Hasta La Ideas

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pem Design students Ramon Coronado (Graphic Design) and Diane Jie Wei (Product Design) interview a family in the Campamento San Joseacute; outside Santiago, Chile, as part of field research for the Safe Agua studio. Lead Faculty: Liliana Becerra (Product Design), Penny Herscovitch and Dan Gottlieb (Environmental Design)./em/p

pstrongCore 77:/strong Why does design for social impact belong in design schools?/p

pstrongMariana Amatullo:/strong Design for social impact is undoubtedly a piece of an art and design education that is exploding with enormous force across the top institutions around the country and internationally. What’s exciting to see is that it’s positioning design at the center of the global issues affecting us today. It’s a space that’s inviting collaboration with other disciplines outside of the art and design world, disciplines like: science, business, engineering, and policy, to name just a few. This is great for design, and beyond thatmdash;it’s also great for the world. There’s a potential for solving some of the big problems that confront us because designers have the ability to seek opportunities and see solutions where others can’t. It’s part of their education and training, a training that pushes them to search for meaningful ideas that can become actionable./p

pstrongC77:/strong How is Art Center, where you head up a href=”http://www.designmatters.artcenter.edu/”Designmatters/a, incorporating design for social impact into its curriculum? /p

pstrongMA:/strong This September, Art Center is launching a Designmatters Concentration in art and design for social impact. For us, it’s a great chance to educate artists and designers to think about becoming involved in local, national and global issues right at the strategic and leadership levels, the beginning of the life-cycle so to speak of an issue, instead of coming at it at the end to simply style or package a cause. For our students, it’s a great chance to connect academic practices to design-based explorations of real world issues. They have the opportunity to step into this space while still a student; at the same time, they’re also asked to step up in the way they look at, confront, research and address real world issues. /pa href=”http://www.core77.com/blog/featured_items/the_designmatters_concentration_at_art_center_college_of_design_qa_with_mariana_amatullo__17324.asp”(more…)/a
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pa href=”http://www.surfaces.dupont.com”Dupont/a has a history of working with artist’s and designers to find new ways to extend the materials they produce, like Corian. This time they work with artist-cum-architect a href=”www.acconci.com”Vito Acconci/a, who’s built a large scale installation for the lobby of the Bronx Museum of Arts. The Corian has been manipulated and sculpted to resemble fabric, falling and twisting in thin profiles to create seats, shelves, a table, and more. As visitors pass through the installation, they trigger sensors that activate projections, a subtle show of shadows and light./pa href=”http://www.core77.com/blog/object_culture/lobby-for-the-time-being_vito_acconcis_fabric-like_corian_installation__17332.asp”(more…)/a
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pFor our last inspiration post, we talked about the power of randomness to shape the creative process, whether supplied by user error or by keeping the additional marks and line used to construct a sketch. As we actually practiced what we preached, sketching in unforgiving ballpoint on bouncy subways, we found ourselves wishing for the Ctrl+Z we’d maligned just a month prior. Still, in our last post, we observed that “loose sketches and unfinished models allow the brain to fill in the blank,” and nowhere was that clearer than in the subway, where our rough and light initial sketches emalmost invariably looked better than the finished product./embr /
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Everyday housewares in elegant white porcelain

While most artists intend for their work to be enshrined in a gallery or home, studio potter Lilith Rockett wishes to interact with her pieces on a daily basis. In a recent interview with the ceramics artist, Rockett shares, “I would hope that interacting with the work in an intimate way, living with the pieces in a domestic environment, could bring a mindfulness of the subtle, quiet beauty that surrounds us everywhere.”

Rockett started her career in ceramics in Los Angeles, CA before moving to Portland, OR to put together a private work space and studio. Each one of Rockett’s pieces is handmade and fired in a kiln behind her house. The majority of her work consists of everyday household objects, such as candleholders and pitchers, but are executed with extreme delicacy and precision from simple, white porcelain.

Rockett’s ceramics are sleek and unembellished, and are striking enough to be shown in galleries as works of sculpture. Arranged in different groupings, such as cups scattered around saucers, the pieces suggest social gathering, movement and narrative. On the composition of the grouping arrangements, Rockett comments, “I enjoy the evocative and sometimes ephemeral quality of the relationships [between objects] as light changes throughout the day, and as the pieces are used and rearranged.”

Rockett’s work can be purchased online at Kobo in Seattle and the OK Store in Los Angeles. Check her website for updates on gallery showings and her online shop.

More pictures in the gallery

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pWe’re sure there is a giant overlap between the 14 million people that have seen a href=”http://www.youtube.com/watch?v=OQSNhk5ICTI”Yosemite Bear’s Double Rainbow Video/a and Donald Judd fans worldwide. If you’re included in this set, you’ll appreciate this video mash-up as much as we did, by a href=”http://peterrandart.com/gallery/”VJ Peter Rand/a. It couldn’t be simpler: the Double Rainbow audio is superimposed onto a gallery walkthrough of late works by Judd. When was the last time art made you feel like this? Or a mash-up?/p

pemThanks, Thom!/em/pa href=”http://www.core77.com/blog/videos/donald_judddouble_rainbow_mash_up_when_was_the_last_time_art_made_you_feel_like_this_17331.asp”(more…)/a
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