Timbrati la testa workshop

Ecco finalmente un interessante workshop di timbri e microrilegatura. Dall’ideazione, alla stampa artigianale, fino alla rilegatura. Ogni partecipante potrà sviluppare la sua pubblicazione come un pezzo unico e originale, un insieme di ritratti nati dalla creatività di ognuno e dall’interazione con gli altri partecipanti. Verranno insegnate le basi della xilografia, incisione su legno, linoleum e su gomma, fino a stampare in modo anticonvenzionale, attraverso timbri e matrici incise. A cura di Studio Arturo, il costo per la sottoscrizione è di 50 euro a partecipante. Per iscrizioni, scrivere a info@spaziobk.com.

Workshop di timbri e microrilegatura
16 febbraio 2014
dalle 12 alle 18
Spazio bk
Via Porro Lambertenghi 20,
Milano

Workshop di timbri e microrilegatura

Innovate Like A Misfit: Kyra Maya Phillips on how pirates, hackers and gangsters can teach us to be more creative and successful in business

Innovate Like A Misfit


Kyra Maya Phillips, the co-author of the upcoming book “The Misfit Economy,” encourages readers to think like pirates, gangsters and hackers when approaching business. While researching and writing the…

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ECAL Bicycle Accessories

L’Ecole cantonale d’art de Lausanne o meglio nota come ecal, ha presentato durante questo Salone del Mobile una serie di accessori pensati apposta per la bici proposti durante il Workshop con il professor Chris Kabel.

Roma – The Future of Crowdfunding

Il futuro del Crowdfunding verrà trattato questo sabato 27 Ottobre nella capitale romana. Per chi non lo sapesse, il Crowdfunding è un modello di finanziamento/donazione in rete basato sui principi di fiducia, collaborazione e trasparenza.
L’evento è curato da Twintangibles e nois3lab in collaborazione con La Sapienza, The Hub Roma e RomaStartUp.
Potete trovare maggiori informazioni sul sito e registrarvi alle conferenze e workshop qui.

Shinola

The brand plans a relaunch in Detroit with watches, bikes, cola and notebooks

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Taking a name that’s likely recognizable among the last few generations, Detroit-based consumer goods company Shinola is hoping to make it easy to tell shit from Shinola. First imagined in Dallas a few short years ago, the relaunch of the more-than-100-year-old company recently made the move to a 60,000 square foot space in Detroit’s midtown neighborhood. Drawn in by a city with open arms and a rich history of manufacturing, Shinola felt that Motor City was the best place to stage its comeback for Fall 2012.

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Interested in exploring Shinola’s curiously focused range of “consumer goods”—the brand originally known for shoe polish is now creating watches, leather goods, notebooks and cola—we accepted an invite to check out the brand in Detroit. Shinola ambitiously plans to make each of these products right here in the U.S. whenever possible.

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In order to realize the best possible execution with domestic production, Shinola has placed collaboration at the core of its business and design strategy. Housed on the fifth floor of what was formerly home to General Motor’s engineering, research and design department—the first designated department of its kind in the auto industry, one responsible for inventing the automatic transmission engine, introducing tail fins, and even designing the first Corvette—Shinola has taken over the space with the intention of building on that legacy of creative innovation. Built in 1928 across the street from the original GM headquarters, the massive building is now the run by Detroit’s College of Creative Studies.

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While the building occupies a certain sense of historic importance, CCS’ students and their forward-thinking design talent are also of interest to Shinola, which has enlisted their help in everything from designing their office to assisting in product development as part of their curriculum. “At a very fundamental level CCS and Shinola honor the same philosophies,” says Shinola creative director Daniel Caudill. “They honor the idea of the artisan and craftsman, and our relationship with the CCS students illustrates our core brand pillar of collaboration.”

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The brand kicks off its collaborative product line with watches. The substantial inaugural line comprises models assembled entirely on-site in a surprisingly large “clean room” of sorts. The pressurized room—to keep dust out—will eventually be the workspace for dozens of assembly line workers, pumping out hundreds of watches each day. At the moment, with the company still very much in the development stages, the output stands at just a fraction of that goal. Nevertheless the workers currently assembling prototypes and early production editions are intricately skilled and closely supervised to ensure precision assembly. Certified by the US government to claim the distinction of being American-made, Shinola watches are being made with the help of the 65-year-old Swiss manufacturing company Ronda AG with Swiss-made movements, locally sourced components and some pieces imported from China.

