Ask a curator: so what creeps out curators?
ask a curator: so what creeps out curators? old and dismembered mannequins in storage very creepy. via storify and @AAMers [RK]
ask a curator: so what creeps out curators? old and dismembered mannequins in storage very creepy. via storify and @AAMers [RK]
tony karman president and director expo chicago
Expo Chicago 2013, the second iteration of Expo, is officially beginning tomorrow 19 September with Vernissage, the opening night preview. But let’s go back to December 2012. We talked to Tony as a follow-up after Expo Chicago 2012.
[DesignApplause] Before we talk about Expo Chicago 2012 a couple of questions. What did you think of Art Basel 2012 and what did you do there?
[Tony Karman] For me, the experience was invaluable to speak with dealers, curators, collectors, institutional directors. It’s an invaluable resource with a sheer number of bodies of people there. For me, it was an opportunity to discuss what Expo Chicago was but, more importantly, let everyone know where we are going and where we are as we build the next iteration. Having an opportunity to do that with the concentration of individuals that are important as well as participants in the world of art and design made it critical to be there, as it always is. Myself, as well as the staff and PR/marketing team, came to build relationships. That’s what it’s all about.
[DA] How was 2012 in your business world?
[TK] I think in a business world, there was a lot of hesitance in 2012. I was building an art fair, so for me, I may or not be as queued in as a dealer would be on the trends or the marketplace. But I did talk to everyone and I think that 2012 was good for a lot of people. A lot opened up. Unfortunately, Sandy did damage to many New York galleries, which I think will still be a problem for many months to come. If you looked outside of a few major hits like that, 2012 was pretty positive for the art world. Look at the auctions. Look at where things are. The amount of sales made. Miami was a prime example of a juggernaut. I didn’t talk to many dealers that weren’t happy. I think that speaks volumes about moving into 2013. Collectors feel more comfortable about buying. But there were a lot of anomalies in 2012. The election captivated a good number of people and contributions. To not have an election year I think is going to be important as we move into 2013.
[DA] The first Obama election campaign, DesignAapplause really documented his branding. An unbelievable phenomena where the art world really got behind him. I sort of anticipated that again this year and I wasn’t aware of it. Did you notice anything?
[TK] I don’t know if I noticed it. I didn’t see it in Chicago or those involved in the community. Maybe that’s because that’s Chicago and he’s obviously very much a part of it. I think it was a different kind of election and year. If you check my Facebook, I was very proud to vote and show support for him. I would say that for the most part, I didn’t see any drop-off on support. The enthusiasm we felt, saw and heard in 2008 would be hard to replicate. That was an amazing moment. I think people were a bit quieter in their support. Obviously, the support was maintained or we would be talking about a different scenario now.
[DA] A worldwide question. How many, in 2012, significant fairs and auctions transpired?
[TK] Oh my gosh. I don’t know. I traveled to probably 15. The spring and fall auctions are powerful. When you look at what’s going on in spring, fall, summer and special auctions, there’s a lot of activity year round. I don’t know how to begin about how many for me.
expo 2012 | round the block 2002 | tony crag | galerie hans mayer | dusseldorf
[DA] What stands out with Expo Chicago?
[TK] I think it’s an extraordinary first step. We were committed to quality dealers, designing a vessel that fit the work that was put in it. I think I would say we achieved an extraordinary first year of both quality of artwork and presentation. It was interesting for an exhibitor to move in and out. For the most part, it was flawless. That’s pretty amazing for a first step. That’s not over confidence because there is still a lot of work to do. Like any fair, some dealers will do well, some OK and some not well at all. We need to keep doing and do very well and we will have a fair for Chicago for a long time. For the most part, we’re well on our way. That doesn’t mean we made everyone happy. We have a lot of work to do. You can’t mature or grow until you’ve had that first step, which we did. I feel comfortable that we did it without falling.
[DA] The latest number of attendance I had was 27,000. Did you have an idea going in how many might attend?
[TK] No, I didn’t. I might have hoped for a larger number. But it’s more about the right 2,000, the right 3,000, then the wrong 43,000. But I’m really proud that we were able to post that attendance number and I’m confident that that will continue to grow and reflect the collecting public.
[DA] Art Basel Miami seems to collect a lot from South America. Do you have a pretty diverse group of collectors?
