Monday, October 27, 2008
DesignPhiladelphia 2008: Student Work at 222 Gallery
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Last week marked the end of DesignPhiladelphia, but Gallery 222 is keeping Product 01 and Build 02, two exhibitions of work from two of Philadelphia's premiere design education courses, running through November 1st.
Checkout some of the highlights after the jump.
UNIVERSITY OF PENNSYLVANIA / SCHOOL OF DESIGN Product 01
Product 01 presents output from the product design course in the University of Pennsylvania's Integrated Product Design concentration from Spring of 2008. The course, taught by Josh Owen and assisted by Bryce Gibson, was designed to explore intersections of functionality and performance using an experimental platform to rediscover opportunities within the built environment to create domestic products.
PHILADELPHIA UNIVERSITY / INDUSTRIAL DESIGN PROGRAM + WILSONART Build 02
Build 02 presents a portion of the output from sophomore industrial design studio at Philadelphia University from Spring of 2008. The course, taught by Josh Owen and Jason Lempieri, was a collaboration with Wilsonart Inc. where students were challenged to develop full-scale seating devices which explored and celebrated Wilsonart's laminate material. This exhibition reveals the process and many of the final products. Several selected projects from this course will not be on view at this exhibit but will be shown at the International Contemporary Furniture Fair in New York City in May of 2009.
I'm also working on product design for homework. Naturally, I started look at those pictures.
"Sole Mate", for me, is not practical. I think the food print problem still needs to be fixed. Otherwise, it can just be a display holder showing the product in the store.
"Book Table" is my favorite. It reminds me of difficulty when reading a big books or magazines, and they cannot match the surface of the table. That is really annoying; especially, I want to underline some words.
href="http://www.core77.com/blog/images/222gallery%20show.jpg">
<Last week marked the end of DesignPhiladelphia, but Gallery 222 is keeping Product 01 and Build 02, two exhibitions of work from two of Philadelphia's premiere design education courses, running through November 1st.
Checkout some of the highlights after the jump.
UNIVERSITY OF PENNSYLVANIA / SCHOOL OF DESIGN Product 01
Product 01 presents output from the product design course in the University of Pennsylvania's Integrated Product Design concentration from Spring of 2008. The course, taught by Josh Owen and assisted by Bryce Gibson, was designed to explore intersections of functionality and performance using an experimental platform to rediscover opportunities within the built environment to create domestic products.
PHILADELPHIA UNIVERSITY / INDUSTRIAL DESIGN PROGRAM + WILSONART Build 02
Build 02 presents a portion of the output from sophomore industrial design studio at Philadelphia University from Spring of 2008. The course, taught by Josh Owen and Jason Lempieri, was a collaboration with Wilsonart Inc. where students were challenged to develop full-scale seating devices which explored and celebrated Wilsonart's laminate material. This exhibition reveals the process and many of the final products. Several selected projects from this course will not be on view at this exhibit but will be shown at the International Contemporary Furniture Fair in New York City in May of 2009.
I'm also working on product design for homework. Naturally, I started look at those pictures.
"Sole Mate", for me, is not practical. I think the food print problem still needs to be fixed. Otherwise, it can just be a display holder showing the product in the store.
"Book Table" is my favorite. It reminds me of difficulty when reading a big books or magazines, and they cannot match the surface of the table. That is really annoying; especially, I want to underline some words.
Sunday, October 26, 2008
The Big Picture
http://www.nytimes.com/2008/10/19/magazine/19style-t.html?ref=design
While you may have never heard of him, Hervé Descottes has perhaps had as large an impact on the contemporary New York skyline as any architect working today. The principal lighting designer and president of L’Observatoire International, Descottes has been charged with illuminating major landmark sites around the city from Columbus Circle to the newly renovated High Line.
