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Home events (Page 2)
covid-19 postpones salone del mobile.milano until 16 – 21 june 2020. milan design week.

covid-19 postpones salone del mobile.milano until 16 – 21 june 2020. milan design week.

Feb 25, 2020

salone del mobile.milano has been postponed amid growing concerns over the coronavirus outbreak in italy, show officials have confirmed that the show originally scheduled for 21 – 26 april 2020, will be rescheduled for june 16 – 21. the show will still be held at rho fiera milano. statement from salone del mobile below:

“following an extraordinary meeting today of the board of federlegno arredo eventi, and in view of the ongoing public health emergency, the decision has been taken to postpone the upcoming edition of the salone del mobile.milan to 16th – 21st june.

confirmation of the change of date for the trade fair – strongly supported by the mayor of milan giuseppe sala – means that the manufacturers, in a major show of responsibility, will be able to present their finalised work to an international public that sees the annual appointment with the salone del mobile.milano as a benchmark for creativity and design.”

as we await further information, the official statement and video with english captions will be made available in the upcoming days.

life-size sand traffic jam seen on miami beach during design miami/ 2019. leandro erlich.

life-size sand traffic jam seen on miami beach during design miami/ 2019. leandro erlich.

Nov 10, 2019

above > traffic jam (order of importance)

the beach has been a symbol of leisure and prosperity for so many years, and in particular for miami but now there is a frontline feeling about the beach. it has become a different kind of stage. ~ leandro erlich

last year at art basel 2018 in ruth benzacar‘s booth (above) a maquette of buenos aires artist leandro erlich was shown for $18,000. titled ‘traffic jam (order of importance) – the art is a miami beach-appropriate installation where cars, suv’s, taxis, etc., are moulded in sand – actually a mix of sand three types of salt which form a hardened crust. the vehicles seem to rise from nowhere, form a traffic jam, and then fade away.

erlich has a reputation for whimsical perception-bending optical-illusions. this 2018 maquette became the concept presented to the city of miami that will be shown life-size on miami beach during art basel 2019. the city has contributed $300,000 towards his most monumental work. the work will have a life of just fifteen days. but…there may be more to this concept though details are not fully available at this writing. possibly, this concept may become an off-shore reef. the reasoning comes from erlich’s interest in climate change and all that threatens humans, animals, architecture, and civilization.

his first climate related work was for the 2015 climate change summit in paris, maison fond. to evoke global warming his installation was an image of a building melting: the ground floor of this small parisian building has already almost completely disappeared.

and the world’s coral reefs are dying. this artificial structure (traffic jam) could both be a symbol as well as an artful prototype.

“the beach has been a symbol of leisure and prosperity for so many years, and in particular for miami,” says erlich. ‘but now there is a frontline feeling about the beach. it has become a different kind of stage.”

[ information ]
leandro erlich; design miami/ @designmiami #climatechange

2019 chicago architecture biennial week #7 calendar.

2019 chicago architecture biennial week #7 calendar.

Nov 3, 2019

above > siisis, 2016 / bricks, digital prints on mdf, photographic prints, archival documents, mirror, acrylic / photos > gloria araya

vincent meessen‘s work draws from history, assembling printed objects and architectural elements to challenge conventional narrative and stir conversation about the present. siisis responds to the work of the situationist international (1957-72), a group of artists and intellectuals who were concerned with the role of art in consumer society and the experience of the modern city. the situationist produced artworks, architectural designs, and writings that used map-making and wandering as alternative ways to experience and understand the urban environment. siisis proposes an imaginary labyrinth city based on the situationists’ plan to build an experimental city on an unpopulated island. the structure is designed for an uninhabited greek island that is actually currently for sale, proposing that the territory be used and managed by asylum seekers who would effectively become citizens of the entire african-eurasian supercontinent.

siisis addresses the pressing question of global citizenship and migration; it leverages legal and design creativity to enable the free movement of people.

