Design exhibitions have always played second fiddle to art exhibitions. Perhaps this is because, in order to sell their work, the artist must exhibit it, whereas the designer can sell it via a manufacturer who makes and sells it for them.
Jonathan Ben-Tovim’s Up-Down Light
However, the benefits of design exhibitions cannot be underestimated. Apart from online, an emerging designer may have no other way to show their work when first starting out.
For the second year in a row, Object Future gives emerging designers the opportunity to exhibit, this year at Allpress Studio in Melbourne. The co-curators of the show, emerging curator Suzannah Henty and emerging designer Dale Hardiman, have sought out some exceptional design from some great fresh talent this year. Read more →
Design and the sea are two topics that are not often connected. However, they do overlap. Design has allowed us to explore the sea, through the development of scuba among other inventions. And thanks to some recent designs, it is possible to design while on the sea, as well as for design to evoke the sea. I don’t want to be morbid, but the history of scuba has more than a couple of corpses. People have been swimming in oceans, lakes and rivers to find food and bathe for thousands of years, but it wasn’t until the 20th century that French Naval Officer Jacques Cousteau patented the Aqua Lung, allowing divers to breathe under water.
Still from Le Monde du Silence (The Silent World) via glimmerglassfilmdays.org/silent-world/
Cousteau’s influence on our knowledge of the sea cannot be underestimated. As well as developing the first Aqua Lung, he was responsible for marketing this device and bringing the sport of underwater diving to thousands. His books and films also brought the underwater world into the homes of people who had never seen anything like it before. While underwater photography had existed for nearly thirty years (National Geographic was the first to publish an underwater colour photograph – an image of a hogfish off the Florida Keys in 1928), Cousteau’s 1953 book, The Silent World: A Story of Undersea Discovery and Adventure, and documentary film of the same name were hugely successful – the film won the Palme D’Or as well as the highest prize at the Cannes Film Festival.
Via Socks Studio
Cousteau was the inspiration for the film The Life Aquatic with Steve Zissou in which, like all Wes Anderson films, each visual element is carefully designed. In this case, the ship itself is a major character in the film, especially during a scene which pans across a cut section of the ship displaying each room. This was achieved by purchasing two ships, World War II minesweepers repainted in bright colours, and actually cutting one of them lengthways down the middle. Likewise, the costumes, suits, breathing apparatus, helicopter and submarine all undergo Wes Anderson-ification resulting in beautiful redesigns. A particular personal favourite is the yellow submarine and matching helicopter.
One of the most exciting sea-related designs is not for breathing or floating on the sea, it is a system that allows anyone with a boat to create furniture using plastics found in the ocean. Japanese Architect Azusa Murakami and British Artist Alexander Groves of London-based Studio Swine are behind the Open Source Sea Chair project. The chair is created by firstly collecting plastic found in the sea (there’s plenty of it), grouping these pieces by colour, then heating them up and using special moulds and tools to create a stool seat and three legs. These are bolted together to create the stool (all of which can be done on the boat), creating a second income for those who fish for a living as well as reducing plastic pollution. You can watch the process in action in a beautiful film they made here.
Sea Chair by Studio Swine
The quality of water is often an inspiration for designers and two particular products capture this extremely well, both shown at Spazio Rossana Orlandi during Milan Design Week 2014. The first is Bricola, created by Venice-based Andrea Forti and Eleonora Dal Farra of design studio Alcorol. This collection features repurposed timber from Venice’s canals, complete with holes from molluscs, that have been combined with a clear vegetable resin (clear like water) to make tables and a stool. The combination creates a sense that a sub-section of Venice’s canals, complete with historical poles and water – is made solid.
Bricola by Alcarol
The other outstanding piece related to water is Ripple by London-based duo Hanhsi Chen and Shikai Tseng of Poetic Lab. This floor lamp is made of mouth blown glass which slowly rotates, casting shadows on the walls made by the imperfections in the glass, like ripples on water.
Here it is not the object itself which is innovative, but the effect it creates, an effect which is as ephemeral and yet constant as the sea itself.
There is a certain circularity to the relationship between design and the sea. Design (of breathing equipment, submarines and so on) allows us to see under the sea in a way we never would have before. And this knowledge and understanding in turn inspires design. A nice loop.
At the Milan Furniture Fair’s purpose-built fairgrounds at Rho Fiera, there are many impressive stands, and many that are enormous, and often particular design motifs or materials are seen repeated.
