Many of the world changing companies started out in garages, and today the world’s most innovative companies are bringing that garage spirit in-house.
Today’s corporate garages are highly flexible, customizable environments where thinkers, makers and developers of all stripes can thrive.
On the occasion of the Bienniale Internationale Design Saint Étienne 2015, Sam Hecht and Kim Colin curate an exhibition entitled ‘Beauty as unifinished business’ that attempts to describe designed beauty through 35 recently produced items.
Industrial Facilityのサム・ヘクトとキム・コリンがキュレーションした2015年の展覧会「Beauty as unfinished business」の動画
The project began with the passion of craftsmen of Takaoka Traditional Industry Youth Association to bring excitement to their hometown, Takaoka. The short film illustrates dignity and anxiety of craftsmanship in local areas in Japan. It aims to spread the reality of Japanese craftsmen to the rest of the world and to let people know about Takaoka, the city of Japanese traditional arts and crafts. The story is about a couple, a sissy husband Takashi and a devoted wife, Suzu.
Official Facebook Page
Director : Seiichi Hishikawa
Starring : Maki Murakami , Kazuma Narimoto
Music Director : Shinya Kiyokawa
Director of Photography : Yutaka Obara
Producer : Takashi Ueno
Produced by Takaoka Traditional Industry Youth Association , DRAWING AND MANUAL
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.
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.
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.
Soba reinterprets the traditional bamboo bench, an object still used in lots of places in Japan and which became such an almost invisible object, by adding a twist in its construction to allow it to be easily assembled.
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
Wallpaper* magazine are celebrating the very best of the design world with the launch of their annual Design Awards. We produced the music for a film that peeks into the world of the Bouroullec Brothers and the concept behind their ‘Serif’ TV. They not only won Designer of the Year, but Best Domestic Design too.
Jasper Morrison entwarf 2006 den Bürostuhl Lotus für das italienische Designhaus Cappellini.
Einen großen Teil des Tages verbringen wir an unserem Arbeitsplatz. Dabei soll es nicht nur unserem Rücken gut gehen, sondern auch unser Bedürfnis nach stilvollem Design befriedigt werden. Mit dem Lotus gelingt das spielend, denn Designer Jasper Morrison hat mit diesem Bürostuhl einen zeitlos eleganten Begleiter für Ihr Büro geschaffen.
Die Sitzfläche des Lotus ist dank seines festen Stoffbezugs sehr strapazierfähig. Das Gestell aus druckgegossenem Aluminium verleiht dem Bürostuhl Lotus nicht nur Stabilität, sondern auch eine moderne Optik.
Erhältlich ist der Bürostuhl Lotus von Cappellini in verschiedenen Ausführungen. Ausführliche Informationen lassen wir Ihnen auf Anfrage gerne zukommen.
In 2005, famous designer and architect Maarten van Severen dies. He left us with one of the most extraordinary collections of furniture and several exquisite architectural project but also 4 young sons who carry part of their father’s talent and personality. While we follow the boys’ steps towards a promising future, we reconstruct the tumultuous and tragical life of their father. When his sons get confronted with some of the same challenges and problems as their father, history seams to repeat itself.
Website of the film: maartenvanseverenthefilm.com/
The architect on why his medium is the “king or queen of the arts” and his World Trade Center project that was never to be
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“Go straight off the wall” said his dad and Dominic does just that. The film follows Dominic Wilcox, an artist / inventor / designer, on his quest for new ideas….Transforming the mundane and ordinary into something surprising, wondrous and strangely thought provoking.
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.
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
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。
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。
Serif is a collection of screens, televisions, we designed for Samsung during the past two years.
Serif is a television that moves away from a preoccupation with ultra-flat screens. Instead, it is an object that can be turned around and manipulated. It can stand anywhere, even on the floor with its own legs. What we were looking for was a solid presence that would sit naturally in various environments, just like an object or a piece of furniture.
In profile, it forms a clear capital “I” shape, its slim body broadening to form a surface like a little shelf at the top.
We also designed the interface inside Serif.
Serif comes in 3 sizes, Serif, Serif Medium, and Serif Mini.
Serif and Serif Medium come with optional feet (that are included in the box).
3 colors are proposed, White, Dark blue and Red.
Roadliners is a film about inspiration and craft, and the uncelebrated typographers of the road. With filmmakers Pretend Lovers we documented a day in the life of Glasgow roadliner Thomas ‘Tam’ Lilley.
While looking for inspiration for O Street’s new brand we stumbled on a typographer whose work was uniquely relevant to our company—one whose work embodied the values we hold dear: honesty, beauty, humility, and intelligence.
British filmmaker and photographer Matthew Donaldson takes a tour of Michael Anastassiades’ London home and studio, a source of inspiration for the Cypriot designer’s inventive designs.
Read the full feature on NOWNESS: bit.ly/1fBtyvS
A film by Matthew Donaldson matthewdonaldson.com/
Terraforming imagines a world where a crystal planet has been discovered in the galaxy. It follows a young cartographer’s journey to the planet. Paying homage to 1960’s sci-fi classics with bold projections of modernism in space.
The first ever object to be designed by man 1.7 million years ago was a flint hand axe. The project juxtaposes the flint hand axe with Swarovski’s latest crystal technology; Xero chaton, the smallest precision cut crystals in the world measuring 0.6mm in diameter, smaller than a grain of sand.
Director / Editor: Juriaan Booij
Concept & Design: Studio Swine
Featuring: Will Lord & Christian Von Pfefer
Director of Photography: Edgar Dubrovskiy
Music: Gavin Singleton
Visual Effect Artist: Yasuyuki Otsuki
Grading: Simon Astbury at Unit Media London
High-Speed Camera: Bernard Esterhuysen
1st Assistant Camera: Tom Cosway
Gaffer: Antti Janhnen
Spark: Harry Gay
Complete Fabrication, Design Miami/Basel, Take 2 Film Services, Graham Godfrey, Ben Porter, Rob Gavigan, Bob de Graaf, Edward & Rory McHenry, Robert Rivers & Tobias Clifford-Flower.
The film Utilizes a photo from ESA/DLR/FU Berlin, G. Neukum