Manshausen Island is situated in the Steigen Archipelago off the coast of Northern Norway. The Island´s position between dramatic mountains and the Barents Sea is in itself the inspiration for celebrated Polar Explorer Børge Ousland´s newest adventure; an adventure and exploration resort. The area is home to the world´s largest population of Sea Eagles and the fishing is spectacular. To the north the horizon is dominated by the mountain-range of Lofoten.
Manshausen Island was historically part of one of Northern-Norway´s largest trading posts for the fishing industry, today only visible in the massive stone quays on the Island. Additionally there is an existing 18th century small farmhouse on the Island.
The resort was planned and laid out in consideraton of the Island´s topography and the two main existing structures – the old farmhouse and the stone quays. The old farmhouse is situated on a small protected grassy plain on the Island and has been carefully restored, but also opened up towards the view of Lofoten in the North. The interior gives room to a professional kitchen and dining area on the ground floor and a relaxing library on the first floor. The cabins are all but one placed on the stonequays, partially cantilivered above the sea, one placed on a natural shelf on the rocky formations above. The positioning and orientation of all the cabins is based on the consideration of their individual panoramic views and privacy for the guests.
Manshausen Hotel, by Snorre Stinessen
With the major exhibition »The Bauhaus #itsalldesign« (26.09.2015 – 28.02.2016), the Vitra Design Museum presents, a comprehensive overview of design at the Bauhaus for the first time. The exhibition encompasses a multiplicity of rare, in some cases never-before-seen exhibits from the fields of design, architecture, art, film and photography. At the same time, it confronts the design of the Bauhaus with current debates and tendencies in design and with the works of contemporary designers, artists and architects. In this way, “The Bauhaus #itsalldesign” reveals the surprising present-day relevance of a legendary cultural institution.
The Bauhaus #itsalldesign, by Vitra Design Museum
Moore constructed a new body of work that fuses his bold, graphic, op-geo vocabulary with extruded mosaic forms that bring the works to life in three dimensions. The series is activated by the angle and intensity of the light source, be it a deliberate directional lamp, or the natural curve of each day’s sun cycle. Symmetries and depth are revealed in a spectrum of proportions, and color palettes are expanded upon, into numerous parallel hues revealed by the shadows.
The exhibition is comprised of 5 chapters, each with its own concept and aesthetic. A series of greyscale cut-paper mosaics created in Montreal in Fall 2014 is displayed as evidence of the explorations that led to the layered sensibilities of the more elaborate colorful works created during this Bay Area residency. A series of 4 pure symmetry colorful compositions reminiscent of sacred geometry grids, timeless diamond cuts, and architectural monuments hangs as a family on one side of the space. Opposite this wall is a series of 12 square works that bring Moore’s signature graphic syntax into three dimensions, playing with the eye when viewed from different vantage points. One extra large modular construct composed of 5 pieces that hang synchronized is displayed void of color to allow the viewer to explore the subtle nuances of light and shadow without the distraction of color.
On the back two walls of 886 Geary Gallery, Moore has constructed a large mosaic dimensional mural comprised of the same forms used in the rest of the series. This in-situ installation has been left to chance and intuition, with Moore opting to freestyle the build spontaneously rather than reference drafted blueprints.
Shadovvs, Artist Residency & Exhibition, San Francisco, California, by Matt W. Moore, for 886 Geary Gallery
Photography by 886 Geary Gallery and Matt W. Moore
The M.A.D.Gallery is hosting “Optical Variations”, an exhibit by French artist Damien Bénéteau, featuring four of his illuminated, hypnotizing monochromatic mobiles. A photographer by training, Bénéteau creates art dedicated to light, capturing it in a playful and energetic way that renders it nearly tangible. Bénéteau’s kinetic sculptures reflect his fascination with how an object’s volume is perceived in various lighting situations and his interest in mechanics and machines. “My greatest influences come from minimalist sculpture, seen in the mixture of geometric aesthetics, austerity and simplicity found in my work” says the artist.
In three of his installations for the M.A.D.Gallery – “Length Variations”, “Circular Variations” and “Spatial Variations” – the French artist plays with pendulums, pairing their oscillating movement with light to create a trio of mesmerizing phenomena. “Sphérolithe”, in contrast, sees the former photographer moving away from the continuous movement of the pendulum, rather letting light emanating from a stationary point speak for itself. The light pulsates like the throbbing of a heartbeat: consistent, calm, calculated.
Operating from his own atelier in the suburb of Paris, Bénéteau, a connoisseur of machinery, uses milling, polishing and metal turning machines to create his structures, each one requiring between three and six months of work.
Optical Variations, by Damien Bénéteau
Arthur Erickson: Lignes topographiques / Site Lines
World-renowned Canadian architect, Arthur Erickson (1924-2009) created a remarkable body of work, distinguished by the quality of its relationship to site and landscape. Organized by the Canadian Architectural Archives (CAA) of the University of Calgary, which holds a large Erickson collection, this exhibition presents drawings and sketches illustrating eight of the Vancouver architect’s projects designed during the 1960s: five residences, two university campuses (including the famous project for Simon Fraser University), and the Canada pavilion for Expo 70 in Osaka. The exhibition will also be an opportunity to revisit Erickson’s Montreal connection, with a special section prepared by the Centre de Design: two projects designed when Erickson was a student at McGill University (1946-1950), two pavilions for Expo 67, and one intriguing project for a residential complex designed with the idea of offering a monumental entrance to downtown Montreal.
Brasilia was built out on the brazilian savannah in four year during the 60s, based upon a masterplan made by Lúcio Costa. Most of the important buildings are designed by the brazilian architect Oscar Niemeyer. The lay out of the urban plan resembles an airplane, containing two main axes with the main governmental functions in what would be the “cockpit” of the plane. The pilot plan with its huge open spaces, buildings, streets and public squares was meant to be represent an ideal city of future, true to the ideals of modernistic city planning of that time. Today Brasilia stands out as a well planned utopian future city from the past. Whatever the conclusion might be on the urban planning, the collection of buildings stands out as an impressive work of modern architecture.
Brasilia, by Øystein Aspelund
Over the course of seven seasons, the landmark series “Mad Men” has charted the rise of ad man Don Draper in the “Golden Age” of advertising in 1960s New York. The bench is located in front of the Time & Life Building, fictional home of Sterling Cooper Draper Pryce. Designed by Pentagram’s Lorenzo Apicella, Michael Bierut and Emily Oberman, the monument takes the form of a sleek, elegant bench that features the iconic graphic of Draper from the show’s opening title sequence.
The idea behind the bench is strong and simple. The silhouette of Don with his arm draped over a couch has become a symbol of “Mad Men,” seen in the final moments of the opening titles designed by Imaginary Forces. The show’s story is told against the backdrop of massive cultural changes in the 1960s, and the graphic pictures Don sitting back, taking it all in. The bench invites visitors to do the same, to take a moment and observe the excitement of New York around them. Fans are welcome to “drape” themselves on the bench like Don, and take and post photos.
“Mad Men,” and Don in particular, are known for their cool, consummate sense of style, and the show has been credited with renewing interest in mid-century modern design. Rather than recreate the look of the period, Apicella’s design for the bench echoes it in clean, smooth lines that make the monument the chicest, most sophisticated piece of street furniture in the city. Comprised of only two pieces, the 12-foot-long bench combines a ½” thick-rolled steel plate seat and back, balanced on a 10-foot-long cast concrete base. Don’s silhouette is cut from the seat, which has a powder-coated black finish with white painted graphic elements. The concrete base color was selected to complement the existing plaza paving pattern.
Mad Men Monument, by Lorenzo Apicella with Michael Bierut and Emily Oberman
The 9 different types of chocolate are made within the same size, 26x26x26mm, featuring pointed tips, hollow interiors, smooth or rough surface textures and, while the raw materials are identical, the distinctive textures create different tastes.
Each chocolate is directly named after Japanese expressions used to describe texture.
1. “tubu-tubu” Chunks of smaller chocolate drops.
2. “sube-sube” Smooth edges and corners.
3. “zara-zara” Granular like a file.
4. “toge-toge” Sharp pointed tips.
5. “goro-goro” Fourteen connected small cubes.
6. “fuwa-fuwa” Soft and airy with many tiny holes.
7. “poki-poki” A cube frame made of chocolate sticks.
8. “suka-suka” A hollow cube with thin walls.
9. “zaku-zaku” Alternately placed thin chocolate rods forming a cube.
Chocolatexture, by Nendo
Photography by Akihiro Yoshida
The simple wooden box has the company’s logo, as well as Matazaemon – the name of the founder – written in Kanji. The elegant package contains “ingredients” like a vinegar bottle, a rounded out block of wood that acts as a stand, and a booklet with an overview of the company, as well as various recipes.
Mizkan Vinegar Packaging Design, by Taku Satoh
Project EGG is an object measuring 5 x 4 x 3 meter, composed of 4760 uniquely shaped stones, 3D-printed by Studio Michiel van der Kley together with hundreds of co-creators all over the world. The largest 3D-printing community art project so far. A new way of creating and collaborating. You could call Project EGG a poetic pavilion. The building has an organic form and structure where the floor, walls and ceiling fully and seamlessly merge. It has been constructed with 4760 open, elegantly designed stones, each one’s shape unique. Many small elements together forming a large structure, as in the objects from nature that designer Michiel van der Kley likes to look at, such as crocodile skin, corn cobs, coral. He finds in these a language of segmentation which he merges with the possibilities of desktop 3D-printing; when you see a large object as the total of many small elements the potential is limitless. The material is new, PLA, re-usable and biodegradable. Also the way this object is produced is new; not by a factory but by a community. Project EGG invites you to enter it and to be inundated by the play of light and shade, to see 100 shades of white and to experience space and emptiness at the same time.
This is the largest desktop 3d-printed co-creation art project so far. During his research on the potential of the 3D-printer, Van der Kley came into contact with bloggers and digital communities all over the world. He learned much from them and invited them to print one of the stones for Project EGG. Since each stone has to be printed individually, it is very easy to make slight variations in each design. Participants received the digital version for their unique stone in which their name has been included.
Project EGG, by Michiel van der Kley