Perhaps the most prevalent theme at the 2014 fair was birds: birdsong, bird cages and forest settings. But Dedon’s stand was the most outstanding. Cut from white metal, graphic silhouettes of trees are accompanied by birdsong and other sounds of the jungle.
This White Jungle was based on a concept by Dedon designer Daniel Pouzet, while the graphics were created by his wife, Marilena Oprean.
PUC near completion with team – that’s me underneath
Last year, I teamed up with a great bunch of designers from Woods Bagot’s Sydney studio to create Planet Under Construction – or PUC. A glowing sphere made of orange construction cones, PUC was suspended from the underside of the Cahill Express Way at Sydney’s Circular Quay as part of the Vivid Sydney 2013 festival of light and ideas.
Tonight, PUC is up for an Australian Interior Design Award in the installation category. If we win, I will be accepting the award on behalf of my fellow team members Guillermo Fernandez, Young Lee, Danny Wehbe, Amanda Gore, Thomas Hale, India Collins, Sophie Bennett and Mohammed Khaled. Wish us luck!
A bookcase and sofa with moving parts for Vitra. A tile series with London themed names for Mutina – fog, lead and ink. A contemporary vase made of Venetian glass for Venini. The London Olympic torch. The new Ace Hotel in Shoreditch. A new £2 coin with an image of the London Underground. An exhibition called “In the Making” at the Design Museum in London.
Portrait of Jay Osgerby (left) and Edward Barber (right) by Mutina. Image: supplied.
The breadth of the work of London design duo Edward Barber and Jay Osgerby is impressive. Sitting down with Jay Osgerby at the Vitra stand at the Milan Furniture Fair in 2014, I ask if this breadth is a result of the thrill of the chase. “It is,” he confirms. “It really is. There’s something about the thrill of the chase which is really creative. If you have a design education you can apply it to anything, really.” Read more →
The story you tell yourself about your world, your life, so often becomes your reality. It’s the same at the Milan furniture fair. It is impossible to see the number of things that are on display during the citywide plus fairgrounds event – or to go to all of the parties. So, each fairgoer’s experience is necessarily different, though there is a lot of overlap.
On Dezeen last week, Marcus Fairs claimed that “The star of Milan this year was Instagram” and this was certainly the first year that I used Instagram as the main tool with which to share in real time the show, and check what my friends and fellow journalists were seeing and doing. The fact that it feeds directly to twitter and facebook is also handy. Read more →
As the Milan Furniture Fair ramps up, one of the common themes across the products from around the world is that of materiality – using materials in new ways, developing new material innovations and unexpected combinations of materials.
Me ringing a ceremonial bowl in brass
At the Triennale, a number of Asian design exhibitions were on display, including “Constancy and Change in Korean Traditional Craft” which displayed the work of contemporary Korean artisans working with traditional processes and concepts.
The ceremonial bowls of Master Lee Bong-ju are made in brass and each one, when struck, resonates at a different pitch. Lee Bong-ju is one of the last of a generation of artisans working in this way and has been named a UNESCO Intangible Cultural Treasure. There is a stillness to the vibration of the bowls which, combined with the beauty of the beaten copper, provides a sense of serenity and majesty. Read more →
Last year, Korean designer Jinil Park exhibited his Drawing Series chair and armchair – two chairs that look like drawings. They are so realistic it is difficult to believe the photograph of the chair is not a drawing. The designer created these one-off pieces as an experiment, wanting to see whether he could turn his rough drawings into actual three-dimensional objects that work as a seat: “I created the objects by hand without even a single CAD plan,” says Park. “Choosing the materials, refining and welding them together to make an object was very difficult. But simultaneously it is a difficult and a fun process.”
Janil Park Drawing Series
Also last year, the Canvas series, this time by Japanese design studio YOY, also plays with the idea of turning a drawing into a three dimensional piece of furniture. Hanging Canvas Sofa, which was shown at Salone Satellite during Milan Design Week 2013, is on first glance a print of a drawing of a chair (or sofa) on a stretched canvas. However, these pieces, whose frame is constructed out of wood and aluminium, feature an elastic fabric which allows the user to sit on the canvas – rendering the two-dimensional image of the chair, an actual chair that it is possible to sit in (and is apparently surprisingly comfortable). Read more →