[ curatorial statement ] titled …and other such stories, the 2019 chicago architecture biennial is rooted in close readings of the spatial realities of its host city. sitting at the crossroads of the great plains and the great lakes, chicago has been shaped by planetary forces: colonial expansion, mass migration, extraction economies, and rapid industrialization. thus, chicago’s urbanism is inextricable from the flows of people, goods, and capital—and the concurrent exploitation of bodies, labor, and nature—that have contributed to its making. today, despite the promise of economic development, chicago, like many other established and emergent global metropolises, faces challenging urban conditions that require the reimagining of forms of exchange between human activity, technology, and the natural world. by extension, owing to its physical geography, chicago is a singular context in which to address climate and ecological concerns shared by many postindustrial societies.

the third edition of the biennial will open 19 september 2019 thru 5 january 2020, and will convene the world’s leading practitioners, theorists, and commentators in the field of architecture and urbanism to further explore, debate, and demonstrate the significance of architectural concepts in contemporary society. the 2019 chicago architecture biennial is led by artistic director yesomi umolu with curators sepake angiama and paulo tavares.

[ events – weekly view ] #cab19 @chicagobiennial

mary quant at the v&a museum in tandem with london design festival 2019.

mary quant at the v&a museum in tandem with london design festival 2019.

Oct 23, 2019

the whole point of fashion is to make fashionable clothes available to everyone ~ mary quant 1966

dame mary quant defined the young, playful look of the 1960s, becoming britain’s best-known designer, a fashion icon, and a powerful role model for working women. harnessing an explosion in shopping and the media – in photography, graphics, journalism and advertising – she helped shape a forward-looking, innovative identity for post-war britain.

above > 1944 sketchbook by mary quant
made when quant was just 14, this sketchbook shows her early interest in drawing figures, here in the nostalgic style of mabel lucie atwell. in her 1966 autobiography, she recalled admiring a childhood friend’s short black skirt and tap shoes worn for dance lessons – the sort of clothes which later inspired her designs for the miniskirt.

above> courtesy of victoria and albert museum collection

quant was a self-taught designer, attending evening classes on cutting and adjusting mass-market printed patterns to achieve the looks she was after. once technically proficient, she initiated a hand-to-mouth production cycle: the day’s sales at bazaar paid for the cloth that was then made up overnight into new stock for the following day. the look was fresh and competitively priced.

1960-64 victorian-modern
quant combines victorian nineteenth century fashion with a fruitful source of inspiration often resulting in surprising styles which helped to get publicity for the mary quant brand.

above – below > early 60s – death of the debutante
snobbery has gone out of fashion / fashion editors endorse bazaar with its distinctive designs, witty window displays and jazzy fashion shows. quant’s shop becomes a destination for professional women seeking streamlined, modern fashion. buying a new dress is a new rite of passage for london’s fashionable elite, as aristocratic customs such as ‘deb of the year’ and court presentations become outdated.

above > 1960-64 – english eccentrics
like a good dancer, she accommodates her steps to the changing rhythms of fashion / quant brings an entertaining slant to fashion. repurposing victorian frills and childrenswear, she play with color and silhouettes. inspired by serviceable cottons and dependable woolens and tweads, she works directly with weavers and manufacturers in wales, wittshire, and yorkshire. at the same time she revives the boyish look of the 1920s flapper. he bewigged, gawky mannequins strike unusual poses in bazaar’s window displays, alongside props such as live goldfish, stuffed birds or dead lobsters. passerby stop to stare.

above > 1963-65 the ginger group
quant clothes at budget prices to buy a piece at a time / quant strides into new territory with her ginger group collection. the name is a political term for a pressure group, derived from the use of ginger as a verb to pep things up. the first ginger group collection is based on the american sportswear principle of interchangeable separates. with a new graphic identiy and a lower price point, the range provides countless mix-and-match possibilities combined wit the cachet of quant.

above > 1963 – 65 the wet collection
bewitched…with this super shiny man-made stuff and its shrieking colors…its gleaming liquorice black, white and ginger / quant launches her wet collection in april 1963 at the hotel de crillon, paris. the collection features a relatively new material called polyvinyl chloride (pvc), a shiny plastic-coated cotton which reflects increasing fascination and modernity. because of mass-production delays of sealing pvc seams the collection takes two years to launch on the high street.

above > 1966-75 style evolution
switching to the sounds of the seventies / having created the minimal look which defined the 1960s, quant’s style becomes eclectic and retrospective amid the economic and political uncertainties of the 1970s. still combining victorian details with bright colors and a clean modern finish.