[TK] I think that’s an important factor to Miami’s success, let alone being in Miami in December. But its proximity to America and long relationship with a lot of Europeans is why it’s there. They’ll always serve Miami Basel for many years to come. If you ask what is our target, of course we want to draw collectors from the Coast, but our target is really the Midwest. We want to make sure we’re turning out Toronto, Denver, Dallas and Columbus and everything in between. That’s why they’re looking to do in this fair. We’re as interested as drawing in collectors from San Francisco, LA, New York, Miami, which I’m sure we will. But the greater Midwest collectors and museum curators are here next year. That’s our focus.
[DA] Do you track the demographics on your collectors?
[TK] We did an OK job of it. The answer is yes. Off the record, we did an OK job, but we need to retool how we calculated the metrics so I can’t give you anything right now that is of substance. Next year we’ll have better metrics to report. We had some numbers we can track of the Midwest. The web and some sales, but some of the scanning we did has to be done better next time.
expo 2012 | play it by trust 1986 | yoko ono | carl solway gallery | cincinnati
[DA] The reviews of 2012 were glowing. I really didn’t see or hear anything negative. Did you get any suggestions from the galleries?
{TK] Oh my god, yes. The beautiful thing is even if everything sold out, there would still be things you have to change. What I’m very proud of that even the galleries that didn’t do well, their advice and counsel has been very constructive for a long-term play for this fair. All we can ever do is continue to listen to our clients, which are the dealers that are exhibiting at the fair. There were a lot of suggestions and a lot were doing a better job of bringing in regional clientele so that’s where we’re focusing. We’re not making the fair larger. One adjustment we made is that it will be Thursday to Sunday rather than Wednesday to Sunday, but that’s a minor change.
[DA] One day…is that day that important?
[TK] I think it’s a concentration of collectors and time. Until we’re at a place where we can warrant adding a 5th day, we’ll keep it at 4. For the most part, the regional cities and collectors came up on the weekends. Chicago is a working town. Because of that, attendance was a bit off on that Thursday so it made sense.
[DA] Any disappointments?
[TK] It’s going to sound like a cop out, but the only disappointment is that 100 dealers didn’t sell out and that’s an unreasonable expectation, but it is a big disappointment. I care a great deal about the success of individuals taking a risk to be a part of something. I think if there is a disappointment, I would love to see more regional collectors and I think we are well on our way to seeing that they attend this year. On the other hand, I’m awfully proud that many regional collectors did attend. The other disappointment is sheer performance on my part. There’s always a little more I would have liked to see. By virtue of having one fair in the bank, we can refine and build off of some of things that we couldn’t do.
We weren’t anything until we were something. We were all just hope. A vision. Hope. I think for the most part, the world doesn’t move in one year. People can come see what we look like and what we are. I’m grateful that those that attended, local or international, saw a fair that was respectful of the work and with great material. That bodes well for their return. We’re pretty confident we’re getting the strong attention of collectors that came and the machine that you go to and I go to in Miami…when this fair matures in 2-3 years, I expect it to be very well on that end.
[DA] So let’s look at next year. Will you continue to stay with 100 galleries?
[TK] I think it’s important to maintain the quality. Keeping it at that level is…that’s not to say we don’t increase it in the future. When the marketplace can sustain it and quality of dealers are beating down the door, we’ll consider it. But only if the exhibitors want it, not me. It’s their space.
[DA] Can you tell us how many galleries you vetted?
[TK] We turn down a lot of applications is all I can say. There were many more than there are exhibitors.
[DA] I heard a lot of local galleries were really angry that they didn’t make the cut.
[TK] I think that that’s the case. I’m sure it’ll be the same…I’m the kind of person that wants everyone to win and take part, but nature of an art fair, especially one where we made a commitment to not be a 200 gallery fair, doesn’t allow for everyone in Chicago that wants to do it to do it. The most important thing is that I hope that this fair is always one that the exhibitor or dealer is proud to be a part of. If we were just doing a fair of 300 galleries and I let everyone in, then I’m just selling real estate. I’m not curating a fair that provides a dealer a real pride of participation. It’s gotta mean something. One of the problems with Miami and Art Basel and other fairs, it’s just gotten so big.
[DA] Do you have a guestimate of how many galleries are returning at this time?
