Jeff

via http://www.designboom.com/weblog/cat/8/view/14213/jo-nagasaka-flat-table-peeled-at-spazio-rossana-orlandi.html

aubreylstallard:

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via http://conchesumadres.com/page/11

via http://thesetingstaketime.com/post/53332014539

Depuis presque un an ce couple produit une page hebdomadaire qui est posté sur le site de l’excellent éditeur américain Picture box. C’est débridé, salace et très drôle. L’effet de répétition rend ce genre d’humour outrancier et décalé encore plus jouissif.

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Yassine

Two things set Isabella Rozendaal’s work apart from others: one is the fact that they are true documentary photographs, with each caption actually teaching you something you were previously unaware of; and two, her ongoing projects can span the space of five years at a time. Isabella Hunts has been in the making since 2009, and will go on, she says, until 2015 at the earliest.

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curiosity towards our ever-changing environment causes the designer to develop a survival kit for the planet's changing landscape.

The post chiu chih’s survival kit for the ever-changing planet calls attention to the state of mother earth appeared first on designboom | architecture & design magazine.

Balenciaga Fall 2013

Loving this set of photos Parker Fitzgerald shot for Kinfolk. Flowers have never looked so edible. More below!

View the whole post: Parker Fitzgerald over on BOOOOOOOM!.

At the end of this month, I’m launching Lost Dogs, an online solo exhibition by Eleonor Boström that will appear on eyra’s website.

I had multiple dogs growing up. One in particular was a cocker spaniel named Charlie. He was rowdy and full of energy, and one time ate a pound of uncooked hamburger. He was great! Eleonor gave me a little insight to her show, which was partially inspired by her old dog:

I do functional sculpture. Depicting dogs more then often. But now the dogs are without function on a journey somewhere and have lost their luggage. Inspiration for ‘Lost Dog’ comes from childhood cartoons (many of them made by Per Åhlin or Don Bluth), the sea and my old dog Tess.

I’m  excited about translating tangible objects and making them fun for the web. Since eyra is completely online, I’m looking forward to displaying Eleonor’s work in a way that do the 3D versions justice (like stop motion animations!).

For now, here’s a sneak peak of what’s going to be in the show. See the full thing on Thursday, August 29!

I discovered Rothko’s paintings few years ago, since I became a bit obsessed with his art and his person. So, if you only know the paintings, you should watch this BBC documentary.

RCA graduate Hilda Hellström is a living embodiment of the blurred line that exists between design and art, her work is deeply meaningful, complex, beautiful. There’s a weight and gravitas to her pieces that evoke the Rococo movement, Ancient Greece and futurist fantasy in equal measures – an otherworldliness and unsettling mystique run through Hellström’s ongoing Sedimentation series and Swarovski-commissioned sculpture, The Monument. Focussed on both craft and meaning, the daughter of a psychoanalyst and carpenter is fascinated with shock and surprise, emotions that are conveyed in her Jesmonite sculptures.

For Hellström’s graduation piece, The Materiality of a Natural Disaster, the Swedish-born designer crafted a collection made from soil collected inside the Fukushima-Daiichi exclusion zone. Recounting the story of the last man living behind the border, the work is the epitome of process-led object making – a heartfelt backdrop relayed through emotional pieces. Designer. Artist. Storyteller. Hilda Hellström is a striking talent shining amongst a world conditioned by aesthetic-first design. We caught up with Hilda for a quick chat…

Hi Hilda, can you tell us a little bit about yourself?

I’m a 28 year-ld London-based, Swedish-born RCA graduate. My practice is often craft-based and independent, with a focus on process and a philosophical examination of the themes behind the work. I’m preoccupied with things that shock and surprise, and in situations that elevate the soul. Sometimes I call myself an analytic craftswoman, a combination that comes from having a psychoanalyst mother and carpenter father. I like to see my work as manifestations that makes fiction, truth, and different realities come together. 

Your work straddles that fine line between art and design – where do you see yourself?

Previously I haven’t been too preoccupied with defining my practice because to me it doesn’t really matter what I call myself. But I’ve come to realise it’s a matter of communicating with other people and sometimes it’s been confusing with both the titles designer and artist. I think I’m most comfortable with calling myself a sculptor, but I always and only have been working within a design context. 

How do you find working in London different to Sweden, your work still seems very mystical, very Scandinavian fantasy – are there British cultural idiosyncrasies that inform your work?

Ha ha, that’s a misconception. I would rather say the oposite, that the British culture is much more about fairytales and storytelling than the Scandinavian one. Of course there are a few Scandinavian traditions deriving from pagan rituals but the original meaning is unfortunately (or luckily?) long lost. To generalise what my Swedish peers are doing, they work with either socio-political questions or super-function. I would say that my interests are utterly shaped by growing up in the countryside, regardless of country, but most importantly being based in London where my type of work has a place and a function.        

If you could live in one place, time, or cultural movement; what would that be?

Oh no, I can’t decide! Either Paris by the end of the 18th century during the Romantic Era or in the 1890s and take part of Salon de la Rose + Croix together with the Symbolists. Or perhaps to go to Cabaret Voltaire in Zurich with Tristan Tzara and other Dadaists in the 1910s.

Who, or what, inspires you?

First on the list must be Phenomenology and the way it examines how we experience reality, subjectivity and consciousness. Then the rationale behind the irrational, the sublime, the uncanny, extreme vastness, conspiracy theories and anthropology.
 
What’s next for Hilda Hellström?