“Lighting can have an incredible visible or invisible power,” says Descottes, one of whose first projects as a lighting designer, back in 1991, was to light the Mona Lisa after it was reinstalled in the Louvre. Here, he is testing his handiwork at the New York City Department of Environmental Protection’s Newtown Creek Wastewater Treatment Plant in Brooklyn, which was designed by Greeley and Hansen, Hazen and Sawyer and Malcolm Pirnie, in association with Polshek Partnership Architects, and will include a sculptural visitors’ center by the artist Vito Acconci and a waterfront nature walk by George Trakas. It is a project that began more than a decade ago and will probably be finished sometime around 2015. The plant, with its 50-plus-acre site and eight massive sludge tanks operating 24/7, was hardly a subtle addition to the urban landscape (glowing right next to the Queens-Midtown Tunnel); the challenge, for the architects and also for Descottes, was to remain sensitive to the surrounding residential neighborhood. In other words, Descottes says, “we didn’t want it to look like a refinery.” This is usually the kind of industrial institution that requires only functional lighting, says Descottes, who ultimately enveloped the site in a veil of blue light. (Blue, he explains, has a sense of purity and cleanness.) L’Observatoire works on some 25 projects all over the world at any given moment — from Frank Gerhy’s Louis Vuitton Foundation, under construction in the Bois de Boulogne, to a residential building to be built in Kuala Lumpur by Jean Nouvel. Still, the wastewater plant, he insists, is definitely one of the most glamorous. “Sometimes it doesn’t smell so good,” he says. “But at least it doesn’t look so bad.”
What? lightening designer! I've never known about this occupation. I thought it was belonged to interior designer. In this country, people only need to know something specific to make a living, so that each person can just focus on one small area and make it better. Unfortunately, in my country, people have to do many things in order to be haired.
While you may have never heard of him, Hervé Descottes has perhaps had as large an impact on the contemporary New York skyline as any architect working today. The principal lighting designer and president of L’Observatoire International, Descottes has been charged with illuminating major landmark sites around the city from Columbus Circle to the newly renovated High Line.
“Lighting can have an incredible visible or invisible power,” says Descottes, one of whose first projects as a lighting designer, back in 1991, was to light the Mona Lisa after it was reinstalled in the Louvre. Here, he is testing his handiwork at the New York City Department of Environmental Protection’s Newtown Creek Wastewater Treatment Plant in Brooklyn, which was designed by Greeley and Hansen, Hazen and Sawyer and Malcolm Pirnie, in association with Polshek Partnership Architects, and will include a sculptural visitors’ center by the artist Vito Acconci and a waterfront nature walk by George Trakas. It is a project that began more than a decade ago and will probably be finished sometime around 2015. The plant, with its 50-plus-acre site and eight massive sludge tanks operating 24/7, was hardly a subtle addition to the urban landscape (glowing right next to the Queens-Midtown Tunnel); the challenge, for the architects and also for Descottes, was to remain sensitive to the surrounding residential neighborhood. In other words, Descottes says, “we didn’t want it to look like a refinery.” This is usually the kind of industrial institution that requires only functional lighting, says Descottes, who ultimately enveloped the site in a veil of blue light. (Blue, he explains, has a sense of purity and cleanness.) L’Observatoire works on some 25 projects all over the world at any given moment — from Frank Gerhy’s Louis Vuitton Foundation, under construction in the Bois de Boulogne, to a residential building to be built in Kuala Lumpur by Jean Nouvel. Still, the wastewater plant, he insists, is definitely one of the most glamorous. “Sometimes it doesn’t smell so good,” he says. “But at least it doesn’t look so bad.”
What? lightening designer! I've never known about this occupation. I thought it was belonged to interior designer. In this country, people only need to know something specific to make a living, so that each person can just focus on one small area and make it better. Unfortunately, in my country, people have to do many things in order to be haired.
Art and Commerce Canoodling in Central Park
http://www.nytimes.com/2008/10/21/arts/design/21zaha.html?ref=design
The wild, delirious ride that architecture has been on for the last decade looks as if it’s finally coming to an end. And after a visit to the Chanel Pavilion that opened Monday in Central Park, you may think it hasn’t come soon enough.
Designed to display artworks that were inspired by Chanel’s 2.55, a quilted chain-strap handbag, the pavilion certainly oozes glamour. Its mysterious nautiluslike form, which can be easily dismantled and shipped to the next city on its global tour, reflects the keen architectural intelligence we have come to expect from its creator, Zaha Hadid, the Iraqi-born architect who lives in London.
Yet if devoting so much intellectual effort to such a dubious undertaking might have seemed indulgent a year ago, today it looks delusional.
It’s not just that New York and much of the rest of the world are preoccupied by economic turmoil, although the timing could hardly be worse. It’s that the pavilion sets out to drape an aura of refinement over a cynical marketing gimmick. Surveying its self-important exhibits, you can’t help but hope that the era of exploiting the so-called intersection of architecture, art and fashion is finally over.