[TK] I don’t. I won’t know until February. I would say most are.
[DA] What kind of calendar do you have for galleries starting to get in touch with you about committing, when do you start looking?
[TK] The applications are due at the end of January. That’s the first round. It’s ongoing.
[DA] What about some of your partnerships? Are you going to have the same relationship with MCA?
[TK] I think with all of the partnerships we’ve established last year, no one is looking to change that. Absolutely.
[DA] If you’re going to keep it at 100, are there more off-site opportunities that might be available in 2013?
[TK] Some things are too early. I will probably make an announcement of a broader city-wide initiative in February, but you can’t say that. I’ll let you know that. Yes.
[DA] I know when we talked before the event, we spoke of design galleries. It sounds like 2013 is not going to to be the hard effort to bring a design gallery in.
[TK] I’m still going to work hard. It’s my hope that we can get a number of design galleries to participate and build partnerships in ways that allow that sector to flourish within a fair. I am committed to it. I believe strongly it is important that design galleries find a place in this art fair. Again, I’m gonna keep working hard on that.
[DA] Design Miami’s genesis of presenting design galleries was an initiative conceived and delivered by several design galleries. There were quite a few galleries in Expo 2012 that DesignApplause showcased that presented designer creations.
[TK] Yes. I think it’s an important part of the future. Clearly, it’s something that the major design fairs have done. I would love to see some of those galleries participate in Expo Chicago.
expo 2012 | image courtesy studio gang architects
[DA] You create, design something and you don’t really know how it works until afterword. How did the Pier and its new configuration work out?
[TK] I would say again we were massively pleased with the collaboration with Jeanne Gang. We plan to do it again a second year. Most importantly, her designs were incredibly well received and supported. I would expect year two will provide a few other new twists. I’m looking forward to working with her again.
[DA] What about Artsy? Have you talked to them?
[TK] We’ve built a deep relationship with Art Space, which we expect to grow and that was founded by Chris Vroom, who also founded Artadia. Artspace is really great.
[DA] Is there anything we didn’t talk about?
[TK] We covered a bunch. Thank you.
expo 2012 | s/t 2012 | jorge perianes | max estrella | madrid
expo 2012 | silent music 2012 | jaume plensa | richard gray gallery | chicago (in/situ)
expo 2012 | night watchman 2009 | tamas dezso | robert koch gallery | san francisco
expo 2012 | binary system 2012 | jesse small | nancy hoffman gallery | new york
Back to the present. What to take in at Expo Chicago 2013.
[ 2013 exhibiting galleries ]
Galeria Álvaro Alcázar Madrid
Ameringer | McEnery | Yohe New York
Gallery Paule Anglim San Francisco
BASE GALLERY Tokyo
John Berggruen Gallery San Francisco
Galleri Bo Bjerggaard Copenhagen
Marianne Boesky Gallery New York
Jonathan Boos, LLC New York
Isabella Bortolozzi Galerie Berlin
Russell Bowman Art Advisory Chicago
Rena Bransten Gallery San Francisco
THE BREEDER Athens, Monaco
CABINET London
David Castillo Gallery Miami
Cernuda Arte Coral Gables
Chambers Fine Art New York, Beijing
James Cohan Gallery New York, Shanghai
Corbett vs. Dempsey Chicago
CRG Gallery New York
Stephen Daiter Gallery Chicago
Douglas Dawson Gallery Chicago
Maxwell Davidson Gallery New York
MASSIMO DE CARLO Milan, London
DIE GALERIE Frankfurt
Catherine Edelman Gallery Chicago
Max Estrella Madrid
Henrique Faria Fine Art New York
Peter Fetterman Gallery Santa Monica
Fleisher/Ollman Philadelphia
Galerie Forsblom Helsinki
Forum Gallery New York
Honor Fraser Los Angeles
Fredericks & Freiser New York
Galerie Terminus Munich
Galeria Hilario Galguera Mexico City, Berlin
Richard Gray Gallery Chicago, New York
Kavi Gupta Chicago | Berlin Chicago, Berlin
Hackett | Mill San Francisco
Haines Gallery San Francisco
Carl Hammer Gallery Chicago
Galerie Ernst Hilger Vienna
