L’artiste Banksy a décidé de faire des rues de New York son nouveau terrain de jeu pour le mois d’octobre. Ce dernier propose ainsi de multiples interventions chaque jour, cherchant toujours à interroger les passants sur nos façons de penser. Des créations diverses et variées à découvrir dans une sélection d’images.
An exhibition about how women shaped twentieth-century design is on show at the Museum of Modern Art (MoMA) in New York.
Designing Modern Women 1890–1990 showcases objects drawn entirely from MoMA‘s own collection and highlights women’s role as designers, patrons, muses and educators.
Pieces on show include a newly conserved kitchen designed by Charlotte Perriand with Le Corbusier in 1952 for the Unité d’Habitation housing project in Marseille.
There’s also work by Irish Modernist designer Eileen Gray, German Bauhaus designer Marianne Brandt and Italian architect Gae Aulenti.
Famous design couples are highlighted too, with work by Ray Eames and her husband Charles, and Denise Scott Brown with Robert Venturi.
The exhibition continues in the Architecture and Design Gallery of the museum until 1 October 2014.
Here’s some more information from MoMA:
Modern design of the 20th century was profoundly shaped and enhanced by the creativity of women—as muses of modernity and shapers of new ways of living, and as designers, patrons, performers and educators.
This installation, drawn entirely from MoMA’s collection, celebrates the diversity and vitality of individual artists’ engagement in the modern world, from Loïe Fuller’s pulsating turn-of-the-century performances to April Greiman’s 1980s computer-generated graphics, at the vanguard of early digital design. Highlights include the first display of a newly conserved kitchen by Charlotte Perriand with Le Corbusier (1952) from the Unité d’Habitation housing project, furniture and designs by Lilly Reich, Eileen Gray, Eva Zeisel, Ray Eames, Lella Vignelli, and Denise Scott Brown; textiles by Anni Albers and Eszter Haraszty; ceramics by Lucy Rie; a display of 1960s psychedelic concert posters by graphic designer Bonnie Maclean, and a never-before-seen selection of posters and graphic material from the punk era.
The gallery’s ‘graphics corner’ first explores the changing role and visual imagery of The New Woman through a selection of posters created between 1890 and 1938; in April 2014 the focus will shift to Women at War, an examination of the iconography and varied roles of women in times of conflict, commemorating the centennial of the outbreak of World War I.
Organized by Juliet Kinchin, Curator, and Luke Baker, Curatorial Assistant, Department of Architecture and Design
Architecture and Design Collection Exhibitions are made possible by Hyundai Card.
Additional support for Designing Modern Women, 1890–1990 is provided by The Modern Women’s Fund.
The post Designing Modern Women 1890–1990
at MoMA appeared first on Dezeen.
An exhibition exploring the latest digital design and manufacturing processes opens today at New York’s Museum of Arts and Design.
The exhibition at the Museum of Arts and Design (MAD) features more than 120 examples of sculpture, jewellery, fashion and furniture that demonstrate different uses for computer-assisted production methods.
All of the pieces on show have been created in the past decade by artists, architects and designers including Zaha Hadid, Anish Kapoor, Joris Laarman, Daniel Libeskind and Marc Newson.
Some new works produced specially for the exhibition will also be presented, including a 4.5-metre-tall digitally-scanned mask of artist Richard Dupont.
“From sculptural fantasy to functional beauty to conceptual idiosyncrasies, the works of art in Out of Hand, all created in the past decade, demonstrate an explosive, unprecedented scope of artistic expression,” said curator Ronald T. Labaco.
In keeping with the Museum of Arts and Design’s curatorial policy there is a focus on experimental uses of materials and technologies in art and industry, rather than products designed for the mass market.
“The cross-disciplinary nature of the work and the exploration of seemingly disparate themes and concepts allows for boundless creativity,” Labaco added. “The exhibition puts these pioneering works in dialogue, highlighting at once their vast diversity and the trends and ideas that connect them.”
Several of the exhibits have previously featured on Dezeen, including a 3D-printed dress for Dita Von Teese, a boot for American football players with 3D-printed studs, and a shoe by Dutch designer Marloes ten Bhömer that can be printed for a perfect fit.
We’ve also published stories about a polygonal plywood pavilion at a German university, a proposal for a web-like printed house, and a marble armchair by Joris Laarman based on the way bones grow, all of which feature in the show.
Visitors to the exhibition will be invited to try out technologies including computer-aided modelling software and 3D printers, while designers-in-residence will be on hand to demonstrate some of the processes.
The Museum of Arts and Design announced last month that it has appointed Glenn Adamson as its new director. Adamson had been head of research at the V&A, where he co-curated the 2011 exhibition Postmodernism: Style and Subversion 1970 to 1990.