Lots! I just got back from a 2 months artist residency in Scotland where I’ve developed a new, still secret, not completed, project. I also just finished a commission for a collector in London where I created 200 tiles for a wall in his garden. For September I was commissioned by Vienna Design Week to create an installation in a backyard that includes liquid pewter and heat. In September I’m also taking part of an exhibition at Gallery S Bensimon in Paris with a few pieces from my Sedimentation series. For October I’m showing the project I created in Fukushima at MUDAC in Lausanne. Swarovski will also be showing my piece The Monument alongside Maarten Baas’ creation for them during Shanghai Design Festival and will also be part of an exhibition at Tramway in Glasgow.

I’m one of five members of the artist feminist group DNK in Sweden and in the beginning of October we will have a 5 days seminar with happenings and discussions around the topic ‘feminism and art’ at MiniBar ArtSpace in Stockholm. I’m also taking part of the week long seminar INresidence in Turin in mid-october, where I partly will hold workshops for students and be part of panel discussions about design. In November I’m off for a month long residency at Fondazione MACC Museo d’Arte Conteporanea, Calasetta with three friends to create a collaborative project. After that I will hopefully be albe to be a bit more in London to focus on new things.  

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The post Every Object Tells a Story appeared first on We Heart; Lifestyle & Design Magazine.

Just when you thought vintage had run its course, a stroll to the end of Quai de Jemmapes in the 10th arrondissement of Paris proves you well and truly wrong. Turn through a backyard and dive into a discreet entrance and voilà – it’s another century, and another continent, in the tumbledown rooms of Le Comptoir Général, the self-styled “Ghetto Museum”.

Showing strong influence from the days of the French Imperial colonies of Africa, and boasting some of that period’s kitchenware as well, by the look of it, Le Comptoir Général is a living, breathing museum, where the walls not only display artefacts, but are artefacts themselves, the ripped, faded wallpaper bearing the impressions of exhibits long gone. Subtitled the Ministry of Unusual Affairs, that seems a good description for the mysterious confines of the building. It’s a souvenir market, and a storeroom of mementos, and a faithful recreation of someone’s living room. It’s a journey from the days of perilous air travel into the dark heart of an unknown world.

With all that adventure stirring your senses, you’ll be pleased to remember that in Europe, you’re never more than five feet away from someone who will gladly (and legally) sell you a beer – flower shops, public conveniences etc – so it comes as no surprise that this museum has a bar. In fact, Le Comptoir Général has as many different facets to it as it has knick-knacks on display. As well as the bar, you’ll find cinema screenings happening, books being sold, concerts being performed, food being served, art being exhibited, and more besides.

The Parisian wonderland runs as a not-for-profit enterprise by those who merely wish to celebrate their ancestors. Visit their homes, experience their struggles and accomplishments, their sense of ingenuity in overcoming poverty – something that is abundantly evident in the craftily put-together objects on show here. We certainly hope the honesty box is soon overflowing at this most extraordinary of museums.

Photography © Olivier Culmann — Tendance Floue

The post Ghetto Fabulous appeared first on We Heart; Lifestyle & Design Magazine.

princewifi:

golden age

Not a big fan of desktop organizers, but this one won my heart: Porcelain containers shaped to look like a post-industrial urban neighborhood of warehouses and factories. Congrast to the designer Héctor Serrano.

My wonderfully talented studiomate Meg Lewis just launched Scouted.in, a field guide to NYC, full of recommendations by tasteful internet friends. (Bekka, of team Tattly, is sharing her favorite NYC spots!)

Continuing to push the bounds of structure and interactive retail packaging, our team constantly finds new inspiration in the creative process of redesigning commodity packaging.

This multifaceted iPhone case packaging is a departure from the typical folding boxes found lining the aisles of almost every mass market retailer across the U.S. The futuristic interactivity found when the box opens and product is displayed creates an unforgettable user experiences "UX", and a resonating a-ha moment.

As packaging designers, we must evolve past branded protective packaging, and instead create lasting experiences in everything we touch.

The pack's unique silhouette and insert features a single sheet construction, that is opened by unlocking the tabs and opening the hinged base. The product's upright reveal is possible due to the built in sliding platform. The concept's visual design is used to emphasize the angular nature of the packaging, and maintain an approachable playful design.


Process:

Initial "napkin sketches"

Sketches based on abstract and irregular geometric shapes and defining how to translate them into folded paper.

The complete mock-up process

How the box opens.

Mock-ups evolve through revisions, failures, and redesigns to create rough concepts that can be refined through competitive product studies. We began asking ourselves questions such as should it lay flat or hang on pegs? Can we make it stand up on its end? is there a way to secure the product without adding a separate insert? These questions guided our development of the concept.

We've linked the structure's dieline here, please click to download, and build your own interactive iPhone case packaging, this concept isn't limited to phone cases as it can be adapted to any sufficiently tall and narrow product, cosmetics or wine packaging perhaps?

Please share your designs, #DPIStructure

the triptych of large woven tapestries uses RGB pixels captured from a computer’s physical memory and binary data as patterns for the textiles.

The post textiles made from computer binary data by phillip stearns appeared first on designboom | architecture & design magazine.

On A Wednesday is a project by my studiomates Dave Dawson and Bekka Palmer. The idea behind the site is charmingly simple: Bekka and Dave ask people what they’re doing. On Wednesdays. The results are beautiful and varied portraits of random New Yorkers, telling us about their day. Beautiful.

- INSPIRATIONS - THOMAS SARACENO

Dave Cole