bonne douleur! flooding in paris has never occurred to me, not even in april. the louvre and musée d’orsay closed friday to move ground level artwork. the river is supposed to peak friday. those watching roland garros know that friday was filled with matches. weather forecast: a 40% chance of rain saturday and 80% sunday thru tuesday.
leonardo da vinci’s “mona lisa,” is on an upper floor.
above> piero lissoni, nasir kassamali and giulio cappellini
saturday 14 may 2016 / 3p / conversation room / wanted design manhattan / 269 11th ave ( btw 27th & 28th )
italian design brands and the us market: opportunities
speakers
guilio cappellini / creative director and talent scout
nasir kassamali / founder of luminaire and talent scout
piero lissoni / architect and designer
in conversation with gilda bojardi / editor in chief interni
use your ears to listen to the ‘i’s’
on view through 14 august 2016.
fashion lures architecture and design to the metropolitan museum of art’s costume institute spring 2016 exhibition, manus x machina: fashion in an age of technology. the exhibition explores how designers are reconciling the handmade and the machine-made in the creation of haute couture and avant-garde ready-to-wear. manus x machina features over 170 garments, diverse in their designers, techniques and details.
the credits
manus x machina is organized by andrew bolton, curator in charge of the metropolitan museum of art’s costume institute. shohei shigematsu, director of oma new york, led the design of the exhibition in collaboration with the design department (amo) of oma new york.
the architecture
from the architect> the exhibition is presented in the robert lehman wing, a double-height, octagonal addition on the museum’s central axis constructed in 1975. in order to preserve access to the permanent galleries, the exhibition space is located in the lehman wing’s central atrium and corridors. the space posed a number of unique environmental challenges for the costume institute’s show: excessive daylighting unconducive to textile exhibition, split levels, a corridor condition lacking dedicated display walls and an eclectic material palette.
a white, translucent volume was inserted into the existing brick and stone corridors of the lehman wing, softening its hard geometries. echoing the sectional relationship of a central clerestory and perimeter naves, the resulting ghost cathedral resonates with the classical language of the adjacent medieval art gallery. a raised platform built across the double height atrium provides continuous circulation and a 2,300 square foot central gallery– an unprecedented intervention in the lehman wing. upon arrival, this domed clerestory orients visitor’s with a 2014 chanel wedding dress by karl lagerfeld that embodies the exhibition’s theme. details of the 20-foot train’s baroque pattern are projected on the dome’s black out scrim, recalling the sistine chapel. four chapel-style pochés provide an area to focus on case studies.
exhibition designer shohei shigematsu commented, “the diverse range of garments required a neutral, integrated environment to focus on the pairings of manual and mechanical processes. an armature of scaffolding wrapped with a translucent fabric introduces a unique temporality within a historic institution.”
as a high-performance theatrical scrim, the perforated membrane material of the ghost cathedral offers the tensile flexibility required for the dome geometries as well as varying degrees of transparency. when lit from the front, the scrim appears opaque enough to function as a projection backdrop for garment details. lit from behind, the scrim appears transparent, exposing a sense of the lehman wing’s existing material palette and language. the unexpected spatial depth of the scrim allows for visual connections to the wedding dress from all quadrants of the lehman wing, while also revealing silhouettes of the temporary scaffolding framework housed within. in the lower level, scrim enfilades provide a permeable divider for each technique. as an integrated system for lighting, signage and projection, the scrim seamlessly serves multiple curation needs that would otherwise rely on overpowering media screens.
technical information
manus x machina: fashion in an age of technology
location: new york city usa
year: 2016
status: completed (commissioned 2015 / completion may 2016)
program: 18,300 sf exhibition
scrim surface area: 23,000 sf
architect: oma
lead architect: shohei shigematsu / oma nyc
team: scott abrahams, wesley ho, nicholas solakian, sergio zapata, daniel rauchwerger, lawrence siu, darby foreman, matthew haseltine, christine noblejas
engineering: arup
lighting: dot dash
media: 3 legged dog
membrane: newmat
scaffolding: ubs
masonry: cw keller
photography: albert večerka
the fashion
andrew bolton’s brilliant new exhibition at the metropolitan museum of art’s costume institute – the costume institute began as the museum of costume art in 1937, merged with the met in 1946, and reopened its space as the anna wintour costume centre in may 2014 – explores the relationship between the handmade and the mechanized in fashion. bolton’s vision pays homage to craftsmanship, innovation and the role designers play in the creative process.
the show’s galleries are divided into tenets of design outlined in diderot’s 1751 encyclopedia: embroidery, featherwork, artificial flowers, lacework, leatherwork, pleating, tailoring, and dressmaking. another interesting counterpoint emerges: haute couture versus prêt-à-porter.
alber elbaz succinctly explained why “manus x machina” is so important at a lecture prior to the opening: “it was almost an exhibition that was done for designers and with designers’ work. it was about workmanship, about know-how, about time, and the one thing that impressed me the most was that it was almost silent. . . . please go and see it.”
this is an exhibition for true fashion lovers.