Here are some more details about the exhibition from the Museum of Arts and Design:
Out of Hand: Materializing the Postdigital
Exploring the latest trends in digital fabrication, Out of Hand: Materializing the Postdigital at the Museum of Arts and Design is the first in-depth survey dedicated to exploring the impact of computer-assisted methods of production on contemporary art, architecture, and design. Opening in October, this landmark exhibition brings together more than 120 works of sculpture, jewelry, fashion, and furniture by 85 artists, architects, and designers from 20 countries to examine how new technologies are pushing the boundaries of artistic expression and creation. The cutting-edge works highlighted in the exhibition demonstrate the reciprocal relationship between art and technological innovation as well as materials and new techniques—an area of exploration that has long been at the core of MAD’s mission and curatorial program.
To mark the launch of MAD’s new holiday hours, visitors are invited for a sneak peek of the exhibition on Columbus Day, October 14. The completed exhibition will be on view October 16, 2013, through July 6, 2014.
Organized by Ronald T. Labaco, MAD’s Marcia Docter Curator, the exhibition features new and recent work from 2005 to the present, including commissions created especially for Out of Hand and objects never presented before in the U.S. by such artists, architects, and designers as Barry X Ball, Bespoke Innovations, Wim Delvoye, Richard Dupont, Zaha Hadid, Anish Kapoor, Joris Laarman, Daniel Libeskind, Maya Lin, Greg Lynn, Lucas Maassen, Jürgen Mayer- Hermann, Achim Menges, Marc Newson, Nike, Alan McCollum, Roxy Paine, Frank Stella, Hiroshi Sugimoto, and Unfold, among many others. Two large-scale sculptures—a fifteen-foot- high digitally scanned mask of artist Richard Dupont’s face, and a towering abstraction of wrestling figures created through digital milling techniques by Michael Rees—will activate the space outside the Museum on Columbus Circle and serve as an introduction to the exhibition.
“The compelling works in Out of Hand expand audience understanding of the ways artists and designers from around the world are utilizing these new technologies to extend their artistic practice, revealing how these innovations are also transforming practices in manufacturing, healthcare, and other fields not readily associated with the contemporary art world,” said David McFadden, MAD’s William and Mildred Lasdon Chief Curator. “By examining these trends through the lens of artistic expression, MAD is opening up a dialogue on the significance of digital technologies to our larger culture and global society.”
Building on MAD’s practice of making the artistic process accessible in the gallery spaces, audience participation plays a central role in the exhibition. The Museum’s second floor will be equipped with 3D printers, modeling software, and computer monitors, allowing visitors to experiment with the technologies explored in the show. Designers-in-residence working in the gallery will demonstrate various digital techniques and fabrication tools used to create objects like those in the exhibition, and a range of special workshops, public and educational programs that provide visitors with hands-on opportunities to deepen their engagement with 3D software and hardware throughout the exhibition’s run. Also integrated into the installation are video clips that explain individual artistic practices and the divergent approaches toward incorporating digital fabrication in the creative process. Additionally, a number of the featured works include interactive components.
The exhibition is conceptually organized around six themes, which provide a framework for navigating the diverse range of artwork on view and reflect aesthetic trends and artistic approaches:
“From sculptural fantasy to functional beauty to conceptual idiosyncrasies, the works of art in Out of Hand, all created in the past decade, demonstrate an explosive, unprecedented scope of artistic expression,” said Curator Ronald T. Labaco. “The cross-disciplinary nature of the work and the exploration of seemingly disparate themes and concepts allows for boundless creativity. The exhibition puts these pioneering works in dialogue, highlighting at once their vast diversity and the trends and ideas that connect them.”
To provide audiences with the full sweep of innovation in this rapidly growing field, the exhibition includes objects created through purely digital fabrication techniques alongside works that combine traditional handcrafted processes with these new methods.
The post Out of Hand: Materializing
the Postdigital at MAD appeared first on Dezeen.
Ces posters ’Take it On’ ont été pensés pour la School of Visual Arts à New York sous la direction artistique de Stefan Sagmeister et Jessica Walsh. Avec des compositions typographiques impressionnantes, ces posters, visibles dans les couloirs du métro new-yorkais, font la part belle à la créativité.
Le graphiste Beomyoung Sohn, basé à New York, présente sa série d’illustrations intitulée Dummymen : créant un univers envahit par les marques où les hommes sont des clones, il livre une véritable critique de la tendance à surconsommer. De très belles illustrations à découvrir en images.
Designer Hella Jongerius and architect Rem Koolhaas have renovated the North Delegates’ Lounge at the United Nations buildings in New York (+ slideshow).