Hill Gallery Birmingham, Detroit
Nancy Hoffman Gallery New York
Rhona Hoffman Gallery Chicago
Vivian Horan Fine Art New York
Edwynn Houk Gallery New York, Zurich
II Ponte Contemporanea Rome
Taka Ishii Gallery Tokyo
Bernard Jacobson Gallery London, New York
R.S. Johnson Fine Art Chicago
Annely Juda Fine Art London
Robert Koch Gallery San Francisco
Koenig & Clinton New York
Michael Kohn Gallery Los Angeles
Alan Koppel Gallery Chicago
Galerie Lelong New York, Paris, Zurich
Locks Gallery Philadelphia
Lombard Freid Gallery New York
Diana Lowenstein Gallery Miami
Luhring Augustine New York
Magnan Metz Gallery New York
Robert Mann Gallery New York
Matthew Marks Gallery New York, Los Angeles
Barbara Mathes Gallery New York
Galerie Hans Mayer Düsseldorf
The Mayor Gallery London
McCormick Gallery Chicago
Anthony Meier Fine Arts San Francisco
Andrea Meislin Gallery New York
Jerald Melberg Gallery Charlotte
Laurence Miller Gallery New York
moniquemeloche Chicago
Carolina Nitsch New York
David Nolan Gallery New York, Berlin
Richard Norton Gallery LLC Chicago
P.P.O.W. New York
Pace Prints New York
Franklin Parrasch Gallery New York
Galería Moisés Pérez de Albéniz Madrid
Ricco / Maresca Gallery New York
Michael Rosenfeld Gallery New York
Rosenthal Fine Art Chicago
Galerie Thomas Schulte Berlin
Carrie Secrist Gallery Chicago
Marc Selwyn Fine Art Los Angeles
Sicardi Gallery Houston
Manny Silverman Gallery Los Angeles
Skarstedt Gallery New York, London
Garth Greenan Gallery New York
Carl Solway Gallery Cincinnati
MARC STRAUS New York
Hollis Taggart Galleries New York
Tandem Press Madison
Paul Thiebaud Gallery San Francisco
Tierney Gardarin Gallery New York
Leslie Tonkonow Artworks + Projects New York
Vincent Vallarino Fine Art New York
Tim Van Laere Gallery Antwerp
Susanne Vielmetter Los Angeles Projects Los Angeles
Weinstein Gallery Minneapolis
Max Wigram Gallery London
Zolla/Lieberman Gallery Chicago
David Zwirner New York, London
[ programs ]
IN/SITU
A key element of the exposition’s innovative artistic programming is IN/SITU, providing the opportunity for exhibitors to showcase large-scale installations, site-specific and performative works by select international artists. Situated throughout EXPO CHICAGO’s expansive floor, IN/SITU will offer a dynamic itinerary that connects various points of interest throughout EXPO CHICAGO. IN/SITU will be guided by Shamim M. Momin, director, curator, and co-founder of LAND (Los Angeles Nomadic Division).
/DIALOGUES
Presented in partnership with The School of the Art Institute of Chicago (SAIC), /Dialogues
is a year-round program of symposia, panel discussions, and provocative artistic discourse. The series will culminate with informative and thought-provoking daily events during the fair, highlighting the field’s leading artists, architects, curators, designers and arts professionals and the current issues that engage them.
VIP PROGRAM
Aligning with Chicago’s top cultural and art organizations, EXPO CHICAGO’s VIP Program will provide exclusive access to private events, curator led tours of museum exhibitions as well as tours of the fair, and visits to some of Chicago’s premier private collections and artist studios.
VERNISSAGE
EXPO CHICAGO will again team with the Museum of Contemporary Art Chicago for Vernissage, the opening night preview benefiting the Museum of Contemporary Art Chicago. Thursday, 19 September 2013 | 6 > 9p
EXPO PARTNERS
EXPO CHICAGO will also partner with the city’s leading visual arts organizations and institutions for special exhibitions on and off the show floor. Art and museum partners to date offering special viewings and ticketing options include: Arts Club of Chicago, Art Institute of Chicago, ACRE Residency, Bad At Sports, Chicago Architectural Foundation, Chicago Artists’ Coalition, Choose Chicago, Department of Cultural Affairs and Special Events, Graham Foundation, Hyde Park Art Center, Mary and Leigh Block Museum of Art, Museum of Contemporary Art Chicago, National Museum of Mexican Art, The Renaissance Society at the University of Chicago, the School of the Art Institute of Chicago, and the Smart Museum of Art at the University of Chicago, to name a few.