[Best_Wordpress_Gallery id=”10″ gal_title=”manus x machina 2016″]
new york (bronx) graphic designer, illustrator and type designer, seymour chwast, 84, became a legend in the mid-60s, catapulted by push pin studios a studio he and edward sorel co-founded 10 years earlier. cooper union alums milton glaser and reynold ruffins came on board months later. but it was really chwast and glazer who for 20 years defined the aesthetics (iconic bold signature eye-candy) of book covers, posters and record jackets, most of which seemed to focus on forward and liberal ideals. the studio’s work was most often opinionated, markedly even in the commercial art marketplace.
but let’s talk about seymour and his new book: seymour chwast at war with war, a protest of 5,000 years of war.
there’s a great tradition of design and illustration for political ends. i did my most famous poster during the vietnam war. during the iraq war i felt less inspired but during the vietnam war in the 1960s there were a lot of graphic things going on – music posters promoting punk rock concerts and other anti-war stuff, some anti-drug posters and a lot of other poster activity. people back then had posters hanging up in their rooms but they don’t anymore. that was just a great time for visual material. ~seymour chwast / printed pages 2013.
please, join seymour in his fight against war on kickstarter.
[envira-gallery id=”187189″]
while visiting the 2014 bowie installation at the chicago museum of contemporary art i bought mugshot coaster sets as gifts. though sometimes curious about each backstory this is an inaugural google of the prince mugshot.
his temporary arrest in jackson, mississippi on 29 march 29 1980. prince and keyboardist dr. fink were detained for stealing a megaphone from an airplane
while on tour in 1980 opening up for rick james, fink had suggested to prince that they should get a police megaphone as a stage prop. the next day, the band boarded a plane and coincidently, fink noticed the plane had an emergency bullhorn in an overhead bin. he pointed it out to prince, who then convinced him to put it in his bag since he didn’t have a carry on. a lady sitting behind prince notified the flight attendant of the theft while the plane was still on the tarmac. fink explained,
“the next thing we know, the pilot comes out and announces, ‘it has come to our attention someone has removed some emergency equipment from the airplane, which is a federal offense ”
sky marshals conducted a search and found it on fink and in a stand up move, prince voluntarily went to jail with him. they were arrested and sent to a local joint, but it turned into a big meet and greet and prince ended up posing for pictures and signing autographs in jail.
a pop/funk/rock artist who showed remarkable stylistic growth and musical diversity.
he could negotiate god and sex ~ angela davis
salute.
new yorker cover added to this post 22 april, 2016, and at this moment all over the internet.
the new packaging for the entire coca-cola trademark will feature the brand’s signature red disc. the graphic visually unifies coke, diet coke, coke zero and coca-cola life. the new design will hit shelves in mexico the first week of may and then roll out globally throughout 2016 and 2017. packaging changes won’t come to the u.s. until at least next year.
coca-cola’s one brand strategy
a remarkable revelation by global icon after all these years, the changes, announced at an event on 18 april 2016, in mexico, represent an historic shift for the company. “the unification of the brands through design marks the first time in our 130-year history that the iconic coca-cola visual identity has been shared across products in such a prominent way,” said james sommerville, coca-cola’s vp-global design, in a statement.
“packaging is our most visible and valuable asset,” said marcos de quinto, chief marketing officer at coca-cola, in a statement. “the coca-cola red disc has become a signature element of the brand, synonymous with great taste, uplift and refreshment. by applying it to our packaging in such a bold way, we are taking the next step towards full adoption of the ‘one brand’ strategy, uniting the coca-cola family under one visual identity and making it even easier for consumers to choose their coca-cola with or without calories, with or without caffeine.”
two packaging designs
introduced a year ago (march 2015) –- participating markets will launch one of two packaging design approaches. the first, “monocolor” (pictured above), features single-colored packaging for each brand and a horizontal typography that visually connects packs when lined up side by side on the shelf or in a cooler. this design will be launched in 11 markets in the northwest europe and nordics region including: finland, iceland, great britain, ireland, france, denmark, norway, sweden, belgium, the netherlands and luxembourg.