The pavilion, made of hundreds of molded fiberglass panels mounted on a skeletal steel frame, was first shown in Hong Kong in February. From there it was packed up in 55 sea containers and shipped to Tokyo, closing there in July and heading to New York, where it will be on view through Nov. 9. Chanel is paying a $400,000 fee to rent space in the park and has made a gift of an undisclosed amount to the Central Park Conservancy as part of the deal.
The company’s money couldn’t have bought a prettier site. The pavilion stands on Rumsey Playfield, near Fifth Avenue and 69th Street, on a low brick plinth at the edge of the park’s concert grounds. Groves of elm and linden trees frame the pavilion to the north and south; a long trellis draped in wisteria flanks it to the west, with the Naumburg Bandshell rising immediately behind it. The area is carpeted in colorful fall leaves.
Visitors arrive at the site along a low brick staircase where Chanel employees collect their tickets. (The tickets are free but must be reserved in advance on the Internet.) When you reach the top of the staircase, the pavilion’s white shell seems suddenly to peel open, as if to lure you inside. A broad ramp and a few shallow steps lead up to a small terrace. The long, curved form of the ticket booth frames the terrace’s outer edge, its tail-like shape stretching back to envelop the composition as if it were an embracing arm.
As with all of Ms. Hadid’s best work, the forms are not just decorative but also direct the pattern of movement through the site, collecting the energy surrounding it and channeling it into the building. Visitors enter one at a time, catching a brief glimpse of the interior before emerging into a narrow lobby. A guide instructs you to sit down and fits you with an MP3 player. The husky voice of the French actress Jeanne Moreau then invites you to stand up, before guiding you through your “personal journey.”
A series of curvaceous forms, finished in a pearlescent white car paint, are used to break down the pavilion’s interior into discrete galleries without interrupting the sense of flow. A staircase leads up to a small balcony, where you can gaze back down into one of the galleries and orient yourself. (Most of the artwork, which includes a life-size S-and-M teddy bear and scenes of a Japanese model tied up in gold chains, is completely mundane: tame clichés laboring to be provocative.)
Eventually you spiral around to an interior courtyard that serves as the pavilion’s social heart. Light pours down through skylights made of soft, pillowy panels, illuminating a gigantic reproduction of a quilted Chanel handbag tipped on its side.
The sequence of spaces is masterly choreographed. The flow of movement slows at certain points, only to speed up again before thrusting you back outside. The design’s structural refinement also reflects a high level of control. Although the building’s steel ribs vary in size, they all radiate from a central point, so that you sense an underlying order in the form. The pavilion has the taut, finely crafted look of a luxury sports car, a winking echo of Modernism’s centurylong obsession with the assembly line.
It’s not that hard to see why Ms. Hadid accepted the commission. One of architecture’s most magical aspects is the range of subjects it allows you to engage, from the complex social relationships embodied in a single-family house to the intense communal focus of a concert hall. Great talents want to explore them all; it is what allows them to flex their intellectual muscles.
But traumatic events have a way of making you see things more clearly. When Rem Koolhaas’s Prada shop opened in SoHo three months after the World Trade Center attacks, it was immediately lampooned as a symbol of the fashion world’s clueless self-absorption. The shop was dominated by a swooping stage that was conceived as a great communal theater, a kind of melding of shopping and civic life. Instead, it conjured Champagne-swilling fashionistas parading across a stage, oblivious to the suffering around them.
The Chanel Pavilion may be less convoluted in its aims, but its message is no less noxious. When I first heard about it, I thought of the scene in the 1945 film “Mildred Pierce” when the parasitic playboy Monte Beragon sneeringly tells the Joan Crawford character, a waitress toiling to give her spoiled daughter a better life, that no matter how hard she scrubs, she will never be able to remove the smell of grease. We have been living in an age of Montes for more than a decade now. For strivers aching to separate themselves from the masses, the mix of architecture, art and fashion has had a nearly irresistible pull, promising a veneer of cultural sophistication.
Opening the pavilion in Central Park only aggravates the wince factor. Frederick Law Olmsted planned the park as a great democratic experiment, an immense social mixing place as well as an instrument of psychological healing for the weary. The Chanel project reminds us how far we have traveled from those ideals by dismantling the boundary between the civic realm and corporate interests.
The pavilion’s coiled form, in which visitors spiral ever deeper into a black hole of bad art and superficial temptations, straying farther and farther from the real world outside, is an elaborate mousetrap for consumers. The effortless flow between one space and the next, which in earlier projects suggested a desire to break down unwanted barriers, here suggests a surrender of individual will. Even the surfaces seem overly sleek by Ms. Hadid’s normal standards; they lack the occasional raw-material touch common to her best buildings, which imbued them with a human dimension.