Artspace.com
The leading online marketplace for contemporary art, partners with EXPO CHICAGO allowing art collectors around the world to preview and participate in the exposition. Artspace will expand EXPO’s audience by reaching a growing base of over 200,000 collectors and its vast network of museum trustees, directors and curators while giving collectors first access to preview, browse and inquire about available works showcased by EXPO’s prominent roster of galleries, facilitating acquisitions at the fair.
event> Expo Chicago @expochicago
date> 19 > 22 September 2013
venue> Navy Pier’s Festival Hall
vernissage> The opening night preview benefiting MCA Chicago | Thursday, 19 September 6 > 9p [ $100 tickets available ]
general admission> 20 > 22 September 2013 | Sunday 22 Sept. 22 | Fri + Sat 11a > 7p | Sun 11a > 6p
More than 120 international galleries from 17 countries will set up shop on Chicago’s Navy Pier next month for the art fair Expo Chicago, 19 > 22 September. Tours, panel discussions, and uniquely curated site-specific projects are on tap. And there’s plenty of big names to get excited about. Jeanne Gang and Studio Gang Architects designed the interior environment with a floor plan patterned after the city’s gridded streets; Dean Otto of the Walker Art Center curated the video artists showing at Expo Video, an exhibition area and lounge; David Salkin Creative designed a table-service restaurant to be held within the exposition; Casa Spazio will furnish the VIP lounge and Room & Board another rooftop lounge; and NYC’s Snarkitecture will create a series of upholstered foam seats under the main center atrium. [ details ] @expochicago
event> Expo Chicago
date> 19 > 22 September 2013
venue> Navy Pier’s Festival Hall
vernissage> The opening night preview benefiting MCA Chicago | Thursday, 19 September 6 > 9p [ $100 tickets available ]
general admission> 20 > 22 September 2013 | Sunday 22 Sept. 22 | Fri + Sat 11a > 7p | Sun 11a > 6p
From July 4 to July 7, cities across the US will display lines from the National Anthem. Here’s a sneak peek at what the actual activation is going to look like. An eastern billboard will begin the Anthem, with “Oh Say Can You See,” and the activation will close as the sun sets on a Western billboard, with “Home of the Brave.” The short film by Taxi, and the Anthem in the film sung by singer-songwriter Ingrid Michelson. Campaign by Clear Channel. Salute!
click > enlarge
Decades ago, as a child, the designer Ron Arad found a toy police car on the street in Tel Aviv, run over and flattened. He has kept that car ever since. Now he has flattened six full sized, real cars and hung them on the wall of a museum — the Design Museum Holon in Israel–whose building Arad also designed. The squashed old Fiat 500s are one of a series of pieces in a show called In Reverse that might be said to be works of art exploring the nature of design. The Fiat 500 was the car of the people, he said—and of his generation. He compares them to children’s drawings of cars or cartoons of wrecked cars. They also look like gigantic versions of bugs mounted on microscope slides. Or they look like Pressed Flowers, the title he has given them in the show..
pressed flower yellow 2013
Also on display is a wonderful wooden model of the 500, used to shape metal, from the Fiat Archive and Museum. Arad also offs a sculpture called Roddy Giacosa –the name plays on Dante Giacosa, designer of the 500, made of rods of stainless steel arranged to take the shape of a Fiat 500. / images courtesy of ron arad
roddy giacosa
1>6 roddy giacosa
7 wooden fiat 500
8>18 pressed flowers (various colors including ‘rust’)
20>21 let’s drop it, ok?
<a href="about phil patton
click > enlarge
Celebrated Indian photographer and installation artist Samar Singh Jodha will present his latest work at the Venice Biennale 2013. Jodha has been working on global issues with his art in Asia, Africa and the Middle East for the past two decades. At the 2012 Olympics he had a 40-foot installation on Bhopal-Union Carbide disaster at the Amnesty International London.