the “split” design (pictured below), which will launch in spain, sports a horizontally divided look, with coke red appearing above the horizontal ribbon on every pack, and the variant’s signature color appearing below.
what’s the history of the coca-cola red disc?
it was first introduced in the 1930s on hand-painted coca-cola advertising. over the years, it became synonymous with great taste, uplift and refreshment. in 1947, the creative director at d’arcy advertising, archie lee, purified and systemized the red disc used then for retail signage to signify that real coca-cola was sold there. the disc, therefore, became the inspiration for our approach to the “taste the feeling” campaign signature that we introduced in january, and now these new packaging designs also communicate that coca-cola, any coca-cola is the real thing.
what’s gonna happen to the coke stripe ?
the stripe gave design a good hook to draw upon. a favorite below by chinese designer jonathan mak is his [ sharing a coke ]
[ thinking behind the design ] [ one brand strategy ] messing with good design fraught with mixed emotion.
above> entrance to fairgrounds
miami and chicago based luminaire offered DesignApplause a glimpse of milan design week 2016 through their eyes. four of those eyes belong to founders nasir and nargis kassamali.
[ day 2 ]
desalto space at salone del mobile 2016
catifa 53 chairs designed by lievore altherr molina for arper
flexform space at salone del mobile 2016
kartell space at salone del mobile 2016
piero lissoni and nasir
maruni space at salone del mobile 2016
rock table designed by jean marie massaud for mdf
metallico table designed by piero lissoni for porro
ronan bouroullec
glas italia space at salone del mobile 2016
32 philippe starck explaining his designs for stanley
nargis in classicon space at salone del mobile 2016
words aren’t needed to describe this shoe unless you played in them. all that’s needed is to look at the sole. it looks like a wet footprint on a cement sidewalk or wet beach sand. the shoe looks very responsive.
freakishly athletic manic durant runs approximately four miles a game and 15 marathons a season.
per nike: designed by nike’s leo chang, the low-cut shoe features a flyknit upper engineered down to the pixel for maximum containment. specifically, it features a pattern with a distinct honeycomb structure precisely knit for the multidimensional movement of basketball and durant’s lateral quickness. flyknit technology engineering locks down the forefoot while still allowing the foot to move naturally. flyknit’s efficient material use also ensures the upper is lightweight, without compromising strength.
you will need good ankles however, this is a low-cut unlike the traditional wide flat-bottomed sprain-proof pretenders. so stretch those ankles and keep them limber.
durant wears them and puts his name on this shoe. seems like enough.
above> interni’s open borders exhibition at universita degli studi di milano
miami and chicago based luminaire offered DesignApplause a glimpse of milan design week 2016 through their eyes. four of those eyes belong to founders nasir and nargis kassamali.
[ day 1 ]
towers by sergei tchoban, sergey kuznetsove and agniya sterligova; and invisible border by mad architects
ron arad and nasir (and nargis) at along the lines of happiness installation by laura ellen bacon and sebastian cox
naoto fukasawa sitting on his papilio chair at the b&b italia showroom
entrance of pallazzo litta
exhibition of vitra’s physix chair by alberto meda
jean marie massaud at porro showroom
moooi space
konstantin grcic signing a special edition of classicon drawing book for nasir
paola lenti outdoor collection
details and inspirations at paola lenti
above/below> concept model for new washington redskin football stadium
trending and talented danish architect bjarke ingels hit the air ways today on 60 minutes to talk about another big – bjarke ingels group concept, this time a spec proposal for a new football stadium for the washington redskins.
in the past 24 months sports stadium proposals have been sensitive topics [ zaha hadid: national stadium tokyo ] and the architect did himself no favors with a presentation that could be construed as flip: surfing in a stadium-surrounding moat.
“the stadium is designed as much for the tailgating, like the pre-game, as for the game itself,” ingels tells 60 minutes.” tailgating literally becomes a picnic in a park. it can actually make the stadium a more lively destination throughout the year without ruining the turf for the football game.” tailgating is integral to football and off-season multi-purposing an economical and engaging concept though some of the proposed activities do seem better suited for california or hawaii. somewhere in the back of my mind, ingels may be messing with mad-hatter redskins owner, daniel snyder, but then again, maybe not. that said, early on notions to ingels preliminary concepts can be just that as they are imagination-shaping and he’s expert at it, in a signature big way. this would be the first sports stadium designed by big. please, in the next iteration, consider a dome (a super bowl bid) and maybe eschew a beach.
all ‘the spiral’ images courtesy of bjarke ingels group / tishman speyer
this property would do well as select luxury residences. [ big ]
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