Check out the trailer for the latest film made by our Master departments to get an impression of what it’s like to study at DAE!
Do you know people who perfectly fit in the Master course? Don’t hesitate to share the movie with them.
More info: https://www.designacademy.nl/Study/Master/General.aspx
Postmodernism is the notoriously slippery subject tacked by the V&A’s exhibition, ‘Postmodernism: Style and Subversion 1970-1990’. This fast-paced film features some of the most important living Postmodern practitioners, Charles Jencks, Robert A M Stern and Sir Terry Farrell among them, and asks them how and why Postmodernism came about, and what it means to be Postmodern.
Andrew Logan: Post modernism – yes, I still really don’t understand what post modernism is. I’ve been told many times and it’s been explained to me many times and I still am bewildered. But perhaps that’s part of the movement – bewilderment.
Malcolm Garrett: I don’t think I really know too much about what post modernism actually is. For me, it’s primarily an architectural movement.
Robert A M Stern: Post modernism was a kind of style and it was kind of outrageous style at that.
Zandra Rhodes: I think we’re originals, but it wasn’t until I got spoken to by the V&A that I thought about anything that was post modern.
The way I worked I described as retrievalism.
Charles Jencks: The Independent said do use the word ‘post modernism’ because it means absolutely nothing and everything.
Malcolm Garrett: I called myself a new futurist for a while. So that’s a term I would use rather than post modernism.
Andrew Logan: Well, I suppose I had a very post modernist occurrence – I took acid. Normal things suddenly turned into something extraordinary.
Zandra Rhodes: Well, in 1977 punk was just starting to happen and I thought why not do tears that actually look like tears and then got safety pins and beaded round them like 12 years before Versace.
Malcolm Garrett: I had access to the first photocopier and I was able to modify and change the look of the image using a photocopier.
Peter Saville: And, of course, in the 70s and into the 80s the record cover was this incredibly important, vital medium of visual information. There were the music papers and occasionally the Sunday Times colour supplement might just do something about Andy Warhol in New York and that would be about it.
Paula Scher: In the 70s when I first started designing there was a predominance of the international style where the ultimate goal was to be clean and I always felt that that was like trying to clean up your room. So I was looking for ways of designing typography that could be more expressive, that were not about creating order but were about creating spirit.
Robert A M Stern: Times Square was where we were in charge – the whole revitalisation of Times Square is a very interesting, complicated story, but it does show the difference between the modernist point of view of how to redevelop or to develop a city and what we were able to do …
Charles Jencks: Post modern architecture is really to do with pluralism. You’ll find its depth, all of the great post modernism, the philosophy and now in literature, is about pluralism, pluralism, pluralism.
Robert A M Stern: To say, no, no, it’s a mess, in fact we ought to make it more of a mess. The world comes to Times Square not for tidykins, but for mess.
Charles Jencks: It’s accepting that the modern world with Freud, Marx, Henry Ford, mass production, is positive, but it can be radically improved.
Robert A M Stern: We studied the signage in Times Square and then we set minimums, minimums for sizes of signs, minimums for brightness of signs. What we were legislating in a way the capitalist impulse. Once you tell an entrepreneur that his or her sign can only be this big, he will be satisfied, he will agree with it. But if you say it can be this big or bigger or brighter, well everybody wants to compete in a capitalist society.
Charles Jencks: So you have to be on the one hand ironic about failures, probably the beginning of a new depression, another crisis of modernism, modernisation, modernity. What’s going to get us out of this? We have to re-think the modern movements in all the arts and in society and post modernism is the umbrella term for re-thinking.
Robert A M Stern: We knew 42nd Street was an incredible success when the Consolidated Edison Company called the State of New York and said, you know our grid is zapped out.
Peter Saville: In the case of, particularly, Joy Division and then New Order, they could never exactly agree amongst themselves. There was no hierarchical structure, particularly in New Order after the end of Joy Division, after Ian Curtis had died. The responsibility for the covers came to me and so they were about what I was interested in, they were about in a way beginning to learn the canon.
Carol McNicoll: The thing that I was doing was I was using slip casting. A lot of the Leach tradition and minimalist things also had that idea of expressing the deep, inner, mystic qualities of clay. And I thought that was a load of complete rubbish. And I thought what was wonderful about clay was the fact that you could make it look like anything else.
