Curated by Norman Foster and Luis Fernández-Galiano, the exhibition features drawings and models including the recently completed recreation of the Dymaxion car. Foster worked with Fuller for the last 12 years of his life and explains that Fuller ‘had a profound influence on my own work and thinking’. The new Dymaxion car was commissioned by Foster based on Fuller’s own drawings and prototypes. The prototype was built in East Sussex by the car restoration company Crosthwaite and Gardiner.
Santiago Calatrava collaborated with the New York City Ballet for their 2010 spring season festival of new choreography, “Architecture of Dance.” One of the major thrusts of ballet dance is to appear to defy gravity, so working with Calatrava, who is known for his architectural works suggesting flight, makes perfect sense. The ”Architecture of Dance” festival included seven world premiere ballets, five of which included sets designed by Calatrava. Four new scores were also commissioned for the festival. For the performances, eight new cocktails were created one for each choreographer, and a one for Santiago Calatrava: Sangria of Spanish Red Wine, Triple Sec, Rum, Vodka & Seasonal Fruits.
Photographer Ditte Isager has captured the essence of Chef René Redzepi, head chef of Copenhagen restaurant, Noma
René Redzepi has been widely credited with re-inventing Nordic cuisine. His Copenhagen restaurant, Noma, was recognized as the third best in the world by the San Pellegrino World’s 50 Best Restaurant awards in 2009 and received the unique ‘Chef’s Choice’ award at the same ceremony. Redzepi operates at the cutting edge of gourmet cuisine, combining an unrelenting creativity and a remarkable level of craftsmanship with an inimitable and innate knowledge of the produce of his Nordic terroir.
Noma: Time and Place in Nordic Cuisine, Published by Phaidon, Hardback, 290 x 250 mm, 11 3/8 x 9 7/8 in, 320 pp, 200 colour illustrations ISBN: 9780714859033
Buy the Book: Amazon
The sound sculptures and installations of Zimoun are graceful, mechanized works of playful poetry, their structural simplicity opens like an industrial bloom to reveal a complex and intricate series of relationships, an ongoing interplay between the artificial and the organic.
25 woodworms, wood, microphone, sound system
5 ventilators, 35 styrofoam balls, 5 helping hands, air
23 prepared dc-motors, grid
30’000 plastic bags, 16 ventilators
97 polysiloxane hoses 3.0mm, compressed air
Zimoun, Sound Sculptures and Installations
Hiroyuki Hamada’s works are monumental in impact, but built with delicacy. They are filled with an unknown spirit. There is no direct reference, but one can read the mysteries of the ancients or the mapping of a digital age in their rich surfaces. The forms hold space, rather than make it. Tension pervades, as each mark and tone tell a story of perfection, balance and upset. Hamada spends up to three years creating the sculptures, as he applies plaster over burlap and wooden forms. He then shapes and stains them with wax, resin, and paint.
Australian Architect Chris Bosse has built a sliced up homage to the 1967 Panton Chair as part of this year’s Sydney Design Festival. The designer has “…chosen to represent this shape as slices, similar to an MRI scan in order to make visible its complex three-dimensional geometry. The chair is metaphorically and physically carved out of a sliced box”, says Bosse. “The project retro-digitises the chair design, although it was the chair that preceded the digital design revolution.”
The recent Important Design auction at Wright included this highly detailed and labor-intensive Bush series sculpture illustrating a mastery of welded metal sculpture by Harry Bertoia. Initially growing out of an exploration of natural forms using wire or brass-coated iron, the Bush forms became more refined throughout the 1960s. Executed in copper and bronze which garners a rich green patina over time, the Bush sculptures culminate in purified shapes that are defined by the undulating surfaces of metal points. Bertoia’s best works from this series display a scale and density of material that distinguish them in his oeuvre.
Winter turns to spring, summer turns to autumn. We sense the shifts not just by the changes in the temperature and the scenery, but in the smells carried on the breeze and the quality of the sunlight. Over two thirds of Japan’s population lives in its cities, which make up just a small fraction of its landmass. And yet we are still able to read nature with our bodies.
Japan’s temperate climate and its mountainous topography gave birth to a unique natural environment, which in turn fostered an ancient cosmology and spirituality which have greatly influenced our culture and arts. In “Sensing Nature: Yoshioka Tokujin, Shinoda Taro, Kuribayashi Takashi” we think about how the innate human ability to perceive nature (to sense nature) and the Japanese view of nature exist in our urbanized and modernized world. We also ask how those views are reflected in contemporary art and design practices.
Sensing Nature: Tokujin Yoshioka, Takashi Kuribayashi, Taro Shinoda, Mori Art Museum, Roppongi Hills, Tokyo, Japan, July 24 – November 7
The 9 Hours is the brand new capsule hotel unveiled by Tokyo-based Cubic Corp. Designed in a collaboration with designer Fumie Shibata of Design Studio S, it looks nothing like its predecessors and represents a revolution in the capsule concept.
“By covering surface of an object with transparent glass beads, the existence of the object itself is replaced by “a husk of light”, and the new vision “the cell of an image” (PixCell) is shown. Most of the motifs, like stuffed animals are found through the internet. I search some auction sites and choose from the images which appear on a monitor as pixel. However, the stuffed animals which actually have been purchased and sent have real flesh feel and smell, and have a discrepancy with images on the monitor. I then transpose them to PixCell in turn.” – Kohei Nawa