A the core of Jodha’ art projects is an involvement at a community level – which includes capacity building issues such as education, rural forestry programs and the revival of traditional craftsmanship. Jodha’s obsession with the nomadic and tribal communities from China/ Burma and North East India began in 2003 then he undertook a road trip from Kunming in South West China through Burma into the North East borders of India. The route had long been shut down due to political reasons, and Jodha made several unsuccessful attempts to cover the length from China. He finally managed to complete his journey, by approaching it from both ends in 2005.
He began photographing & filming the vanishing Tai Phake tribe of 1500 Buddhists originating from Burma. He set up an education system, helping fund a monastery building project and revive traditional textile looms. On one of these many trips to this region, he stumbled upon the fascinating habitats of the miners in the North Eastern borders of India – sandwiched between Bangladesh, Burma and China. The magnificent metal structures that jutted into the lush and uninhabited landscape, were an unreal testimony to man’s will to survive.
Jodha’s latest body of work is the result of this photo research carried out in the past one decade in the mining communities of North East India. This poetic body of work – printed with archival inks on precious metal plates like Copper, Brass and Mild Steel – contrasts and blends pathos and beauty seamlessly. [ samar singh jodha ]
The Venice Biennale 2013 is the chosen platform for showing Outpost from 1 June to 24 November 2013. [ venice biennale 2013 ]
The Corning Museum of Glass selected Harry Allen Design to create their 2013 feature exhibition Life on a String: 35 Centuries of the Glass Bead. Working closely with the curatorial staff, Harry and his team crafted an entertaining and educational show. The radial layout responds to the round room of the Gunnar Birkerts designed Museum building. The objects on display are housed in tall, fully saturated cases, designed to highlight the colorful beads, accommodate the wide variety of materials on display, and bring the objects on display up to eye level.
Harry enlisted longtime collaborator Stefan Hengst to develop a graphic identity for the show. The emphasis was on the beads themselves, which provide great visual interest. Beads form the logo and are applied as patterns on the wall. The most striking innovation in the graphic treatment is the complete digital nature of the application. Stefan started a wallpaper company last year and most of the graphics in the show, from the entry logo to the object description, are applied seamlessly as wallpaper.
To engage the viewer, the designers developed three interactive areas in the exhibition. The Timeline, which places important beads in historical context, is cross referenced to a map on the opposite wall by a web of strings that crisscross overhead; beads are thus placed in a historical context as well. A small round theater at the heart of the exhibit features a video as well as a display of bead making tools. The “Wearing Beads” gallery combines images of beads being worn in various cultures with images of beaded garments mounted on mirrors. Viewing themselves in the mirrors visitors can imagine themselves in beaded flapper dress and Samburu necklaces.
exhibition dates | 18 may 2013 > 5 january 2014
[ harry allen design ] [ corning museum of glass ] | One Museum Way – Corning, NY | 800.732.6845
<a href="about phil patton
An oldie but a goodie. One of my favorite window displays EVER.
venue > maison hermès window display | 19 nov 2009 > 19 jan 2010 | ginza5-4-1, chuo-ku, tokyo
installation concept/design> tokujin yoshioka
photography/video > ©satoshi asakawa / courtesy of hermès japon
seung-yong song, bethan laura wood and jon stam | click > enlarge
Continuing its commitment to innovation in design, W Hotels Worldwide unveiled the works of the 2013 W Hotels Designers of the Future Award winners during Design Miami/ Basel (June 11-16, 2013). Now in its fourth year, the collaboration between W Hotels and Design Miami/ seeks to give emerging designers a global platform from which to showcase their work.
This year for the first time the three winning designers were sent to specific new or renovating W Hotels to solve a particular design challenge or need. In addition to being showcased at Design Miami/ Basel, the newly commissioned, site-specific works will later be installed at W Hotels in Verbier, where the W brand’s first ski retreat will debut later this year; Bangkok, which opened in December 2012; and Mexico City, which will soon undergo renovation.
“Design has been core to the DNA of the W Hotels brand since our inception in New York City nearly 15 years ago,” said Paul James, Global Brand Leader, W Hotels, St. Regis and The Luxury Collection. “The W Hotels Designers of the Future Award allows us to work with the best emerging design talent from around the world, while providing a global platform of exposure for these young talents during Design Miami/ Basel and beyond.”