V&Aの展覧会「Postmodernism: Style and Subversion 1970-1990」に合わせて収録された、ポストモダニズムの実践者たちへのインタビュー集。チャールズ・ジェンクス、ロバート・A・M・スターン、ザンドラ・ローズ、ピーター・サヴィルなど。
Watch this video and find out about one of our recent DesignLab projects, a collaboration between V&A Schools, Heatherwick Studio and Whitecross High School in Hereford. The project aimed to showcase Heatherwick Studio’s extraordinary and cross-disciplinary approach to working, as well as model how to use the V&A’s collections to answer contemporary design briefs.
DesignLab is a programme of projects that explore new ways of engaging students with design. It brings schools together with museum educators, practising designers and the museum’s collections to work on projects and engage in CPD activities.
Students acquire new and transferable skills, knowledge, curiosity and tons of inspiration. Teachers’ classroom practice and creativity is enriched through access to working with contemporary creative practitioners, museum staff and the V&A’s unrivalled collection of art, design and performance.
DesignLab aims to inspire a new generation of creative practitioners as well as broaden young people’s understanding of the designed world around them, how it is made and its impact on society and the environment.
About the Work
‘aikuchi’ – a project aimed at revitalizing the value of Japanese swords, rolling them out into the global market by bringing in world-renowned designer Marc Newson. Fusing together the spirituality of Japanese swords with revolutionary designs, just what are Marc Newson and Sword Master Saburo Nobufusa Hokke like? Here is an interview with the two of them, at the completion of project ‘aikuchi’.
Photographer : Daisuke Kobayashi
Editor : Shigeru Makino
Music : Tomohiro Nagasaki
Producer : Hiroshi Takahashi, Yuki Tazaki
PR : Michiru Sasaki
Danskina design director Hella Jongerius introduces the three latest additions – Argali, Dew and Fringes – to Danskina’s range of rugs and explains how she “always starts with the yarn” when designing new textiles.
Danskina was founded in 1973 by Piet and Ina van Eijken. In 2011, the brand was acquired by textile companies Kvadrat and Maharam, which appointed Jongerius as design director in 2013. The trio of new designs make up the company’s second collection since Jongerius took on the role.
Anthony Dunne is professor and head of the Design Interactions programme at the Royal College of Art in London. He is also a partner in the design studio Dunne & Raby. His projects with Fiona Raby use design as a medium to stimulate discussion and debate amongst designers, industry and the public about the social, cultural and ethical implications of emerging technologies. Their projects have been exhibited and published internationally and are in the permanent collections of MoMA, the Victoria & Albert Museum, Frac Ile-de-France and Fnac. He is the author of Hertzian Tales (2006) and co-author with Fiona Raby, of Design Noir (2001). They have curated exhibitions for the Science Gallery in Dublin, The Wellcome Trust Windows in London, and the Beijing International Design Triennial at the National Museum of China.
A three screen film installation for the Power Of Making exhibition at the Victoria and Albert Museum. A collaboration between the V&A and the Crafts Council, the exhibition presented 100 crafted objects in a cabinet of curiosities that explored traditional and time-honoured ways of making, as well as innovations taking place around the world. From 6 September 2011 to 2 January 2012, with 320,000 visitors made Power of Making the most visited free exhibition ever staged at the V&A.
Director / Camera: Juriaan Booij
Client: Victoria and Albert Museum / Crafts Council
Commissioning Editor: Daniel Charny
Editor: Mark Whelan
Sound Design / Music: Filipe Sousa
Camera Assistant: Tania Freimuth
Sound Recordists: Matthew Hansell and Stephen Partington
With thanks to Priya Sundram
With special thanks to
Coventry Prototype Panels
Eleanor Pritchard Woven Textile Design
Ndidi Ekubia Silversmith
Sebastian Tarek Bespoke Shoes
David Carpenter, Moorfields Eye Hospital
Industrial Facility Design Studio
Mattiazzi SpA. Furniture Manufacturers
Watson Bros. Gun & Rifle Manufacturers
Stewart Hearn, London Glassworks
WAH Nail Art
Nigel Semmens Surfboards
Ron Arad Design Studio
Format: HD / 16:9
Commissioned for Power of Making
ヴィクトリア＆アルバート博物館で行われた展覧会「Power of Making」のために制作された映像。「つくること」の技術とプロセスを紹介している。
The design fair Design Miami in Miami Beach brings together collectors, gallerists, designers, curators and critics from around the world. Design Miami runs alongside the Art Basel fairs in Miami, USA each December and Basel, Switzerland each June and presents twentieth and twenty-first century furniture, lighting and objets d’art.
Design Miami 2015 Collectors Preview and Vernissage. Miami, Florida, December 1, 2015.
The title of this workshop has a double meaning as seeds that offer new research and new experience and as a reference to “Semina” – the avant-garde Pop magazine of the late 1950’s and 60’s. “Semina” was strongly interested in collage, a most crucial stylistic innovation in the arts of the twentieth century that provided this extraordinary magazine with a principle for both aesthetic and existential novelty.
This workshop tries to re-think “Semina” in its key-concepts and re-launch a process of research through a very open idea of collage that relates to our contemporary daily life.
Inspired by a childhood spent on the beaches of Cornwall building castles, boats and tunnels in the sand, I decided to return to my favourite beach at Caerhays on the south coast of Cornwall to produce a stool using a primitive form of sand-casting. Molten pewter was poured into a sand mould sculpted directly into the beach by hand, and once cooled the sand was dug away to reveal a pewter stool.
By Max Lamb
マックス・ラムによる砂浜でつくる鋳物のスツール「Hexagonal Pewter Stool」のメイキング
Branca, something of how they are made.
Branca is inspired by wooden branches that turn, twist, meet and branch off.
The result is comfort to the eye, to the body and to the hand.
Design: Sam Hecht / Industrial Facility, 2010 – industrialfacility.co.uk
Manufacturer: Mattiazzi SpA – mattiazzi.eu
Commissioning Editor: Daniel Charny
Directed / Camera / Edit: Juriaan Booij – juriaanbooij.com
Erwan and Ronan Bouroullec tell the story of their Lustre Gabriel, a Swarovski crystal chandelier created for the Palace of Versailles. The design is featured in the newly released Disegno No.6
Ruutu, which means diamond or square in Finnish, is a collection of 10 vases available in five sizes and seven colours. When collected and combined, they make small seamless installations where both the strength and the delicate nature of the glass come alive.
The fluidity and vibrant feel of the mouth blown glass creates the delicate character for Ruutu.
Ruutu in stores in January 2015.
Director / Camera – Juriaan Booij
Edit – James Cundill
Music – Andy Simmns
Film on location in Iittala, Finland and Paris, France
Experimental video made during the Ishinomaki Stand Up Week 2012.
It was the 2nd edition of collective events week, trying to reconnect and reorganize downtown’s life after tsunami disaster happened in March 11th 2011.
Thanks a lot to friends and association as Ishinomaki Kobo and Ishinomaki 2.0, for their support and kindness.
You can find also information on Ishinomaki Architecture Workshop /2012 edition, on our website:
石巻工房と、石巻で行われるイベントSTAND UP WEEKの2012年の様子。
Did you miss The Revolving Room during Salone Internazionale del Mobile 2013, then this is your opportunity to get a glimpse of it.
The Revolving Room was a special installation by acclaimed designer Patricia Urquiola to celebrate her first textile collection for Kvadrat on her new and existing products for Moroso.
‘The Revolving Room is based around constant cycles. Hypnotically circular and repetitious rhythm is emphasised by the oversized embroidered fabrics’, Patricia Urquiola states. The entrance of the installation was illuminated with Philips luminous textiles on Kvadrat Soft Cells, and inside the space a series of three-sided fabric panels slowly revolve creating a dynamic, abstract and vibrant environment that constantly change as the panels rotate.
The Revolving Room was awarded with the Milano Design Award for the best installation shown by international design brands during Salone Internazionale del Mobile 2013.
パトリシア・ウルキオラが2013年のミラノデザインウィークで行ったKvadratとMorosoのためのインスタレーション「The Revolving Room」