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Wunderboxes by PostlerFerguson for V&A

Wunderboxes is a temporary installation designed for the V&A Friday late programme “Archive Live” in the grand entrance hall of the V&A museum in London. PostlerFerguson was commissioned to visualize parts of their research and the design team responded with an installation of differently formatted cardboard boxes each one housing a bright orange light box displaying a variety of three dimensional models to create an abstract but strangely familiar collection of “things”. Spectators were encouraged to come closer and examine the partly hidden and camouflaged objects being drawn in by the warm and hypnotising orange glow of the boxes. From a tiger attack helicopter to Han Solo in Carbonite – from a Lobster to the iconic “Nike Swoosh” the objects represent the designers divers interests and fields of research from science to popular culture.

Wunderboxes, by Postlerferguson, for Victoria and Albert Museum

9 Mirrors by Ron Gilad

At the Milan Furniture Fair Dilmos presents a series of mirrors that contain historical references combining the present with the past and that, like the nine lives of a cat, represents the possibility of inner lives. In the series 9 mirrors Ron Gilad suggests that the mirrored image contains a hypocrisy which reflects only our exterior selves. He is asking us to contemplate a more complex and poetic possibility of reality. The title, like the nine lives of a cat, represents the possibility of inner lives or the soul of the mirror.

Gilad’s mirrors are simple rectangular wooden frames that have been injected with stories. The reflection of the spectator is no longer only objective but contains more than the present. The functional aspect becomes secondary; the cords over the glass, the voided gilded frames and the bronze sconce in front of the user’s face are not here to decorate the mirrors. Some of the mirrors contain historical references combining the present with the past; a reference to other lives besides our own. Others play with structure, distorting our perception of the mirror as an object.

9 Mirrors by Ron Gilad, at Dilmos, Milan, via: domus

Mixed Media by Gianfranco Pardi

Mixed Media, by Gianfranco Pardi, via The Silver Lining

Exhibtion: Motoi Yamamoto Labyrinth at Reliefs

Labyrinth, by Motoi Yamamoto, Salt, 3.2 x 11m, Exhibition: Reliefs, 12 January – 26 February, at Fondation Espace Ecureuil , France

Exhibition: Cubics Jan Slothouber + William Graatsma

After an architectural training Jan Slothouber (1918 – 2007) and William Graatsma (1925) worked as architects / designers from 1955 for the Dutch State Mines (DSM). Here they designed the packing, product applications, advertisements and exhibitions and gave the company a recognizable face. Within the information service of DSM the two had an unique position: they could build their own world and developed the principle of cubic constructions. The cubic as a main point brought restriction but also clearity in the multiplicity of possibilities according to Slothouber and Graatsma. The use of several materials adds each time new aspects to the functioning of the cubic constructions.

With their work Slothouber and Graatsma had a clear social intention. The designers considered themselves in fact as ‘ anonymous ‘ discoverers of the many applications of cubics. In democratic passing these possibilities, in which the useful construction exceeds the personal, artistic claim, lies the meaning of their activities. On one hand their working method was entirely new, on the other hand it had been linked with an old idealistic tradition, which propagated an important role for art and design in society.

Cubics Jan Slothouber + William Graatsma, January 9 – February 27, at Vivid Gallery, Rotterdam, Netherlands

Exhibition: dancing squares by nendo

We assembled square planes to create a sense of motion in this series of objects. One part of the bookshelf is frozen in its cascade of tumbling shelves, creating variety in the way books can be stacked. The stool’s twist endows it with visual play. Lamps roll about but are stable, thank to their planes, and cast light in different directions. The table leans as though falling away, but maintains its function as a table, and makes objects placed on it seem to sink into its folds and sways. The different ‘movements’make balance and unbalance overlap, as though we are watching the planes themselves dance.

Exhibition: dancing squares, by nendo, January 13th – 16, Art Stage, Singapore, Photography by Masayuki Hayashi

Gravity is a Force to be Reckoned With by Iñigo Manglano-Ovalle

Madrid-born artist Iñigo Manglano-Ovalle’s latest work, Gravity is a Force to be Reckoned With, realizes one of Mies van der Rohe’s unbuilt projects–albeit upside-down. The installation is an inverted, replica of Mies’ 50×50 House project from 1951. The small, house is completely enclosed in glass, with black leather Barcelona chairs, glass-topped tables, and a wood partition, containing a kitchen with a small range, countertop and a French Press with a teaspoon.

Gravity is a Force to be Reckoned With, by Iñigo Manglano-Ovalle

Exhibition: Soviet Constructivism at ALVA

Recent graduates of the University of Western Australia have exhibited recent work, Soviet Constructivism. Each student selects a building which encapsulates a significant theoretical position in architectural history. In 2010 the Soviet Avant Garde of constructivism was picked as the epoch of exploration. A model of the chosen example will be made to an agreed scale, which will be accompanied by a written paper of not more than 2000 words. The written component is to be a critical analysis of the treatise or manifesto from which the built form is derived. The critical analysis also serves as a reference point for the realization of three dimensional forms of models.

Exhibition: Soviet Constructivism, The University of Western Australia Faculty of Architecture, Landscape and Visual Arts (ALVA).
via: designboom

Exhibition: Sunny Memories

Sunny Memories is the fusion of solar technology and industrial design. A project that involved more than 80 students from four leading design schools, this exhibit explores the broad new realm of technology, energy, and design that solar dye cells have heralded. Led by the EPFL+ECAL Lab, in Lausanne, Switzerland, the “Sunny Memories” workshops took place in collaboration with the University of Art and Design Lausanne (ECAL), the California College of the Arts (CCA), the Royal College of Art in London (RCA) and the Ecole Nationale Superieure de Creation Industrielle in Paris (ENSCI). Under the tutelage of design leaders like Yves Behar from San Francisco’s fuseproject, Jean-Francois Dingjian of Paris’ Normal Studio, Sam Hecht from London’s Industrial Facility, and Swiss designer Jörg Boner, students began their projects with the following challenge: how do we use energy to record our memory, heritage and knowledge? How can we employ solar energy to preserve history, while increasing autonomy, mobility, and sustainability?

The source of this solar innovation is the EPFL (Ecole Polytechnique Federale de Lausanne), the “MIT of Switzerland.” There, professor Michael Graëtzel began to use molecules from colorants to transform the sun’s light into electricity. Inspired by photosynthesis, he developed an award-winning technology that allowed solar dye cells to take all sorts of shapes, colors and forms. As industrial production of these solar cells has begun, it is now up to the design community to create products that meld this new technology with great design. Sunny Memories signals a new relationship between technology and design: designers have the freedom to explore the multiple meanings that a new technology can bring about.

Sunny Memories, with the Embassy of Switzerland, January 18 – February 8, Washington Design Center, Washington D.C.

Exhibition: Photographs by Ezra Stoller

Fallingwater, Frank Lloyd Wright, Bear Run, PA, 1971, Gelatin Silver Print
© Ezra Stoller, Courtesy Yossi Milo Gallery, New York

General Motors Technical Center, Eero Saarinen, Warren, MI, 1950, Gelatin Silver Print
© Ezra Stoller, Courtesy Yossi Milo Gallery, New York

Guggenheim Museum, Frank Lloyd Wright, New York, NY, 1959, Gelatin Silver Print
© Ezra Stoller, Courtesy Yossi Milo Gallery, New York

Johnson Wax Tower, Frank Lloyd Wright, Racine, WI, 1950, Gelatin Silver Print
© Ezra Stoller, Courtesy Yossi Milo Gallery, New York

Seagram Building, Mies van der Rohe with Philip Johnson, New York, NY, 1958, Gelatin Silver Print, © Ezra Stoller, Courtesy Yossi Milo Gallery, New York

Seagram Building, Mies van der Rohe with Philip Johnson, New York, NY, 1958, Gelatin Silver Print, © Ezra Stoller, Courtesy Yossi Milo Gallery, New York

Manufacturer’s Trust Company, Fifth Avenue, Skidmore, Owings & Merrill, New York, NY, 1954, Gelatin Silver Print, © Ezra Stoller, Courtesy Yossi Milo Gallery, New York

TWA Terminal at Idlewild (now JFK) Airport, Eero Saarinen, New York, NY, 1962, Gelatin Silver Print, © Ezra Stoller, Courtesy Yossi Milo Gallery, New York

TWA Terminal at Idlewild (now JFK) Airport, Eero Saarinen, New York, NY, 1962, Gelatin Silver Print, © Ezra Stoller, Courtesy Yossi Milo Gallery, New York

Chicago born photographer, Ezra Stoller’s (1915–2004) gelatin silver prints include images of architectural interiors and iconic landmarks. Based on his background in architecture and industrial design, Stoller used a large-format camera to photograph monumental 20th century buildings, including the Guggenheim Museum, the TWA terminal at Idlewild Airport (now John F. Kennedy International Airport), the Seagram Building, the Salk Institute, Yale Art and Architecture Building and Fallingwater. In addition to well-known photographs of these locations, the exhibition will include lesser-known photographs of small homes and guest houses which provide a fresh look at the masterful eye that established Stoller as the preeminent photographer of modern architecture.

A pioneer in the field of architectural photography, Ezra Stoller was commissioned by architects such as Frank Lloyd Wright, Paul Rudolph, Eero Saarinen, I.M. Pei, Marcel Breuer and Richard Meier, because of his unique ability to capture the building according to the architect’s vision and to lock it into the architectural canon. His photographs convey a three-dimensional experience of architectural space through a two-dimensional medium, with careful attention to vantage point and lighting conditions, as well as to line, color, form and texture.

Exhibition: Photographs by Ezra Stoller, January 6 to February 12, Yossi Milo Gallery, New York, USA

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