For this year’s commission, the winners, including Seung-Yong Song (Korea), Jon Stam (Canada) and Bethan Laura Wood (UK), have unveiled their interpretation of the brief, entitled “Making Connections.” Each designer’s project facilitates exchange between local communities and the international visitors who pass through them, whether for business or leisure. The goal of these projects is to deepen the appreciation for the distinct regional characteristics found in each destination.
“The W Hotels Designers of the Future Award has become an important incubator for emerging talents, allowing the winners to develop a project and directly interact with the receptive audience at Design Miami/ Basel,” said Marianne Goebl, Director of Design Miami/. “This year, the award is brought to yet another level by incorporating a research trip. We are thrilled to see the designers’ experiences reflected in their projects in a meaningful and engaging way.”
[ Making Connections ]
Seung-Yong Song’s Wheeljek Collection was created for W Bangkok and takes its inspiration from the fluidity and flexibility of the city’s ubiquitous street food carts. Observing the ingenuity of the design of this everyday object, Song was struck by the many uses of the carts in the bustling capital; it is at once a means of transporting goods, a kitchen, a restaurant and a bar. His collection takes the street cart concept and transforms it into an object which can be adapted to suit the user’s needs and modified into various forms and sizes, from cart to table to storage.
Designed for W Verbier, Jon Stam’s Claude Glass is an abstract timepiece that captures the landscape of the small Swiss village throughout the seasons. Stam has collaborated with local photographer Guido Perrini to capture Verbier within a digitized black mirror where one can speed up or reverse time by turning the object. As most tourists experience the destination during its world renowned ski season, Claude Glass provides a medium for a different kind of travel, showcasing the picturesque locale all year long.
Bethan Laura Wood’s Crisscross is a glass fixture created for W Mexico City and designed to evoke a cascade of floating flowers. The work combines a range of influences taken from the city, from its colorful markets and graphic displays of flowers to the Aztec-meets-Deco architecture and triple-relief Baroque detailing. Wood has enlisted the specialist skills of two different worlds of glass – artisan Pedro Myver, a Pyrex master in Italy, and Nouvel Studio, the Mexican colored glass specialists – to make work that crosses the boundaries of local and global, acting as a conduit for creative communication.
[ designers of the future ]
Started in 2006 at Design Miami/ Basel, the Designers of the Future Award recognizes up-and-coming designers and studios that are expanding the field of design. Each year, three designers or studios are selected as a way to honor a variety of approaches in the constantly evolving landscape of contemporary design. The Award moves beyond pure product and furniture design to acknowledge technologically and conceptually vanguard pieces that work across multiple disciplines, offering the next generation of design creatives the opportunity to present newly commissioned works to an influential audience of collectors, dealers, and journalists at Design Miami/ Basel.
The W Hotels Designers of the Future Award also draws attention to design practices that exemplify new directions for the design field, and as W Hotels continues to grow globally, the Award provides the W design and innovation teams with access to the world’s brightest talent in contemporary design. The objective for W Hotels is to create a vision of how guests may conceptually interact with cutting-edge and technologically advanced design solutions throughout hotel Living Rooms (the W brand’s re-interpretation of the hotel lobby) and guestrooms globally.
The winners were selected by an international jury that included Jan Boelen of the Design Academy Eindhoven and Z33; Tony Chambers of Wallpaper* magazine; Aric Chen of M+ Museum Hong Kong; Alexis Georgacopoulos of Ecole Cantonale d’art de Lausanne (ECAL); Marianne Goebl of Design Miami/; Benjamin Loyauté, author, curator and journalist; and Mike Tiedy of Starwood Hotels & Resorts, parent company of W Hotels Worldwide.
Qualifying candidates for the W Hotels Designers of the Future Award must have created original works in the fields of furniture, lighting, craft, architecture and/or digital/electronic media. Candidates must have been practicing for less than 15 years and have produced a body of work that demonstrates originality in the creative process, while also exhibiting an interest in working in experimental, non-industrial or limited-edition design.
Previous winners of the W Hotels Designer of the Future Award, including Philippe Malouin, Markus Kayser, Tom Foulsham, Asif Khan, Beta Tank, Graham Hudson, Mischer’Traxler, Random International, Studio Juju and Zigelbaum & Coelho, continue to celebrate their successes. W Hotels guides each award winner from the conceptual stage to a level, which ultimately provides a global platform whereby they can expose their work to guests and design enthusiasts alike.