above > 1965-75 liberated fashion
i didn’t have time to wait for women’s lib / in this time of growing activism and struggle for equal rights, quant has a visionary take on the role of women. her assertive, liberating minidresses express the changes of post-war-briton, giving women an independent style of their own. she credit’s her king’s road customers as her inspiration and the ones leading the feminist rebellion. in 1967, she describes the young as, ‘prototypes’ of a whole new race of women…it’s their questioning attitude that make them important and different.

above > 1966-73 girls will be boys
i didn’t want to grow up, perhaps that’s something to do with it / from 1966, tomboyish models like the teenaged twiggy promote the minidress-look in typical quant style: knock kneed in gawkish poses, often sporting cropped hair and resisting the constraints of adult stereotypes. these often provocative styles reflect increasingly relaxed attitudes in society towards sexuality in all its forms, reinforced legally by the decriminalization of homosexuality in 1967.

above > quant and vidal sassoon 1964

above > 1965-67 underwear
foundation garments needn’t be surgical. get a birthday suit and be your own sweet self (minus six pounds) / the silhouette of quant’s dresses requires a new kind of underwear or ‘foundation garment’. magazines aimed at adventurous young women feature ‘q-form’ worn by models in dynamic poses. the images promote unrestricted movement and the new ideal for a lithe, childlike physique. later these are replaced by quant’s simple ‘booby traps’ and knickers.

above > 1965-67 alligator rainwear
since when did the raincoat go wild? since mary quant designed for alligator / quant’s fascination with shiny, waterproof pvc is realized with her collaboration with alligator rainwear. alligator’s manufacturing expertise resolves the wet collection issues, allowing a new bright range of colors, capes, zips and contrasting collars.

above >1965-67 the jersey dress
i want free-flowing, feminine lines that compliment a women’s shape…i want relaxed clothes, suited to the actions of normal life / quant discovers a new type of wool jersey that’s heat-bonded to an acetate backing and available in the brightest, deepest colors. previously used in underwear and for rugby or football kit, jersey’s smooth, fluid qualities are perfect for quant’s signature sportry minidresses. worn with matching berets, tights and shoes giving a total top-to-toe block of color.

1962-66 the miniskirt
the shock of the knee / quant’s knee-skimming outfits are first noticed by the media in 1960. an emerging street style, shorter skirts develop in tandem with teenage dance crazes. quant’s designs, often based on practical schoolgirl pinafores, adapt the look for grown-ups with hemlines gradually rising to well above the knee. although exclusive paris couturier andré courreges achieves international publicity for the higher hemlines in 1964, quant, the female celebrity designer, becomes recognized as inventor and ambassador for the style. the miniskirt becomes an accepted part of fashion as well as an international symbol of london’s youthful look and of women’s liberation.

above > crêpe dress with frilled collar and cuffs by mary quant for ginger group, modeled by patti boyd with the rolling stones. photograph by john french, 1960s, london. museum no. ct64253. © victoria and albert museum, london

the above feature created from the victoria and albert museum‘s installation mary quant, open thru 16 february 2020

chicago architecture center presents ninth annual open house chicago.

chicago architecture center presents ninth annual open house chicago.

Oct 17, 2019

the chicago architecture center‘s ninth annual open house chicago is a free public festival that offers behind-the-scenes access to an astonishing 350 venues including soaring skyscrapers, repurposed mansions, opulent theaters, exclusive private clubs, private offices and breathtaking sacred spaces all weekend long. here are a few suggestions…

[ park no. 571 boathouse ] photo below courtesy of studio gang architects
the weather this weekend is perfect to tour a boathouse on the chicago river! one of two boathouses on the chicago river designed by studio gang, the eleanor boathouse at park 571 completed in 2016, creates a crucial access point along the river’s edge. the structure’s shape draws inspiration from rowers’ rhythmic movements.

as the city works to transform the long-polluted and neglected river into its next recreational frontier, the boathouse invites communities on the south side and throughout the city to share in the river’s continued ecological and infrastructural revitalization. 2754 south eleanor street, bridgeport.