Working alongside a team of Dutch creatives that included graphic designer Irma Boom, artist Gabriel Lester and theorist Louise Schouwenberg, Jongerius and Koolhaas have reconfigured the layout and added new furniture to the lounge – one of the key spaces in the complex designed during the 1960s by a team of architects including Le Corbusier and Oscar Niemeyer.
Koolhaas’ OMA began by removing a mezzanine that had been added in 1978, opening up a view towards the East River. Hella Jongerius then added a bead curtain made from hand-knotted yarn and 30,000 porcelain beads.
Furniture is arranged so that one end of the lounge accommodates formal meetings and the other is more suited to coffee and drinks. Jongerius designed two new pieces for the space – the Sphere Table and the UN Lounge Chair – which are accompanied by original Knoll chairs.
A new bar is made from black resin, while the existing information desk is retained and repositioned alongside the original clock and signage.
Jongerius was responsible for the colour palette, adding an orange carpet alongside the purple, blue and green upholstery.
“The renovation and redesign of the lounge is a gift from the Netherlands to the UN,” said the designers.
Dezeen recently filmed a series of interviews with Jongerius discussing her latest projects and why she chose to relocate to Berlin. Watch the movies »
See more stories about Hella Jongerius »
See more stories about Rem Koolhaas »
Photography is by Frank Oudeman.
Here’s a project description from Jongeriuslab:
New interior for United Nations North Delegates’ Lounge (New York)
More than sixty years after the opening of the UN North Delegates’ Lounge, Hella Jongerius has redesigned the lounge in collaboration with Rem Koolhaas, Irma Boom, Gabriel Lester and Louise Schouwenberg.
Their aim was to create a space of both comfort and professional informality. The team carefully edited the history of the space, retaining some of the iconic Scandinavian designs and creating a new perspective on the works of art already on display. They removed the mezzanine that had blocked the view of the East River, restoring the open architectural space.
Jongerius designed two new pieces of furniture for the lounge: the Sphere Table and the UN Lounge Chair, produced by Vitra. For the East Facade Jongerius designed the Knots & Beads Curtain, with hand-knotted yarn and 30,000 porcelain beads made from Dutch clay by Royal Tichelaar Makkum. Jongerius was also responsible for revitalizing the colour palette, selecting the furniture and designing the cradle-to-cradle Grid Carpet.
The UN buildings in New York date from 1951, six years after the foundation of the UN. Referred to as ‘A Workshop for Peace’, the complex was designed by a team of architects including Le Corbusier, Oscar Niemeyer and Wallace K. Harrison. In 2009, the UN launched a large-scale renovation project, which is now nearly complete. At the request of the Dutch Ministry of Foreign Affairs, Hella Jongerius formed a team to redesign the lounge and bring it into a new era. The renovation and redesign of the lounge is a gift from the Netherlands to the UN.
The lounge will be officially opened on September 25, 2013 by Queen Máxima of the Netherlands and the Dutch Minister of Foreign Affairs, Frans Timmermans, in the presence of Ban Ki-moon, Secretary-General of the United Nations.
Year: 2013
Material: Various
Dimensions: Various
Commission: United Nations/ Dutch Ministry of Foreign Affairs
Category: Industrial production
The post United Nations North Delegates’ Lounge
by Hella Jongerius and Rem Koolhaas appeared first on Dezeen.
London designer Paul Cocksedge’s first solo exhibition, at Friedman Benda in New York, features a table folded from a single sheet of steel (+ slideshow).
Paul Cocksedge‘s Capture exhibition at New York City’s Friedman Benda gallery includes two new pieces by the designer.
The first is a table made from a curved Corten steel sheet, which balances on one end and curves back on itself to create the top.
The half-ton sheet folds at an angle so the top and base point in different directions.
His second new design is a large black domed lamp, which glows with a white light across the entire 1.6-metre-wide base.
Hand-spun from aluminium, the hemisphere is tilted to direct the light at an angle.
Capture opened last week and continues until 12 October. Also in New York, the retrospective on the life and work of Le Corbusier at MoMA finishes next week.
Photography is by Mark Cocksedge.
See more design by Paul Cocksedge »
See more architecture and design exhibitions »
More information from the gallery follows:
Paul Cocksedge: Capture
Friedman Benda will present Paul Cocksedge: Capture the British designer’s inaugural solo exhibition, 12 September – 12 October 2013.
Capture will introduce new works developed by Cocksedge over the last four and half years that push the mediums of light and structure, including a large-scale light installation, a collection of dramatic, seemingly impossible, hand-wrought dome lamps, and Poised, a series of unyielding steel tables inspired by the delicacy of paper. Known for exploring the limits of technology, materials, and manufacturing capabilities, Paul Cocksedge Studio has produced both commercial and experimental work, as well as a series of high-profile public installations around the world. Capture finds Cocksedge presenting a new series of concepts informed by his studio’s commitment to technological ingenuity, expanding the boundaries of physics, and the creation of works that are both thought provoking and unexpected.
The works include Capture, a 1.6-metre hand-spun aluminium dome that appears to “hold” the peaceful glow of a warm white light. The piece is informed by a process of reduction – a recurring theme in Cocksedge’s work – as it subtracts the typical infrastructure around light, instead creating a hemisphere that seems to stop light from escaping.
For White Light, Cocksedge will create a room within the gallery in which everything and nothing changes. For this work, the designer will create an illuminated mosaic of precisely calibrated and positioned coloured panels on the ceiling of the gallery. The ceiling will slowly fade from a spectrum of colours to a warm white light, while the room itself will remain unchanged, demonstrating the ways in which we do and do not perceive the interplay of colour and light.
The inspiration for Poised comes from the elegance and amenability of paper. Half a ton in weight, the steel table appears improbable upon investigation. Created following an intensive series of calculations regarding gravity, mass, and equilibrium, the table looks as though it is about to fall, but is perfectly weighted and stable.
In addition to these new works, Cocksedge will present three architectural models that take conceptual threads from Capture and White Light and reapply them to architectural settings outside of the gallery space. Central to Cocksedge’s work is an appreciation for the ways in which people respond to and interact with his designs. As a result, potential real world applications of these new works will be explored in a series of architectural models.
The post Capture exhibition by
Paul Cocksedge appeared first on Dezeen.
Le New York City Ballet présente New Beginnings : une vidéo mettant en scène Maria Kowroski and Ask la Cour dans le pas de deux After the Rain de Christopher Wheeldon sur la terrasse du Four World Trade Center à Manhattan. Une performance sublime filmée au levé du soleil annonçant un nouveau départ pour la ville.
Le photographe américain Marc A. Hermann issu de la New York Press Photographers Association a recréé des scènes de crimes en faisant un mashup de photos d’archives tirées du New York Daily News et de photographies actuelles prises selon le même angle. Un travail historique bluffant à découvrir.
Danish office BIG has designed a triangular viewing platform for Brooklyn Bridge Park that angles up from the ground like a huge fin (+ slideshow).
The wooden platform will be constructed as part of BIG’s overhaul of Pier 6 – the southernmost end of the park that is located beside the famous suspension bridge between Manhattan and Brooklyn.
Raised off the pier by over five metres, the structure will feature a stepped surface that leads visitors up to two corner viewpoints. From here they will be able to look out towards the bridge, the Statue of Liberty and New York City beyond.
A series of thin steel columns will hold the platform in place, creating a sheltered space underneath that will be furnished with tables and chairs, but could also function as a small events area.
A flower field and several trees will be planted at the other end of the platform to welcome visitors into the park.
BIG, led by architect Bjarke Ingels, also recently worked on a park in Copenhagen that featured miscellaneous street furniture from 60 different nations. See more architecture by BIG »
Other landscape architecture featured on Dezeen includes Louis Kahn’s Four Freedoms Park in New York and a series of undulating bridges and promenades in Copenhagen. See more landscape architecture »
Here’s a project description from BIG:
Brooklyn Bridge Park Pier 6 Viewing Platform
The Pier 6 viewing platform is a triangular structure at the northwest corner of Pier 6 in Brooklyn Bridge Park. Sloping upwards 17.5 feet (5.3m) in height from the foot of the large gathering lawn, the platform provides magnificent views of the surrounding harbour, the Statue of Liberty, the Manhattan skyline, and the Brooklyn Bridge.
In conjunction with the adjacent greenery, Pier 6 will be dominated by a flower field and treed areas giving the area seasonal displays of colour. The surface of terraced stairs, softly illuminated, will allow for large and small events and is fully ADA accessible. The pavilion, a cross-laminated timber structure supported by thin steel columns, is brightly lit with up-lights and provides shade, shelter and space for indoor activities.
Movable site furniture underneath the platform will accommodate a variety of programs, from food carts and picnicking to community events and small performances.
Program: Public Space
Status: In Progress
Size in m2: 560
Project type: Competition
Client: Brooklyn Bridge Park Conservancy
Collaborators: Michael Van Valkenburgh Associates, Knippers Helbig, Tilotson Design Associates, AltieriSeborWieber,Pantocraft, Formactiv
Location: Brooklyn, NY
Partner in charge: Bjarke Ingels, Thomas Christoffersen
Project Leader: Iannis Kandyliaris
Project Manager: Martin Voelkle
Team: Ho Kyung Lee, David Spittler, Dennis Harvey, Isshin Morimoto
The post Brooklyn Bridge Park Pier 6
by BIG appeared first on Dezeen.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