[ w hotels worldwide ]
W Hotels is a contemporary, design-led lifestyle brand and the industry innovator with 44 hotels and retreats, including 16 W-branded residences, in the most vibrant cities and exotic destinations around the world. With more than 14 years of proven success, W Hotels is on track to reach 60 hotels by 2017. [ w hotels residences ] @WHotels #WDOF
[ design Miami/ ]
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the network right now | red (installed) grey (coming) | maps courtesy tesla
In promoting what he claimed to be a national network of “superchargers” for his Tesla electric cars, Elon Musk said when the zombie apocalypse comes, you’ll still be able to drive your Model S electric sports sedan coast to coast in the US. Those superchargers with solar panels will be off the grid.
The chargers cost an estimated $250,000 apiece—the price of an Aston Martin. The chargers are incompatible with all industry standards and work only with Tesla’s Model S—but they are way faster.
summer 2013
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winter 2013
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above> video courtesy of tesla | below> video courtesy of mike anthony autosports
[ official full release ]
Tesla dramatically expands supercharger network, delivery convenient, free long distance driving throughout U.S. and Canada.
MAY 30, 2013 – Tesla Motors (NASDAQ: TSLA) today announced significant expansion of the Tesla Supercharger network. Supercharging enables Tesla Model S drivers to travel long distances, for free, indefinitely.
The expansion of the network builds upon the success of the Tesla Supercharger network that covers California and Nevada on the west coast and the Washington, DC to Boston region on the east coast. The Tesla Supercharger network has enabled an estimated 1 million miles of driving since going live in October 2012. Superchargers are designed for city to city travel, enabling Model S electric vehicle drivers to travel for about three hours, take a 20 to 30 minute break to grab lunch or a soda or coffee, and get back on the road charged up. For free.
With the accelerated rollout of the Tesla Supercharger network, Model S drivers can expect:
> Triple the number of Tesla Supercharger stations by the end of next month, including additional stations in California, coverage of the northwest region from Vancouver to Seattle to Portland, Austin to Dallas in Texas, Illinois and Colorado. There will also be four additional eastern seaboard stations, expanding the density of the network to provide for more convenient stopping points.
> Within six months the Tesla Supercharger network will connect most of the major metro areas in the US and Canada, including expansion into Arizona, additional stations in Texas, Florida, and the Midwest, stations connecting Ottawa to Montreal, and across North and South Carolina into Georgia. It will also be possible to travel diagonally across the country from Los Angeles to New York using only the Tesla Supercharger network.
> A year from now, the Tesla Supercharger network will stretch across the continent, covering almost the entire population of the US and Canada. The expansion of the network will mean that Model S drivers can take the ultimate road trip — whether that’s LA to New York, Vancouver to San Diego, or Montreal to Miami – without spending a cent on fuel.
In addition to the expansion of the Tesla Supercharger network itself, Tesla is improving the technology behind the Tesla Supercharger to dramatically decrease the amount of time it takes to charge Model S, cutting charging time in half relative to early trials of the system. The new technology, which is in beta test mode now and will be fully rolled out to customers this summer, will allow Model S to be charged at 120 kW, replenishing three hours of driving in just over 20 minutes.
[ about tesla ]
Tesla Motors’ (NASDAQ: TSLA) goal is to accelerate the world’s transition to electric mobility with a full range of increasingly affordable electric cars. California-based Tesla designs and manufactures EVs, as well as EV powertrain components for partners such as Toyota and Daimler. Tesla has delivered more than 10,000 electric vehicles to customers in 31 countries.
[ forward-looking statements ]
Certain statements in this press release, including statements regarding future Tesla Supercharger locations, timing and capabilities, are “forward-looking statements” that are subject to risks and uncertainties. These forward-looking statements are based on management’s current expectations, and as a result of certain risks and uncertainties, actual results may differ materially from those projected. Various important factors could cause actual results to differ materially from those in the forward-looking statements, including potential difficulties in finding suitable Tesla Supercharger sites, negotiating leases or obtaining required permits for such locations, as well as the risks and uncertainties identified under the sections captioned “Risk Factors” and “Management’s Discussion and Analysis of Financial Condition and Results Of Operations” in Tesla’s Form 10-Q filed on May 10, 2013. Tesla disclaims any obligation to update information contained in these forward-looking statements.
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