or speakers that have stood out over the years?

I remember Dieter Rams at the conference in 2005 preaching his less is more aesthetic with precision and passion. Two years ago, I was knocked out by architect Alejandro Aravena: his is the only presentation I’ve ever seen where 15 seconds in I started frantically transcribing what was on every single slide. Last year, Francis Kere from Burkina Faso brought the house down with a presentation that showed how socially responsible practice could support great, beautiful design.

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Every year, some of the best presentations are from students. Cape Town fashion designer Laduma Ngxokolo did a line of clothing inspired by African patterns that I still desperately want in my closet. And RCA industrial design student Thomas Thwaites showed a project where he made a toaster by hand from raw materials he found himself. The story was so sharp and funny that I asked for a copy of his thesis presentation and gave it to Kevin Lippert at Princeton Architectural Press. He published it last year, and a month or so ago, Thomas was promoting it on the Colbert Report! It all starts at Design Indaba.

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I always come away feeling uniquely inspired after the conference, how do you feel after the entire experience each year?

Indaba is remarkable in that it brings together people from every creative discipline from every part of world to share ideas. People come eager to hear from the superstars, but over and over again, it’s someone you’ve never heard of who blows you away.

What do you think the audience at large takes away from the conference?

I think the conference brings out the best in the speakers. You feel the energy from the audience, and the people on stage really feel an obligation to make a connection. The audience can really sense this, and as a result they come way feeling that they did just sit there and witness it, but they actually participated in it. It’s active, not passive.

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Do you feel Design Indaba has had a hand in helping Cape Town become the Design Capital for 2014?

I suspect it may be Cape Town’s best argument as to why it deserves to be the World Design Capital.

How does a conference like Design Indaba foster creativity in the long run?

Creativity doesn’t happen in a vacuum. It’s all about connections. Design Indaba makes connections that last, and those connections have the capacity to change the world.


Water Avenue Coffee

Southeast Portland’s micro roaster and bean-to-beer experimenter

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Portland has developed quite a name for itself over the years as a hub for coffee innovation. Whether it boils down to exotic beans, an experienced roaster, the espresso machine or the whole package, each boutique that opens up has a fresh spin on coffee that goes beyond gimmicks and instead delves into absolute coffee nerdery. One of the more recent shops to open up in Portland’s Southeast Industrial area is Water Avenue Coffee (WAC), a casual cafe serving up brews at its 50-foot long bar built from century-old reclaimed fir.

WAC is the brainchild of Barista Exchange founder Matt Milletto and former Stumptown roaster Brandon Smyth. Using their respective knowledge, the duo has created a coffee roasting plant and full-service bar that’s as experimental as it is straightforward. After tasting WAC for ourselves—you can pick up a bag online or at their shop—we checked in with Smyth to learn more about what makes this Portland outpost so unique.

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What kind of roaster do you use at WAC?

I roast on a slightly modified 1974 SASA Samiac 20-kilo coffee roaster built in France. What makes these machines unique and sought after is they were handmade at the time, and customized for the purchaser. The one at Water Avenue was constructed for a lefty who evidently loved fire engine red. They also sport dedicated motors for the cooling tray, tray agitator and exhaust. So, with the addition of a Variable Frequency Drive to the exhaust motor, the roaster can have complete control over the airflow during the roast. This is a huge advantage for a micro-roaster like us with delicate and unusual coffee cultivars with vastly different flavor profiles and seed density. Changing the airspeed during certain times while roasting can bring out sweetness, acidity, or produce a super clean cup. For espresso roasts I can slow down the airspeed, creating a very sweet, balanced roasts perfect for shots, or speed it up to bring out the lemongrass notes in an Ethiopian single origin. We are stoked to have this 1,700-lb Frenchman as a part of our daily operation.

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From where do you source your beans?

The beans are sourced through a nearby importer or, ideally, directly from the farmer. I’m heading to El Salvador in a couple of weeks to purchase some coffee for next year from some amazing farms: Finca Manzano, run by Emilio López Díaz, champions experimentation with production to create coffee that gets better with every crop, and Fincas de la Familia Menendez that grows the insanely delicious Pacamara hybrid varietal on the upper slopes of their Las Delicias farm. That Pacamara has consistently been my favorite coffee since I first sampled it, and we are really excited to bring in WAC’s own lot for 2012.

WAC is also sporting new, custom Tyvek bags that are 100% paper, compostable, tear-proof, watertight, reusable, and most importantly, white. We are dorking out over them and they are inspiring excitement with our design and engineering regulars.

You’re brewing a Northwest Pale Ale from coffee beans?

We have had a lot of success with our Oak Barrel Aged Sumatra experiments, and are planning on expanding our R&D super lab to tackle some other uncharted territory—like how to brew a real coffee beer. Not a Porter or Stout, but a bright, clean, Northwest Pale Ale. We are currently in the development phase, and enjoying the process immensely.

What does this process involve? What are some of the challenges it brings when compared to brewing coffee?

This process involves a huge amount of experimentation to get right. Right now we have been focusing on the synergism of a lighter roasted coffee with the bitterness of a pale ale. To date, this hasn’t worked well, but we are experimenting with roast levels and the timing of introducing the coffee into the mix. The biggest hurdle to overcome is how to find a coffee varietal at a specific roast level that will not overtake or compete with the flavors already present in the ale. We want the acidity and floral notes in the coffee to shine without becoming too astringent or not complimenting the already flowery nature of the hops.

It has been a real fun experiment thus far, but we haven’t had many batches come out worth celebrating over. It will take a while to get this right, and perhaps it is a doomed venture, but it is something that when perfected Portland will embrace wholeheartedly. This city loves exciting, daring flavors, and its three loves—children, coffee and beer.


Dezeen Screen: FuelBand at NikeFuel Station

Dezeen Screen: FuelBand at NikeFuel Station

Dezeen Screen: in this second interview that Dezeen filmed for sports brand Nike at their new NikeFuel Station at Boxpark in east London, Nike’s global creative director Andy Walker demonstrates how the company’s new FuelBand wristband helps athletes monitor their activity across a range of sports and daily activities. Watch the movie »

Dezeen Screen: NikeFuel Station at Boxpark

Dezeen Screen: NikeFuel Station at Boxpark

Dezeen Screen: Nike’s global creative director Andy Walker gives us a tour of the new NikeFuel Station at Boxpark in east London in the first of two interviews that Dezeen filmed for the sports brand. Watch the movie »