[ mccormick place west building rooftop farm ] photo below by garrett karp
the weather this weekend is perfect to tour a rooftop on the lakefront! the largest mccormick place west building spans 20,000 sq ft above chicago. the building, designed by tvsdesign in 2007, was originally intended to have a green roof for environmental purposes. however in 2013, the chicago botanic garden stepped in with the windy city harvest program to transform it into a massive vegetable patch. more than 8,000 pounds of produce are now grown each year for savor…chicago, the food service provider for the convention centre below. the open house chicago tour is focused on biodiversity and growing practices. 2301 south indiana avenue, gate 41, se corner of cermak & indiana.

[ unity temple ] photo below tom rossiter
unity temple, the work of master architect frank lloyd wright first major public building commission and considered to be one of the most important and influential buildings of the 20th century, underwent an extensive $25m restoration and renovation beginning in 2015. the temple re-opened in summer 2017. in summer 2019, unity temple was named a unesco world heritage site, one of eight major works by wright given this honoured distinction. 875 lake street, oak park.

[ stony island arts bank ] photo below steve hall
the stony island arts bank is a hybrid gallery, media archive, library and community center – and a home for rebuild foundation’s archives and collections. designed by william gibbons uffendell and built in 1923, the bank at 68th and stony island was once a vibrant community savings and loan. by the eighties, it had closed and the building remained vacant and deteriorating for decades. reopened in october 2015, the radically-restored building renovated by chicago social practice installation artist, theaster gates, serves as a space for neighborhood residents to preserve, access, reimagine and share their heritage – and a destination for artists, scholars, curators, and collectors to research and engage with south side history. 6760 south stony island avenue, south shore. enter via north door from garden

[ 150 north riverside ] photo below courtesy goettsch partners
audaciously cantilevered out over a new stretch of riverwalk, 150 north riverside commands attention as few recent buildings have. the glassy office tower’s 54 floors, carefully engineered to stand tall above busy rail lines, look down all three branches of the chicago river. the soaring lobby, whose enormous glass wall transparently connects indoors and out, is defined by 150 media stream, a one-of-a-kind achievement in art, architecture and technology. the piece’s 89 led blades, stretching 150 feet long and rising 22 feet high, display ever-changing collaborative artworks developed by local and international established and emerging artists, arts educators, and students.

why doesn’t this building topple over ? the building’s small lot plus the wish for 1.2 million square feet of office space gave the skyscraper an aspect ratio — the building’s height relative to the width of its core — is a breathtaking 20-1. if you ask does the building sway? the answer is you bet!

but not as much as it should because the engineers inserted two enclosed concrete vaults near the building’s top. the water in the vaults, which are called “tuned liquid dampers,” is not for swimming. when the wind pushes the high-rise one way, the water sloshes the other way, damping wind-induced sway.

architects/engineers: goettsch partners, and their structural engineers, seattle-based magnusson klemencic associates, 2017.

[ chicago architecture center ] photo below james steinkamp, courtesy cac
located in the 111 east wacker building, designed by the office of mies van der rohe, 1970. adrian smith + gordon gill architecture designed the new and current space in 2018. the chicago architecture center is a nonprofit organization dedicated to inspiring people to discover why design matters. the cac’s new home is a great place for locals and tourists alike to learn about chicago architecture and the pivotal role chicago has played in shaping architecture around the globe. exhibits include an expanded and immersive chicago city model experience, the building tall exhibit featuring large-scale models of notable skyscrapers, and more. 111 east wacker drive.

[ stay in the know ]
follow the chicago architecture center on facebook, instagram and twitter and use #ohc2019 to share photos of your ohc 2019 weekend. subscribe to ohc e-news for the latest announcements and important updates. #ohc2019

cac members receive priority access to ohc sites and special members-only sites. join today for an enhanced ohc experience and great year-round cac benefits.

2019 chicago architecture biennial week #3 calendar.

2019 chicago architecture biennial week #3 calendar.

Oct 5, 2019

above > secrets of a digital garden / photos > gloria araya

nothing is conventional in this garden. 50 slices of earth containing ‘digital’ flowers has been brought to chicago to narrate the absurd dis-connectivity of palestine and the attempt to reclaim it through the 50 villages project.

in a collaborative project with riwaq: centre for architectural conservation, yara sharif and nasser golzari have curated the exhibition entitled secrets of a digital garden: 50 flowers, 50 villages.

secrets of a digital garden is a future imaginary scenario set up in rural palestine in the form of a digital garden with 50 interactive flowers representing 50 palestinian villages. the work draws on their collaborative work with riwaq on revitalizing 50 palestinian historic fabrics and their on-going research by design as founders of ng architects and palestine regeneration team (part).

in this installation for the 3rd annual chicago architecture biennial, underneath the surface, a process of production is in place. capsules containing physical and digital dna is trapped in each flower to capture and share the story of the 50 villages. in real life when you qr code capture each of these flowers it connects you to the digital palestinian museum archives one of the most virtual platform of the palestinian museum components.

the museum works on building a digital archive that is open to the public and continuously updating, with the aim of documenting collections of photographs, films, sound recordings and other important materials that are threatened with loss, damage or confiscation, through digital preservation, to be available to researchers, artists and the general public on the museum’s virtual platform. , and on virtual platforms of other partner institutions in europe with the aim of reaching the widest possible audience. the archive will include all the digital collections that the museum has been able to collect and digitize in previous initiatives, including the family album project, which focused on exploring the photographic treasures that palestinians keep in their homes and documenting them for future generations,


above > yara sharif

[ curatorial statement ] titled …and other such stories, the 2019 chicago architecture biennial is rooted in close readings of the spatial realities of its host city. sitting at the crossroads of the great plains and the great lakes, chicago has been shaped by planetary forces: colonial expansion, mass migration, extraction economies, and rapid industrialization. thus, chicago’s urbanism is inextricable from the flows of people, goods, and capital—and the concurrent exploitation of bodies, labor, and nature—that have contributed to its making. today, despite the promise of economic development, chicago, like many other established and emergent global metropolises, faces challenging urban conditions that require the reimagining of forms of exchange between human activity, technology, and the natural world. by extension, owing to its physical geography, chicago is a singular context in which to address climate and ecological concerns shared by many postindustrial societies.

the third edition of the biennial will open 19 september 2019 thru 5 january 2020, and will convene the world’s leading practitioners, theorists, and commentators in the field of architecture and urbanism to further explore, debate, and demonstrate the significance of architectural concepts in contemporary society. the 2019 chicago architecture biennial is led by artistic director yesomi umolu with curators sepake angiama and paulo tavares.

[ events – weekly view ] #cab19 @chicagobiennial

2019 chicago architecture biennial week #2 calendar.

2019 chicago architecture biennial week #2 calendar.

Sep 28, 2019

above > the gun project memorial project 2019 / mass design group – exhibit designers

“…you hear those numbers all the time, but you never tie names to them. i wanted you to see who my son was.” pamela bosley, mother of terrell bosley / co-founder of purpose over pain

two chicago women whose sons were shot to death inspired the creation of the memorial. pamela montgomery-bosley’s 18-year-old son, terrell, was gunned down in a south side church parking lot helping a friend unload drums from a car. annette nance-holt’s 16-year-old son, blair holt, was killed as he was riding a cta bus home from his south side high school.

designed by the boston office of the mass design group, the reminders, artifacts of those slain, will be displayed in each of four houses. by showing objects from a wide range of victims, the architects are confronting the notion that gun violence is exclusively the province of young african american men belonging to gangs.

each house has 700 openings and there’s space for many more remembrances to be added.

the memorial, which honors u.s.a. gun violence victims, probably will be one of the most talked-about exhibits in the biennial. #stopgunviolence

[ curatorial statement ] titled …and other such stories, the 2019 chicago architecture biennial is rooted in close readings of the spatial realities of its host city. sitting at the crossroads of the great plains and the great lakes, chicago has been shaped by planetary forces: colonial expansion, mass migration, extraction economies, and rapid industrialization. thus, chicago’s urbanism is inextricable from the flows of people, goods, and capital—and the concurrent exploitation of bodies, labor, and nature—that have contributed to its making. today, despite the promise of economic development, chicago, like many other established and emergent global metropolises, faces challenging urban conditions that require the reimagining of forms of exchange between human activity, technology, and the natural world. by extension, owing to its physical geography, chicago is a singular context in which to address climate and ecological concerns shared by many postindustrial societies.

the third edition of the biennial will open 19 september 2019 thru 5 january 2020, and will convene the world’s leading practitioners, theorists, and commentators in the field of architecture and urbanism to further explore, debate, and demonstrate the significance of architectural concepts in contemporary society. the 2019 chicago architecture biennial is led by artistic director yesomi umolu with curators sepake angiama and paulo tavares.

[ events – weekly view ] #cab19 @chicagobiennial

expo chicago 2019: expression vs communication look #2.

expo chicago 2019: expression vs communication look #2.

Sep 21, 2019

above > study for homage to the square / josef albers / david zwirner (new york, london, paris, hong kong) – booth 239 / 1954 – 1960

what is the difference between art and design? i think it comes down to function. design can have many functions, whereas art has one single function. the function of art.

the question of what’s the difference between art and design often comes up at art expositions, perfect launchpads for such a confabulation. in this instance, DesignApplause submits that architecture, design, and engineering are one and the same.

> “what is the difference between art and design? as it applies to graphic design, i will say that the difference between art and design or artist and designers, is expression vs communication. … expression is about the artist and their view, design is about the audience and viewer. expression can be abstract and intangible but design has to be clear for the most part.” ~ anonymous

> “when one attempts to define art, there will be an artist to prove it wrong. ‘art is beautiful’ art becomes ugly. ‘art is emotional’ art becomes emotionless. ‘art is form’ art becomes idea. that’s the problem, art will always shatter definitions.

having said that, i will ignore my own advice and take a crack. i think it comes down to function. design can have many functions, whereas art has one single function. the function of art. digging deeper, the art concept can be portrayed in many different ways. the function of art isn’t singular, its endless.

so design is applied art? or maybe an eames chair is a design object when you’re trying to sell it or sit in it, and an art object when you’re observing it, etc. ~ anonymous

DesignApplause asked galleries if their artists in this show pursued any architectural or design studies in their background. 25 of 39 (64%) galleries point out the following:

above > elevator / gregory scott / catherine edelman gallery (chicago) – booth 167 / 2019

gregory has always blurred the lines between painting and photography, incorporating paintings he did of himself, or his body, back into his photographs. the resulting images were both humorous and odd, challenging the viewer’s perception of photographic truth. then, at the age of 49, scott decided to go to graduate school to strengthen his knowledge of art history and video making. having successfully merged his love of painting and photographs, his interest turned to video and its ability to move and manipulate still images. he received his bachelor degree in graphic design from the institute of design at iit in chicago in 1979 and his master of fine art from indiana university in 2008.

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above > horizontal obeah golio / remy jungerman / fridman gallery (new york) – booth 365 / 2016-18

remy brings together motifs from the de stijl movement with the maroon culture and the winti religion of his native suriname. he is interested in the journey of patterns and textures across time periods and continents. in jungerman’s works, the pared-down, highly stylized forms and primary colors of dutch modernism with inspiration from masters artist/designer piet mondrian and designer gerrit rietveld.

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above >jigawatts / sarah pichilkostner / josh lilly gallery (london) – booth 249 / 2019

the long-term research by sarah is focused on the representation of energy, time, space, self-optimization, productivity, self-reflection and empathy created by objects. solutions involve an interest and understanding of mechanical engineering. through a deep study of the behavior of materials, that combines effortless contemporary methods with laborious and outmoded fabrication techniques, pichlkostner reflects on the social behavior of and towards objects.

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above > tropic of cancer II / john little / mccormick gallery (chicago) – vallarino fine art (new york) – booth 255 / 1960

john started as a very successful textile and wallpaper designer. in 1933 he began classes at the art students league with george grosz, painting mainly cezannesque landscapes and then with hans hofmann in both new york and provincetown, which pushed him towards abstraction and his first serious involvement as a painter. he also happened to be a neighbor of lee krasner and jackson pollock, whom he became close friends.

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above > flow / emi ozawa / richard levy gallery (albuquerque) – booth 424 / 2019

emi strategically arranges color, form, and shadow to create compositions that shift when viewed from different perspectives. originally from tokyo, she studied woodworking at the university of the arts in philadelphia and later an mfa in furniture design from risd.

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above > sound landscape / void /galerie papillon (paris) – booth 413 / 2019

two artists arnaud eeckhout and mauro vitturini founded void to use sound as a medium to represent reality. the medium give shape to move through different fields of design in the form of installations, sculptures, objects, videos, paintings, and performances.

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above > mappings / kay rosen / rené schmitt (berlin) – booth 132 / 2019

kay works with language using words and letters and strategically lays out the content to manipulate the meanings in a very clever and insightful way. though not formally trained as a graphic designer, her typography and design skills inspire.

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above > untitled / devin reynolds / royale projects (los angeles) – booth 272 / 2019

raised in venice, ca, reynolds grew up working on fishing boats, scavenging flea markets with his mother, and surfing crudely painted boards emulating artists such as drew brophy and sean spoto, memories that have greatly informed his practice. inspired by barry mcgee and margaret killgallen, his obsession with marking his alias on the sides of boxcars moved into the studio where graffiti still greatly informs the scale and application of materials used in his work today. reynolds left southern california for new orleans, la to study at tulane university where he received his ba in architecture.

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above > rossiniére / georges rousse / sous les etoliles gallery (new york) – booth 263 / 2015

georges has been a photographer since the age of 9 and evolved into architectural photography, inventing a unique approach that shifted the relationship of painting to space. he began making installations in the types of abandoned or derelict buildings that have long held an attraction for him – creating ephemeral, one-of-a-kind artworks by transforming these sites into pictorial spaces that are visible only in his photographs. he fits well into oscar niemeyer‘s definition of architecture, “”architecture is invention.”

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above > study for homage to the square / josef albers / david zwirner (new york, london, paris, hong kong) – booth 239 / 1954 – 1960

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above > corona & bar cabaret / robert cottingham / tandem press & apex gallery (madison) – booth 262 / 2015 & 2019

although robert is known for his photorealistic depictions of signs, storefront marquees, railroad boxcars and letter forms, he does not consider himself a photorealist artist. his imagery, while derived from the photographs he takes, expands on the photographic image, it does not replicate it. he received his bfa degree from the pratt institute. he later studied art at the arts center college of design.

[ expo chicago 2019: expression vs communication look #1 ]

expo chicago 2019: expression vs communication look #1.

expo chicago 2019: expression vs communication look #1.

Sep 20, 2019

above > shelves ‘dune’ / zaha hadid / david gill gallery (london) – booth 105 / 2007

what is the difference between art and design? i think it comes down to function. design can have many functions, whereas art has one single function. the function of art.

the question of what’s the difference between art and design often comes up at art expositions, perfect launchpads for such a confabulation. in this instance, DesignApplause submits that architecture, design, and engineering are one and the same.

> “what is the difference between art and design? as it applies to graphic design, i will say that the difference between art and design or artist and designers, is expression vs communication. … expression is about the artist and their view, design is about the audience and viewer. expression can be abstract and intangible but design has to be clear for the most part.” ~ anonymous

> “when one attempts to define art, there will be an artist to prove it wrong. ‘art is beautiful’ art becomes ugly. ‘art is emotional’ art becomes emotionless. ‘art is form’ art becomes idea. that’s the problem, art will always shatter definitions.

having said that, i will ignore my own advice and take a crack. i think it comes down to function. design can have many functions, whereas art has one single function. the function of art. digging deeper, the art concept can be portrayed in many different ways. the function of art isn’t singular, its endless.

so design is applied art? or maybe an eames chair is a design object when you’re trying to sell it or sit in it, and an art object when you’re observing it, etc. ~ anonymous

DesignApplause asked galleries if their artists in this show pursued any architectural or design studies in their background. 25 of 39 (64%) galleries point out the following:

physichromie no. 2406 / carlos cruz-diez / ascaso gallery (miami, caracas) – booth 442 / 2002

carlos (1923 – 2019) was an artist and designer.

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cadeira tripe de ferro / lina bo bardi / bergamin & gomide (sao paulo) – booth 311 / 1948-89

pmr chase longue / mendes da rocha / bergamin & gomide (sao paulo) – booth 311 / 1985

patrona alta / oscar niemeyer / bergamin & gomide (sao paulo) – booth 311 / 1971

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above > a fake history of humanity / octavio abúndez / galeria curro (guadadalajara) – booth 101 / 2019

galeria curro‘s proposal deals with knowledge and its representation and reception throughout the history of art and science. octavio abúndez’s new painting project a fake history of humanity offers alternative versions of history to our post-truth era, while deconstructing and creating a tribute relationship with the richter’s color charts. octavia is an architect.

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above > holiday greetings / herbert bayer / stephen daiter gallery (chicago) – booth 143 / 1941

above > the measure of man: a study in perspective / herbert bayer / stephen daiter gallery (chicago) – booth 143 / 1940

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above > coffee table ‘megalith in motion’ / david libeskind / david gill gallery (london) – booth 105 / 2018

above > shelves ‘dune’ / zaha hadid / david gill gallery (london) – booth 105 / 2007

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above > highway with mountain / theaster gates / richard gray gallery (chicago) – booth 139 / 2019

theaster gates is a chicago social practice installation artist, designer with a b.s degree in urban planning and ceramics.

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above > we hold these truths / bob faust / kavi gupta (chicago) – booth 121 / 2019

bob faust is a chicago graphic designer.

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above > chair ‘abrigo’ / mameluca studio (rio de janeiro, miami, new york) – booth 440 / mercado moderno / 2019

above > cafofo / mameluca studio (rio de janeiro, miami, new york) – booth 440 / mercado moderno / 2015

gallery mercado moderno is based in rio de janeiro, miami and new york. founded in 2001 by alberto vicente and marcelo vasconcellos, mercado moderno is a gallery dedicated to brazilian design from the 1950s to 80s and contemporary design-art.

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above > untitled / richard koppe (1916-1973) / richard norton gallery (chicago) – booth 275 / 1951

above > postcard of chicago restaurant well of the sea

richard was the first design student for lazlo moholy-nagy at the new bauhaus chicago. he later turned to painting and some interior design where he created murals and chandeliers for a famous chicago restaurant well of the sea.

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above > various paintings / danielle tegeder / carrie secrist gallery (chicago) – booth 137 / 2017

dannielle is chicago artist integrating languages of architecture, planning and design, and urban construction. inspired by her father who was a pipe fitter in commercial architecture.

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[ expo chicago 2019: expression vs communication look #2 ]

2019 chicago architecture biennial week #1 calendar.

2019 chicago architecture biennial week #1 calendar.

Sep 18, 2019

above > skievvar, 2019 / joar nango

the artist-architect joar nango is a member of the sámi people, an indigenous group from the north of norway and sweden. he creates site-specific installations and self-made publications that explore indigenous perspectives via contemporary architecture. there’s an archival window called skievvarcoolli, designed and built by oceangoing sámi people out of dried halibut stomachs spanning wooden frames. for the biennial, nango’s creative team developed a prototype for a new kind of window screen using this old technology. skievvar is a slightly absurd anti-capitalist piece of ancient-futurist technology carrying old wisdoms through its simple material, presented in chicago, itself a cradle of modernist architecture.

[ curatorial statement ] titled …and other such stories, the 2019 chicago architecture biennial is rooted in close readings of the spatial realities of its host city. sitting at the crossroads of the great plains and the great lakes, chicago has been shaped by planetary forces: colonial expansion, mass migration, extraction economies, and rapid industrialization. thus, chicago’s urbanism is inextricable from the flows of people, goods, and capital—and the concurrent exploitation of bodies, labor, and nature—that have contributed to its making. today, despite the promise of economic development, chicago, like many other established and emergent global metropolises, faces challenging urban conditions that require the reimagining of forms of exchange between human activity, technology, and the natural world. by extension, owing to its physical geography, chicago is a singular context in which to address climate and ecological concerns shared by many postindustrial societies.

the third edition of the biennial will open 19 september 2019 thru 5 january 2020, and will convene the world’s leading practitioners, theorists, and commentators in the field of architecture and urbanism to further explore, debate, and demonstrate the significance of architectural concepts in contemporary society. the 2019 chicago architecture biennial is led by artistic director yesomi umolu with curators sepake angiama and paulo tavares.

[ events – weekly view ] #cab19 @chicagobiennial

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