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Much like their watches, the small range of bicycles are produced elsewhere and assembled in Detroit. Once the Wisconsin-made frames are outfitted with additional top-of-the-line components (like Shimano’s Alfine group) sourced from Portland, OR and abroad, each bike is topped off with custom Horween leather saddles, matching leather grips and a shiny Shinola headbadge.

Operating as a “community of consumer products” as Caudill puts it, Shinola sidesteps the typical platform of scheduled seasonal launches and design deadlines. “Instead we’re opting to develop and release product when it’s ready, fine-tuning and tweaking the product until we feel it is perfect,” he says. This unconventional but logical approach stems from a dedication to producing good design with the customer in mind, running with the spirit of making products intended to last a lifetime.

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The commitment to sourcing components domestically whenever possible inevitably comes with a higher price point on Shinola goods. Their handmade bicycles will sell for roughly $2,500 while the larger range of watches will go for between $400-$800. As Caudill points out, the definite launch date has not been confirmed, though e-commerce is tentatively slated for Fall 2012. Also in the works is a showroom to open sometime close to December in NYC’s Tribeca neighborhood, which will then transition into a stand-alone retail space in early 2013.

For more information on the history and mission behind Shinola see their site and for more from their expansive Detroit HQ click the slideshow.

Images by Graham Hiemstra


Wanted Design 2012

The satellite fair returns for its second iteration
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When we attended Wanted Design‘s inaugural debut during NYC Design Week 2011, we knew that the fledgling venture was a force to be reckoned with. While ICFF remains the main attraction, Wanted Design drew our attention for bringing American and New York-centered design into conversation with the dominance of the Milan and Stockholm Design Week crowd. Spearheaded by French founders Claire Pijoulat and Odile Hainaut, the satellite fair has grown from meager origins to include 50 exhibitors alongside a multitude of talks, workshops, presentations and social spaces.

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This year’s Wanted Design will be returning to take over 22,000 square feet of the Terminal Warehouse (former home of the historic nightclub “Tunnel“) as designers both domestic and foreign gather to show their wares and spread ideas. Focused on the city’s creative community, the response from last year’s event bodes well for the four days of design celebration to come this May.

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Pijoulat and Hainaut created Wanted Design in part to combat the major shortcomings of design fairs—namely, the lack of interaction between creatives. With this in mind, the 2012 event will feature a conversation series as well as a stream of workshops with eminent designers and craftsmen. Manhattan Neon—a decades-old vendor of neon works—will be hosting a neon-centric workshop. An exhibition entitled “New Finnish Design” celebrates Helsinki as the 2012 World Design Capital, and 3M Architectural Markets will be presenting an experimental installation called “Lighfalls” in partnership with Todd Bracher.

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Also on tap is the “Design Students Challenge“, which calls on students from six design schools in the U.S. and France to build a lighting prototype in the span of three days. Using one material, one concept tool and one fabrication tool, the students’ creations will then be judged by the public and a panel of design professionals. Focusing on the Americas, highlights from the fair include a group exhibition of Brazilian design curated by Objeto Brasil as well “America Made Me”, an exhibition that bridges fashion, art and design curated by Bernhardt Design.

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As with last year, the 2012 exhibition will feature a pop-up shop curated by iGet.it with domestic furniture, accessories and objects for sale in-store and online. Cafe Intramuros, sponsored by Intramuros Magazine, will be serving La Colombe Coffee and is one of a few spaces offering creatives a chance to sit, meet and discuss ideas.

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There will of course be some stellar design objects premiering and showing at the fair. While many of the specifics remain to be seen, major events include a book launch from Rizzoli, a showcase of next-generation designers hosted by Dwell and DWR as well as numerous new products and prototypes.

Wanted Design

18-21 May 2012

Terminal Warehouse

11 Avenue between 27th and 28th


Extraordinary Coffee Workshop

Intelligentsia gathers growers from all over the world in Los Angeles
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As the movement to recognize coffee as a serious foodstuff continues to grow, expert farmers from around the world are sharing production methods as a way of increasing quality and as a chance to experiment with new ways of cultivating beans. Intelligentsia, one of the leading artisanal coffee purveyors, is helping to foster these relationships with their Extraordinary Coffee Workshop (ECW), which we recently got to experience in L.A.

The three-day event brought together Intelligentsia growers, producers, co-op managers and top baristas for lectures, discussions, demonstrations and, at one point, a roasting competition. Participants were introduced to Cropster, a system used to support, track and manage farm information, before finishing off the weekend with a six-course dinner with coffee pairings.

What began as a meeting of industry people from Africa, Mexico, Central and South America, transformed into a virtual United Nations of the specialty coffee industry at the ECW, much like the past two ECW workshops in El Salvador and Colombia. According to Geoff Watts, Intelligentsia’s VP and green coffee buyer, “Farmers from Honduras met with growers from Kenya at the ECW in El Salvador. They took what they learned about their approach to processing coffee back to Honduras, did some experiments trying to replicate the Kenyan process. The results were spectacular. They put that coffee into the Specialty Coffee Association annual Coffee of the Year competition and got third place.”

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VP of strategy Kyle Glanville notes, “These guys have become fast friends. After this they go and visit each other and they check out each other’s farms. Our quality has definitely gotten better as we’ve grown. I think a huge part of that is that the producers are not content to just follow tradition, they are actually talking to each other and troubleshooting and improving.”

Experimental farmer Camilo Merizalde hosted the first ECW at his farm in Popayan, Columbia. One of Intelligentsia’s most important direct trade relationships, the workshop prompted Merizalde to visit the farms of the attendees, from Brazil to Bolivia and beyond. Glanville explains, “He went to Ethiopia and then other places, like Yemen, on a fact-finding mission, to compile the world’s best practices, to find out about new varietals, and he has really dramatically changed his farm over the last few years as a result. He’s gone from being a high-quality producer who tries to get a lot of volume to deciding that his farm is going to be a super farm.”

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The L.A. workshop this year gave the growers a chance to experience roasting, cupping, and coffee making at the Intelligentsia cafes in Venice, Pasadena, and Silver Lake. National roasting manager Gabriel Boscana points out, “This is the first time for most of the growers to see what we do in the café. For a lot of them they now understand how seriously we prepare their coffee. We showcase it every day in a little cup. For them to see how much love we put into it is meaningful. For us it was humbling. It puts pressure on us to make their coffee taste good all the time.”

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“A weekend like this helps make this world a little bit smaller,” says Devin Pedde, the educator at the Silver Lake Intelligentsia coffee bar. “We are meeting people who produce the coffee we have been drinking for years. For the producers to be able to get together to talk about their shared struggles of cultivating the land and pruning the trees helps them share tips and tricks. Basically we all want to drink really good coffee and we want to make sure the people who grow good coffee are compensated for it. Everyone learning to improve is really the goal of this workshop.”

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Sarah Kluth, green coffee manager and buyer, reiterated the effectiveness of such a gathering. “We can not overestimate the power of collaboration and that exchange of ideas. A lot of these producers live in mountainous areas, high altitudes, in countries that have poor infrastructures. They don’t have massive paved roads to their houses. You think about that in terms of neighbors and in terms of ideas or communication. They can be isolated within their countries, even with a tradition of how to grow coffee. To get in the same room with all of these other growers and to get them to exchange ideas is incredibly powerful.”

In addition to coffee-making the growers were treated to a road trip to Saarloos and Sons Vineyard, north of Santa Barbara, to explore the kinship between coffee farms and vineyards. Roaster Sam Sabori sums it up: “I was talking about coffee with one of them and he said, ‘Oh I am the producer.’ I told him that I learned so much from his coffee. I can ask the farmers about the dilemmas they face when processing the coffee then I can tie that to my roast and then to the cup and have a taste. It really comes full circle.”

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At the end of the ECW weekend Charles Muriuki from Kenya—a country Watts calls “the gold standard” for coffee—reflected on his first trip to the United States. At the end of a six-course meal at Intelligentsia Pasadena pairing dishes with coffees, he burst into a Swahili song from his childhood, “Kwaheri” or “Goodbye my friends goodbye.” As Muriuki proceeded to lead the group in a sing-a-long, it quickly became apparent that at this business meeting of the major players in the world-wide specialty coffee market, the participants have become much more than colleagues—they have developed a deep bond based on their shared commitment to coffee. “When you get the sense that there are 50 of us here from 15 different countries and we are all working towards the same thing, it creates a sense of family,” said Watts. “It creates a sense that people can advance a lot quicker in solidarity with each other.”


Cool Hunting Video Presents: Iznik Tiles

Our video inside a workshop reviving the lost art of Turkish tiles

by
Gregory Mitnick

A celebrated Turkish art form dormant for more than 300 years, Iznik tiles play an integral role in Turkey’s Ottoman Empire history and the production of them today is a labor of love.

In 1993 economics professor Dr. Işıl Akbaygil visited some of Istanbul’s historic buildings and noticed that some of the tiles were as bright and clear as new, while others were dull and deteriorating. Research soon confirmed that these tiles were indeed special, though they hadn’t been made since the early 1700s and there was no historical record or documentation of how they were made.

Dedicated to reviving this lost art, she founded the Iznik Training and Education Foundation. It took around ten years for the Foundation, along with a host of government, preservation, research and university partners, to determine what made the tiles so unusual, to recreate the lengthy handmade production process, train local artisans and construct a manufacturing facility. Today the Iznik Foundation creates tiles for repair and restoration of historical buildings, pubic works (including large murals in Istanbul’s subway stations) and for private use.

The secret to the tiles is their composition, primarily ground quartz, which also makes up the bright glazes that adorn them. Quartz brings many purported health benefits, such as improved circulation and shielding from radiation, but they also have some practical features such as being temperature neutral (ideal for warm environments) and durable—these tiles are engineered to last 1,000 years.

Our video features Istanbul-based architectural historian Gökhan Karakuş, who takes us through the history and modern-day labor-intensive process of making these beautiful tiles.


Levi’s Film Workshop

LA gets Levi’s third creative production popup

by Mark Buche

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Los Angeles is to filmmaking what New York is to photography and San Francisco is to screen-printing, so it makes sense that the third installment of the Levi’s Workshop—opening this weekend at MoCA’s Geffen Contemporary—focuses on L.A.’s native art form. Levi’s Film Workshop makes professional resources like edit rooms, equipment rentals—including high-end cameras like the Red One—and training available to the public free of charge.

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Like the Photo Workshop that took up residence in NYC during October last year, the Film Workshop is Levi’s democratic approach to arming people with a slew of valuable resources that are oft-inaccessible to the average creative individual.

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Inside a glass display houses a huge array of vintage and modern cameras available for rent. Behind that are shelves neatly sorted with sound equipment from RØDE, grip and light gear from Quixote, tripods and accessories from Manfrotto. Once you’ve finished shooting your project, with that equipment and using the in-house edit suite to make a completed film there’s also a screening room in which you can showcase your work.

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Educational workshops led by various collaborators and non-profits will teach everything from the basics of shooting on Super 8 to reworking and looping found film to using the latest digital camera equipment.

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To accompany the workshop Levi’s is releasing a series of Art in the Streets Trucker Jackets created by collaborating artists like Shepard Fairey, Chaz Bojorquez, Crash and Lady Pink. Each of the 10 jackets is limited to 50 units per-artist and will retail for $250 with proceeds benefiting the MoCA.

Levi’s Film Workshop opens to the public 17 April 2011 and runs through 8 August 2011 during regular museum hours.


Alessi at Milan Design Week

Alessi’s new Milan showroom, lighting collaboration and projects by emerging designers
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The opening of Alessi’s new Milan space today was more than just a celebration of their new digs, but also an occasion to present some of the iconic Italian brand’s latest projects, including an innovative line of lamps and luminaries, produced by Foreverlamp and conceived by a team of three young designers.

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The trio consists of Giovanni Alessi Anghini, Gabriele Chiave and Frederic Gooris, who explained, “We work as a team, even though we still run our own design firms. We’ve known each other for years and Alberto Alessi decided to give us the chance to create something new.” The AlessiLux project breaks the boundaries between classic bulb and lamp, creating real enlightened and colorful objects. With high quality overall and the latest technology—both in terms of performance and environmentalism—will this team create something new for the future? “We cannot be precise by now, but we are working on ideas able to combine Alessi’s design excellence and mass market.”

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Also in the new showroom, ECAL (the University of Art and Design of Lausanne) presented an interesting exhibition to showcase the desk and office objects designed by Bachelor students in industrial design that resulted from a workshop with Elric Petit. A pivoting opening and closing system characterizes the “Frana” pencil box, the “Spettro” flying saucer captures paper clips and “Ora” is a clock mobile that suspends time. Conceiving of the workspace as a friendly and welcoming environment, they came up with tools intended to provide some joy to their users—in true Alessi spirit.

See more images of all the designs in the gallery below.