One would hope that our economic crisis leads us to a new level of introspection and that architects will feel compelled to devote their talents to more worthwhile — dare I say idealistic? — causes.
This article attracted my attention because one of my friend mentioned about this exhibition before. She said I had to inquire ticket on the internet before going, and then I was wondering what kind of exhibition it would be. After reading it, still, I'm not interested in seeing it. Is it because I'm influenced by the author of this article or I just don't want to go. I think both.
The wild, delirious ride that architecture has been on for the last decade looks as if it’s finally coming to an end. And after a visit to the Chanel Pavilion that opened Monday in Central Park, you may think it hasn’t come soon enough.
Designed to display artworks that were inspired by Chanel’s 2.55, a quilted chain-strap handbag, the pavilion certainly oozes glamour. Its mysterious nautiluslike form, which can be easily dismantled and shipped to the next city on its global tour, reflects the keen architectural intelligence we have come to expect from its creator, Zaha Hadid, the Iraqi-born architect who lives in London.
Yet if devoting so much intellectual effort to such a dubious undertaking might have seemed indulgent a year ago, today it looks delusional.
It’s not just that New York and much of the rest of the world are preoccupied by economic turmoil, although the timing could hardly be worse. It’s that the pavilion sets out to drape an aura of refinement over a cynical marketing gimmick. Surveying its self-important exhibits, you can’t help but hope that the era of exploiting the so-called intersection of architecture, art and fashion is finally over.
The pavilion, made of hundreds of molded fiberglass panels mounted on a skeletal steel frame, was first shown in Hong Kong in February. From there it was packed up in 55 sea containers and shipped to Tokyo, closing there in July and heading to New York, where it will be on view through Nov. 9. Chanel is paying a $400,000 fee to rent space in the park and has made a gift of an undisclosed amount to the Central Park Conservancy as part of the deal.
The company’s money couldn’t have bought a prettier site. The pavilion stands on Rumsey Playfield, near Fifth Avenue and 69th Street, on a low brick plinth at the edge of the park’s concert grounds. Groves of elm and linden trees frame the pavilion to the north and south; a long trellis draped in wisteria flanks it to the west, with the Naumburg Bandshell rising immediately behind it. The area is carpeted in colorful fall leaves.
Visitors arrive at the site along a low brick staircase where Chanel employees collect their tickets. (The tickets are free but must be reserved in advance on the Internet.) When you reach the top of the staircase, the pavilion’s white shell seems suddenly to peel open, as if to lure you inside. A broad ramp and a few shallow steps lead up to a small terrace. The long, curved form of the ticket booth frames the terrace’s outer edge, its tail-like shape stretching back to envelop the composition as if it were an embracing arm.
As with all of Ms. Hadid’s best work, the forms are not just decorative but also direct the pattern of movement through the site, collecting the energy surrounding it and channeling it into the building. Visitors enter one at a time, catching a brief glimpse of the interior before emerging into a narrow lobby. A guide instructs you to sit down and fits you with an MP3 player. The husky voice of the French actress Jeanne Moreau then invites you to stand up, before guiding you through your “personal journey.”
A series of curvaceous forms, finished in a pearlescent white car paint, are used to break down the pavilion’s interior into discrete galleries without interrupting the sense of flow. A staircase leads up to a small balcony, where you can gaze back down into one of the galleries and orient yourself. (Most of the artwork, which includes a life-size S-and-M teddy bear and scenes of a Japanese model tied up in gold chains, is completely mundane: tame clichés laboring to be provocative.)
Eventually you spiral around to an interior courtyard that serves as the pavilion’s social heart. Light pours down through skylights made of soft, pillowy panels, illuminating a gigantic reproduction of a quilted Chanel handbag tipped on its side.
The sequence of spaces is masterly choreographed. The flow of movement slows at certain points, only to speed up again before thrusting you back outside. The design’s structural refinement also reflects a high level of control. Although the building’s steel ribs vary in size, they all radiate from a central point, so that you sense an underlying order in the form. The pavilion has the taut, finely crafted look of a luxury sports car, a winking echo of Modernism’s centurylong obsession with the assembly line.
It’s not that hard to see why Ms. Hadid accepted the commission. One of architecture’s most magical aspects is the range of subjects it allows you to engage, from the complex social relationships embodied in a single-family house to the intense communal focus of a concert hall. Great talents want to explore them all; it is what allows them to flex their intellectual muscles.
But traumatic events have a way of making you see things more clearly. When Rem Koolhaas’s Prada shop opened in SoHo three months after the World Trade Center attacks, it was immediately lampooned as a symbol of the fashion world’s clueless self-absorption. The shop was dominated by a swooping stage that was conceived as a great communal theater, a kind of melding of shopping and civic life. Instead, it conjured Champagne-swilling fashionistas parading across a stage, oblivious to the suffering around them.
The Chanel Pavilion may be less convoluted in its aims, but its message is no less noxious. When I first heard about it, I thought of the scene in the 1945 film “Mildred Pierce” when the parasitic playboy Monte Beragon sneeringly tells the Joan Crawford character, a waitress toiling to give her spoiled daughter a better life, that no matter how hard she scrubs, she will never be able to remove the smell of grease. We have been living in an age of Montes for more than a decade now. For strivers aching to separate themselves from the masses, the mix of architecture, art and fashion has had a nearly irresistible pull, promising a veneer of cultural sophistication.
Opening the pavilion in Central Park only aggravates the wince factor. Frederick Law Olmsted planned the park as a great democratic experiment, an immense social mixing place as well as an instrument of psychological healing for the weary. The Chanel project reminds us how far we have traveled from those ideals by dismantling the boundary between the civic realm and corporate interests.
The pavilion’s coiled form, in which visitors spiral ever deeper into a black hole of bad art and superficial temptations, straying farther and farther from the real world outside, is an elaborate mousetrap for consumers. The effortless flow between one space and the next, which in earlier projects suggested a desire to break down unwanted barriers, here suggests a surrender of individual will. Even the surfaces seem overly sleek by Ms. Hadid’s normal standards; they lack the occasional raw-material touch common to her best buildings, which imbued them with a human dimension.
One would hope that our economic crisis leads us to a new level of introspection and that architects will feel compelled to devote their talents to more worthwhile — dare I say idealistic? — causes.
This article attracted my attention because one of my friend mentioned about this exhibition before. She said I had to inquire ticket on the internet before going, and then I was wondering what kind of exhibition it would be. After reading it, still, I'm not interested in seeing it. Is it because I'm influenced by the author of this article or I just don't want to go. I think both.
Sunday, October 19, 2008
William Claxton, Photographer, Is Dead at 80
http://www.nytimes.com/2008/10/14/arts/design/14claxton.html?_r=1&scp=1&sq=william%20claxton,%20photography,%20is%20dead%20at%2080&st=cse&oref=slogin
"......Herman Leonard, another pre-eminent jazz photographer, said in a telephone interview on Monday: “When we started out, there were hardly any other photographers doing this kind of thing because there was no money in it. We started doing it because of the love of photography and the love of jazz.”
Even though I had taken photography in the college, I still have no cure who Claxton is. Stieglitz and Ansel Adams are two of memorable photographers for me. Then I stared to google his works on the internet.
After quickly reviewing Claxton's photography, I only can find two photos which I like.
"......Herman Leonard, another pre-eminent jazz photographer, said in a telephone interview on Monday: “When we started out, there were hardly any other photographers doing this kind of thing because there was no money in it. We started doing it because of the love of photography and the love of jazz.”
Even though I had taken photography in the college, I still have no cure who Claxton is. Stieglitz and Ansel Adams are two of memorable photographers for me. Then I stared to google his works on the internet.
After quickly reviewing Claxton's photography, I only can find two photos which I like.
MacBook production methods video
https://www.core77.com/blog/default.asp?p=3
Okay, we promise this is the last you'll hear of it; but for Apple to post a video featuring two of their industrial designers showing factory footage of different production methods is just too industry-specific for us not to post about. Extrusions, milling, laser-machining, all for that little laptop. Heck, we get more pleasure from watching the thing being built than we do from laying our eyeballs on the finished product.
The new Macpro is what I'm waiting for. Since I was told Mac was going to have a new version of Macpro, I didn't buy it during the summer. It was really a gamble because the summer promotion was end. Fortunately, the newest version doesn't let me down. But I wonder is the new trakpad working well when removing the two buttons. I have better tried it in the store.
Okay, we promise this is the last you'll hear of it; but for Apple to post a video featuring two of their industrial designers showing factory footage of different production methods is just too industry-specific for us not to post about. Extrusions, milling, laser-machining, all for that little laptop. Heck, we get more pleasure from watching the thing being built than we do from laying our eyeballs on the finished product.
The new Macpro is what I'm waiting for. Since I was told Mac was going to have a new version of Macpro, I didn't buy it during the summer. It was really a gamble because the summer promotion was end. Fortunately, the newest version doesn't let me down. But I wonder is the new trakpad working well when removing the two buttons. I have better tried it in the store.
ReMake Its - DIY recycling kits
http://www.core77.com/blog/object_culture/remake_its_diy_recycling_kits_11471.asp
In the world of reused object design, Tiffany Threadgould is a breath of fresh air. Her current lineup of DIY recycling kits are poised perfectly for the upcoming holiday season, and if you can get past the paradox of buying something more in the service of recycling something already in existence, well, then ReMake its kits are for you. We smile at the Wine Cork Trivet, but swoon for the Magazine Stationery.
These kits and more at her site: www.replayground.com
When I have opportunity to create a product, I only think about designing something new. However, there are many ways of designing a new product. She didn't follow the same path; Tiffany didn't try to persuade people to buy her product. Her designs is what customers need. The concept of those products are very innovative.
In the world of reused object design, Tiffany Threadgould is a breath of fresh air. Her current lineup of DIY recycling kits are poised perfectly for the upcoming holiday season, and if you can get past the paradox of buying something more in the service of recycling something already in existence, well, then ReMake its kits are for you. We smile at the Wine Cork Trivet, but swoon for the Magazine Stationery.
These kits and more at her site: www.replayground.com
When I have opportunity to create a product, I only think about designing something new. However, there are many ways of designing a new product. She didn't follow the same path; Tiffany didn't try to persuade people to buy her product. Her designs is what customers need. The concept of those products are very innovative.
Wednesday, October 15, 2008
Sunday, October 12, 2008
Van Gogh at the Modern
http://www.nytimes.com/slideshow/2008/09/19/arts/0919-GOGH_index.html
The Museum of Modern Art’s exhibit, “Van Gogh and the Colors of the Night,” includes “Starry Night” and “The Potato Eaters.”
Van Gogh and the Colors of the Night
September 21, 2008–January 5, 2009
Special Exhibitions Gallery, second floor
http://www.moma.org/exhibitions/2008/vangoghnight/
"Starry Night over the Rhone,1888," is one of my favorite Van Gogh's paintings. In this painting, my favorite part is how he portrayed the lights reflecting on the surface of the river. Van Gogh left several firm and short strokes in yellow with lite orange. The reflections look glamorous and attractive. I have one copy, but It looks dull, and size is small. When I saw the real piece, I was astonished. Its color is much more rich and saturate. He applied many different blue colors, light blue, iron blue, gray blue...etc. The smooth blue gradation creates a consistent clear sky. In this painting, the stars are twinkling, and the light reflections are glittery. This painting remind me of being alone in the midnight, a feeling of peace and quiet.
The Museum of Modern Art’s exhibit, “Van Gogh and the Colors of the Night,” includes “Starry Night” and “The Potato Eaters.”
Van Gogh and the Colors of the Night
September 21, 2008–January 5, 2009
Special Exhibitions Gallery, second floor
http://www.moma.org/exhibitions/2008/vangoghnight/
"Starry Night over the Rhone,1888," is one of my favorite Van Gogh's paintings. In this painting, my favorite part is how he portrayed the lights reflecting on the surface of the river. Van Gogh left several firm and short strokes in yellow with lite orange. The reflections look glamorous and attractive. I have one copy, but It looks dull, and size is small. When I saw the real piece, I was astonished. Its color is much more rich and saturate. He applied many different blue colors, light blue, iron blue, gray blue...etc. The smooth blue gradation creates a consistent clear sky. In this painting, the stars are twinkling, and the light reflections are glittery. This painting remind me of being alone in the midnight, a feeling of peace and quiet.
Stepmothers of Invention: Branding Firms Enter the Industrial Design Fray, by Carl Alviani
http://www.core77.com/blog/featured_items/stepmothers_of_invention_branding_firms_enter_the_industrial_design_fray_by_carl_alviani_11273.asp
"..........a lot of product designers have made their careers by getting in on the branding game in the past couple of decades. It shouldn't come as any surprise to hear that the same thing is starting to happen in reverse--branding agencies are doing product, and they're doing it fairly well.
Should product designers feel threatened? Depends on who you ask.......「Product is the ultimate communication tool," Winsor explained, "To me, branding and ID are different sides of the same coin. We're both satisfying the needs of the customer.」.........."
Today, customer purchases products considering not only the function, but the abstract values. They buy certain goods to satisfy their need; moreover, they transfer the extra values on themselves. When customer become richer, they are no longer bind for the price. In this way, branding will be come the major part of product design industry. Personally, I think product designers should get involved with branding if they don't want to be eliminated from the competitive market.
"..........a lot of product designers have made their careers by getting in on the branding game in the past couple of decades. It shouldn't come as any surprise to hear that the same thing is starting to happen in reverse--branding agencies are doing product, and they're doing it fairly well.
Should product designers feel threatened? Depends on who you ask.......「Product is the ultimate communication tool," Winsor explained, "To me, branding and ID are different sides of the same coin. We're both satisfying the needs of the customer.」.........."
Today, customer purchases products considering not only the function, but the abstract values. They buy certain goods to satisfy their need; moreover, they transfer the extra values on themselves. When customer become richer, they are no longer bind for the price. In this way, branding will be come the major part of product design industry. Personally, I think product designers should get involved with branding if they don't want to be eliminated from the competitive market.
Artist in Residence, Sort of, at the Whitney
http://www.nytimes.com/2008/10/03/arts/design/03voge.html?scp=1&sq=Artist%20in%20Residence,%20Sort%20of,%20at%20the%20Whitney&st=cse
Some artists are happy enough just having their work shown at the Whitney Museum of American Art, but 37-year-old Corin Hewitt is actually moving in.
For three months starting Friday, visitors will be able to observe him working every Friday, Saturday and Sunday in the small gallery just off the Whitney’s lobby. There he has created his own universe, an environment that is part kitchen, part office, part garage and part garden.
In a blend of photography and performance and installation art, Mr. Hewitt will construct objects, compose still lifes and take photographs of his creations. As the project, called “Seed Stage,” unfolds, each of the photographs will be framed and hung on the gallery walls surrounding the environment.
Strewn around the space is everything from a hot plate, freezer and microwave oven to a paper shredder, pressure cooker, camera and water-filtration system. There is a custom-built worm composting system, a crawl space, trapdoors and a root cellar filled with vegetables that he grew this year in Vermont, where he spends his summers.
“We’re always looking for interesting ways of enlivening our lobby,” said Tina Kukielski, a senior curatorial assistant at the Whitney who organized the project.
Installing the environment was a 10-day undertaking. Mr. Hewitt described the space as something “between a studio and a still life in motion.”
He enjoys fashioning objects from unusual materials. He weaves baskets from pasta, for example, and paints spinach red before torching it and then photographing it.
Ms. Kukielski predicts that by the time Mr. Hewitt wraps up his project on Jan. 4, about 70 of his photographs will be hanging on the walls. “It’s an examination of the cycles of transformation and transience,” she said of the project.
Corin Hewitt: Seed Stage
on view October 3, 2008 - January 4, 2009
http://whitney.org/www/exhibition/hewitt.jsp
CORIN HEWITT
Born 1971 Lives and works in Brooklyn, NY
Education 1996 Staatliche Akademie der Bildenden Kunste, Karlsruhe, Germany 1993 B.A., Oberlin College, OH
It's really a new way of presenting artist work, including the process. The museum set up a studio in the lobby, and the audience can peer at the artist while he is doing his work. I think that must satisfy some curiosities about how artist proceeds their job.
Some artists are happy enough just having their work shown at the Whitney Museum of American Art, but 37-year-old Corin Hewitt is actually moving in.
For three months starting Friday, visitors will be able to observe him working every Friday, Saturday and Sunday in the small gallery just off the Whitney’s lobby. There he has created his own universe, an environment that is part kitchen, part office, part garage and part garden.
In a blend of photography and performance and installation art, Mr. Hewitt will construct objects, compose still lifes and take photographs of his creations. As the project, called “Seed Stage,” unfolds, each of the photographs will be framed and hung on the gallery walls surrounding the environment.
Strewn around the space is everything from a hot plate, freezer and microwave oven to a paper shredder, pressure cooker, camera and water-filtration system. There is a custom-built worm composting system, a crawl space, trapdoors and a root cellar filled with vegetables that he grew this year in Vermont, where he spends his summers.
“We’re always looking for interesting ways of enlivening our lobby,” said Tina Kukielski, a senior curatorial assistant at the Whitney who organized the project.
Installing the environment was a 10-day undertaking. Mr. Hewitt described the space as something “between a studio and a still life in motion.”
He enjoys fashioning objects from unusual materials. He weaves baskets from pasta, for example, and paints spinach red before torching it and then photographing it.
Ms. Kukielski predicts that by the time Mr. Hewitt wraps up his project on Jan. 4, about 70 of his photographs will be hanging on the walls. “It’s an examination of the cycles of transformation and transience,” she said of the project.
Corin Hewitt: Seed Stage
on view October 3, 2008 - January 4, 2009
http://whitney.org/www/exhibition/hewitt.jsp
CORIN HEWITT
Born 1971 Lives and works in Brooklyn, NY
Education 1996 Staatliche Akademie der Bildenden Kunste, Karlsruhe, Germany 1993 B.A., Oberlin College, OH
It's really a new way of presenting artist work, including the process. The museum set up a studio in the lobby, and the audience can peer at the artist while he is doing his work. I think that must satisfy some curiosities about how artist proceeds their job.
Sunday, October 5, 2008
Closer to Mainstream, Still a Bit Rebellious
http://www.nytimes.com/2008/10/02/arts/design/02fair.html?ref=design
Being called a sellout can hurt. Still, he’s not bitter. “I hated being under anyone’s thumb when I was younger and now I’m not, through my art,” he said in an earlier interview at the Obey headquarters in the Echo Park section of Los Angeles. As he signed 450 of his Billy Idol posters, he added, “This ability to make things creatively on my own terms that then found an audience and sold — I’ve sort of made my dream come true.”
I feel that we love some artist's works which are rare or small amount . Once they are accepted by most of people, we discard then. We ten to show our differences or uniqueness by using all kind of methods: clothe, images, music, movies. We tell people what we like and what we appreciate. Those things are mostly rare in order to express our prominent taste. But, sometimes, I wonder we may just want to differentiate ourself from other, so that we don't go with the mainstream.
Being called a sellout can hurt. Still, he’s not bitter. “I hated being under anyone’s thumb when I was younger and now I’m not, through my art,” he said in an earlier interview at the Obey headquarters in the Echo Park section of Los Angeles. As he signed 450 of his Billy Idol posters, he added, “This ability to make things creatively on my own terms that then found an audience and sold — I’ve sort of made my dream come true.”
I feel that we love some artist's works which are rare or small amount . Once they are accepted by most of people, we discard then. We ten to show our differences or uniqueness by using all kind of methods: clothe, images, music, movies. We tell people what we like and what we appreciate. Those things are mostly rare in order to express our prominent taste. But, sometimes, I wonder we may just want to differentiate ourself from other, so that we don't go with the mainstream.
Does Nokia's "Tube" have what it takes? And why do people buy what they buy?
http://www.core77.com/blog/object_culture/does_nokias_tube_have_what_it_takes_and_why_do_people_buy_what_they_buy_11330.asp
We have to disagree with PC World's recent article, "Why Nokia's 'Tube' Is the iPhone's Biggest Threat," purporting that Nokia's 5800 will provide close competition to the iPhone. And our stance does not come from some blind reverence for Apple; we're talking about a basic understanding product designers should all have--the importance of emotion when it comes to people, objects, and purchasing decisions.
The article points out that the $390 price tag of the Nokia is okay because it's simfree. They also say the phone
...will feature the Nokia's Comes with Music bundle, which will allow users to freely download an unlimited number of songs from Nokia's Music Store over a year after the initial purchase.
...Nokia's 5800 Express Music also features a 3.2-megapixel camera, with autofocus Carl Zeiss optics and a dual LED flash. All these blow iPhone's 2006 style 2-megapixel-no flash camera out of the water. Also, Tube records videos at VGA quality (640X480px) and has a frontal camera for video calls, something that the iPhone can't do at all. In this category, it's clear who's the winner.
Really, it's not. No one buys the iPhone for the camera. And are there a lot of bands people like on the Nokia Music Store?
The Apple hype did help Apple to sell millions of iPhones, but Nokia sells over 500 million devices every year, out of which almost 100 million are smartphones. If we take in consideration brand loyalty and the other advantages Tube has over iPhone, we're about to see a very tight competition between the two.
We disagree. People like the iPhone because it's easy to use, simple, and for better or worse, it's considered "cool." People ditched brand loyalty to get their hands on the iPhone, and the insane store lines proved it. The Nokia may have better features, but when it sees wide release and the two phones really go head-to-head in the marketplace, I think we'll all have an opportunity to learn something about product design.
Two more things: 1) