Here’s an interesting interview with fashion designer and artist Hussein Chalayan about the Level Vodka tunnel that he has designed.
Andra bloggar om: reklam, marknadsföring, vodka, hussein chalayan, varumärke
Here follows a couple of image of different projects presented by Ronan and Erwan Bouroullec at the Milan Design Week. The products are Alcove love seat highback for Vitra, Rocs for the Vitra Edition, Steelwood collection for Magis, Pebble for Tectona and Papyrus chair for Kartell.
Andra bloggar om: design, möbler, inredning, milano, mässa, bouroullec
Here follows a couple of images from some of the Boost talks (formerly known as lectures and interviews) my company Designboost hosted at the Stockholm Furniture Fair 6-9 February. Among the persons involved in the different Boost talks were Eero Koivisto, Ilse Crawford, Giulio Cappellini, Satyendra Pakhale, Stephen Burks, Ewa Kumlin, Save our Souls, TAF architects, Matti Klenell, Teruo Kurosaki, Maria Midby Arén and Yvonne Karlsson/Alcro, Anders Breitholtz/Raw, Alexander Lervik, Mirkku Kullberg/managing director of Artek and Christel Vaenerberg/brand director of Iittala.
Ilse Crawford interviewed by David Carlson and Peer Eriksson of Designboost. Photo by Willeam Wendel.
Designers Eero Koivisto and Satyendra Pakhale in discussion with Anders Englund from Offecct.
David Carlson and Peer Eriksson of Designboost (left and right) in an interview with the Greenhouse designers Mattias Ståhlbom and Gabriella Gustafson/TAF architects. Photo courtesy by Core 77.
Matti Klenell
Ewa Kumlin/Svensk Form and Stephen Burks
Ewa Kumlin/Svensk Form, Caroline Heiroth/Swedish Style, Benjamin Budde/Daily Press, Mat (Matsui), Karin Wiberg/Ung, Satyendra Pakhale and Teruo Kurosaki.
David Carlson and Peer Eriksson of Designboost (left and right) in an interview with the Designbar designers Magdalena Nilsson and Johannes Carlström of Save our souls.
Thanks to Offecct for the flower stools.
Andra bloggar om: möbelmässan, design, möbler, inredning, föreläsningar, stockholm furniture fair
London-based designer Becky Earley is not as famous as she ought to be. A pioneering practitioner who charts the boundaries of new fabrics and forges fresh directions for old fibres, Earley’s contribution to British textiles is really something.
Right now, Earley is lauded for her commitment to sustainable textiles. Everyone knows she was one of the first designers to print onto light-absorbing fleece made from recycled plastic bottles, and that she broke fresh ground by developing eco-friendly printing processes and even came up with a new paradigm of garment recycling. But before that, while still a student at Central St Martin’s, Earley decided to buck the norm of designing floral prints, feminine repeats and bold colour-ways. Then she skived off to the photography department one day and developed a ‘heat photogram’ method while she was down there. She used real items such as pins, steel mesh, aluminium foil and barbed wire, and gritty scavenged finds she picked up on the street. When she came back, she used the process to create permanent prints on cloth. The prints that resulted were striking in their lucidity. Since then, photographs have loomed large in her work.
It’s no surprise, then, that Earley’s friends like to tease her and pretend that she is probably one of the most widely-published photographers in Britain. Her heat photogram images are printed onto textiles rather than photographic paper, but they have been reproduced by the thousands. Earley’s photographs have adorned countless magazine covers, and rocketed to paparazzi fame when worn by celebrities such as Björk and Kylie, and television personalities like Zoe Ball. Earley shrugs it all off, saying its was probably because of her dad. ‘He bought me a camera when I was ten, and all I wanted to do for years was take pictures,’ she said. ‘Maybe it was a surprise that I chose textiles instead of photography, but when I started printing my pictures on fabric, everyone knew where it came from.’
There is much more to Earley’s work than pictures; her imagery provides imaginary keys that unlock a gateway into several real worlds. Although her prints are sometimes described as realism, to her they are anything but. ‘Don’t they bring an element of surrealism to textile design? I’ve taken photographs of models’ hands and feet and printed them onto garments - really edgy stuff that artists like Björk loved. Some of my favourite photos were the ones of tatty garments that I had found somewhere, which I airbrushed, coloured and photoshopped to make them beautiful. Transforming a rag into a glamourous textile isn’t realism - it’s the opposite.’
The ‘b.earley’ label was launched in 1994, assisted by funding from the British Crafts Council and the Prince’s Trust. From a tiny studio in London’s Brick Lane, b.earley launched substantial production runs. ‘I guess by 1998-1999 we must have averaged 800 hand-printed scarves per week,’ Earley said. ‘Which were distributed to 26 stockists worldwide.’ Earley was hands-on in the production process, which quickly showed her how toxic textile production could be. ‘Everything was filthy all the time,’ she said.
‘It was uncomfortable for the people working there, and damaging to the environment. At one point in 1999 I looked around and thought “What can I clean up here?” and so I started developing my ‘exhaust printing’ process.’ Like exhaust dyeing, exhaust printing reuses the original dye solution for every garment in the production run. It recycles the chemicals, minimising water pollution and chemical waste. ‘None of my clients wanted to buy a whole production run at first because the image fades in the process and gives each garment a unique colour-way,’ Earley said. ‘To me, that was a major selling point, because the production run created a group of unique items to sell rather than just a series of multiples.’
Earley has decided to address the growing problem of post-consumer waste, coming up with a method of recycling the millions of garments that are worn for one season and cast off when trends move forward. ‘From working in the industry, I knew that Marks & Spencer have researched micro-fibre polyester and produce blouses that are long-lasting,’ Earley explained. ‘But I also knew that they dated quickly and end up in the rubbish. So I order them from textile recycling plants outside London, where I buy them by the bale. They’re almost always in perfect condition, occasionally they’re be a balsamic vinegar stain or something, which doesn’t make any difference because I over-print them anyway. Many of them are also re-cut by sonic slitting that reconfigures the seams or incorporates a few new design details.’
Earley currently holds the coveted research position of Reader Fellow at Chelsea College of Art & Design in London, but continues to develop her own label. ‘I teach and co-ordinate research projects in the college and outside it,’ Earley said. ‘When I’m there I’m analysing how other design disciplines are finding ways to become more environmentally-friendly and seeing what textile designers can learn from them.’ Earley’s research will be published in a book which proposes seven strategies for eco-friendly textile design, due be released in 2009. ‘When I’m not at the college you’ll probably find me in the wooden eco lodge at the bottom of my garden, sitting in behind my computer. It’s a great place to think. I think a lot about the future of textile design and I want to develop new strategies to minimise the amount of waste.’
Earley’s unique oeuvre positions her between several worlds: the creative forum of her studio practice, the analytical industry ‘watchdog’, and the theoretical realm of academia. But which one does she really belong to? ‘I’ve got my fingers in several pies right now,’ Earley said. ‘I love having a small studio and my own label and I also love what I do at the college. I think what I love most is feeling that I belong to a whole new breed of textile designers, who are thinking, theorising and researching just as much as they are dreaming, imagining and creating. Professionals that can use their knowledge of textiles and systems and design whole new environments. To me that’s exciting, because that’s what’s the future needs.’
This is a post by David Report contributor Bradley Quinn.
Andra bloggar om: textil, design, becky earley, tyg
Here is another video that we produced for Designboost 07. This time it is American designer Stephen Burks who talks about his interesting design projects in Peru and South Africa. Listen to how he is trying to join handcraft with great authenticity and industrial production.
Andra bloggar om: stephen burks, designboost, design, hantverk, hållbar design, video
We did a couple of interviews for the Designboost exhibition. Here is one with Dutch designer Tejo Remy.Ping Intressant.se
Andra bloggar om: tejo remy, design, möbler, holland, video, intervju
This is the first of five editions of a conversation between myself and Satyendra Pakhalé about various concerns on creation, ideas, point of views and processes surrounding design. We hope that we will be able to bring forward ideas that could lead to development of better and more desirous creation. Design that creates difference and meaning for companies, organisations and for the individual. Design that can reshape our ideas. Please feel free to comment everything we are talking about. We believe in mind sharing and would love to get your insights.
As it looks today the five different editions (first one starts today) of the conversation will touch the following topics:
1. humanistic and cultural values
2. sustainability
3. sensorial products
4. material innovation
5. iconic design
First I would like to make a short introduction of my conversation partner Satyendra Pakhalé:
Satyendra Pakhalé is an international designer and cultural nomad based in Amsterdam, The Netherlands. After completing his Bachelor of Engineering, Master of Design in India and Advanced Product Design in Switzerland, he worked at Philips Design - creating new products and scenarios for new business creations, among others in the areas of digital communication and transportation.
In 1998 he set up his own design practice in Amsterdam. Since then he has been working on his own projects and on projects for diverse industries in many different countries. Renowned companies such as Alessi, Italy; Bosa, Italy; Cappellini, Italy; Colombo Design, Italy; C-Sam, USA/UK; CorUnum, The Netherlands; Curvet, Italy; De Vecchi, Italy; Erreti, Italy; Offecct, Sweden; Magis, Italy; Moroso, Italy; RSVP, Italy; SCA, Sweden; Tubes, Italy; Väveriet, Sweden; and organizations like Material ConneXion (USA) rank among his clients.
The design work of Satyendra Pakhalé are in several public collections, among others Stedelijk Museum, Amsterdam and Centre Pompidou, Paris. Recently he has been invited to art-direct and head the Master programme in Design for Humanity and Sustainable Living at Design Academy Eindhoven, The Netherlands. Since 2005 Satyendra Pakhalé has been advisor on the Board of Directors of the Ambassadors Board, Design & Technology community chain mission, Eindhoven, NL.
OK - let’s start the conversation:
David Carlson (DC)
Satyendra, please let me know a little more about your recent invitation to art-direct and Head the Master of Design for Humanity and Sustainable Living at the Design Academy Eindhoven.
Satyendra Pakhalé (SP)
Almost two years ago I was asked by Li Edelkoort, Board of Director and Chair woman of Design Academy Eindhoven to consider to head the Masters programme in Design for Humanity.
Then I was not so sure as I was extremely busy with several projects with my practice and perhaps the time was not so right for me. Then, a bit more than a year later, the education director along with Li Edelkoort suggested me again, and that made me think. After considerable deliberation over last summer vacation, I decided to accept to Art-direct and head the Masters of Design for Humanity. The nice thing about it is that it has been organized in a new way- that means I do not have any conventional responsibilities with the institution. It’s all being taken care by the programme coordinator along with the department coordinator. This situation makes the best use of my time and tries to get the best possible results in a given time. I am like a consultant to give a creative vision on design faced towards a humanistic and hopeful stance, which will help, build a fresh approach to sustainable living. These issues are dear to my heart and I have been working on these issues for a while. Besides, my practice consists of professional practice, design education and consistent research. Somehow this situation allows me to work in all these fields without loosing my main core focus on my design practice.
(DC)
Looking at your own designs they all have a strong humanistic and cultural touch. Do you think this is an important component in modern design?
(SP)
Yes indeed it is certainly an important issue, in today’s context we need it more and more than before – as the real human cross cultural issues come to the surface in all the societies around the world in general and specially European context in particular.
We still really need to understand in industrial cultures and learn how to refocus our attention to humanistic and cultural aspects in industry rather than the technological focus that we predominantly have right now.
As we all know, technology for the sake of technology does not mean much, unless it delivers. Besides, we also know that almost everybody has access to almost all kinds of technologies around the world, therefore to refocus on a culture of creation is the utmost need.
I have been concern about these issues for a long time.
(DC)
I do also see your design as very personal. I could probably spot one of your designs without knowing them in beforehand. Do you find a lack of personality in the design community today?
(SP)
Recently Mr. Rolf Fehlbaum of VITRA said there are many designers and very few authors. I agree with that. I would say to negate personality in any creative filed of work is an error; however to remain satisfied with personality alone is yet a greater error.
In the case of a really great individual the greatness lies in his/her having gone beyond his/her individualism. I feel design should not be impeded by individualism. Stress upon individualism alone is totally unsatisfactory, even though we all designers get benefited by it sometimes. On the other hand where do we find true creation without individualism!!! So having no individuality and transcending it- these two issues must not be confused.
(DC)
Design can answer the important question WHAT. What kinds of demand will a certain product create, what kind of problem is it solving? Technology will only answer the question HOW. How do we deliver this solution? Despite of this a lot of companies are still trying to make their products into the category equivalence of the Swiss Army Knife. Why do you think we see this behavior over and over all the time?
(SP)
It is perhaps not being able to take a position- a creative strong point of view, or may be a lack of confidence or trust in their own abilities or perhaps almost no trust in the people by and large who are end users or combination of many things of that sort. One could observe this in many companies driven by so-called marketing experts. We will certainly continue our conversation further on these issues.
———-
Stay tuned for the next part of the conversation between David Carlson and Satyendra Pakhalé concerning sustainability. Soon at a computer near you…
To be sure of not missing any of the conversations, subscription of the David Report blog is possible via RSS or e-mail at the top left hand side of the blog.
Andra bloggar om: design, satyendra pakhale, intervju, hållbart samhälle, innovation
Designboom has just presented a nice interview with Patricia Urquiola, one of the leading designers of today. Read the full interview here. Below is a short excerpt:
You are working in a man’s world… who would you like to design something for?
I like to work for passionate entrepreneurs, who give me a precise briefing and like to discuss it, people who are able to have fun. I do not have many desires - this is very masculine - often desires transform themselves into frustration.
Is there a designer or architect from the past that has influenced you or that you particularly appreciate the work of?
I was very fortunate to work with vico magistretti which was an important experience in my career and achille castiglioni. I like the work of the eames’, the scandinavians and franco albini.
And contemporary designers and architects?
Jasper Morrison, who I respect very much, his work is a point of reference. The Bouroullecs and Konstantin Grcic, who are all very talented and I follow their work with pleasure.
Do you have any advice for the young?
I had a slow start to my career, I spent a lot of years studying and I wouldn’t recommend this to anybody. Be very passionate and curious! Find a few cultural references and people who can give you guidance to develop your personality. Try to defend your ideas and projects, create your own formula.
Is there anything that you are afraid of regarding the future?
I don’t have many worries regarding my work. I am very fortunate. I am more worried about my responsibilities to my family and raising my children.
Thanks to Dezain.net.
Andra bloggar om: patricia urquiola, design, intervju
The temperature will certainly rise several degrees at any dinner party with this new table from Inga Sempé. La Chapelle Big is a natural centrepiece and an iconic approach to the grand supper table.
I just had a chance to talk to Inga Sempé about here new table. Here follows our conversation in short;
Inga, Please let me know your idea behind the table.
I wanted to design a table that would look neither technical nor cold or minimalistic. I wanted something with grace, like someone who is not perfect but has some charm. And because of the huge length of the top, I concentrated on proportions that would not make it look heavy, with emptiness. I don’t like visually heavy objects. After I had designed the first side tables in the series, I realised that the graphic structure resembling that of the nice garbage bins in the Luxembourg garden in Paris, a place that I remember since my childhood.
Who do you see sitting around the table?
Ugly, young, heavy, beautiful, old and stupid people, and around a dirty dog who tries to catch the food on the table. I would prefer Vladimir Putin not to buy one, because he already has a lamp I did for Cappellini in his St Petersburg castle. He invited Bush and his wife to have dinner and the picture was published in the daily french Liberation. I was a little ashamed.
Is gathering around a dining table important for you?
For me, yes, but not for a long, because I hate sitting a long time around a table, cause I’m not patient at all, and I need to be on my own. For instance, I really don’t like to have people coming to have dinner at home, because they like to stay late, whereas I need to go to bed when we’ve finished eating. But I don’t design objects for my use. And many people love to organize long dinners with many people.
Do you have a suggestion for a nice chair to use with the table?
No, when I design an object, I don’t think like an interior architect. I like people to use a chair that they would like, even if I would not like it. I don’t do prescription.
————
Inga Sempé is one of my favourite designers. She has a very personal design style that attracts me a lot. And what’s really nice is that Inga Sempé also is a contributor to the David Report blog. The table is produced by my old company David Design.
Andra bloggar om: design, inga sempe, david design, möbler
Zaha Hadid is recognised as one of the leading architects of present time. A couple of weeks ago I wrote a post about the Ideal house at the Imm Cologne Furniture Fair by Zaha Hadid. I would like to follow that post up with a nice interview conducted by the web magazine Designboom.
You will get to know that Zaha Hadid is not using a computer when working, she discribes her style as ” virtuoso of elegance” and that she does not have a pet. Read the full interview with Zaha Hadid here.
Thanks to dezain.net
Andra bloggar om: zaha hadid, arkitektur, intervju
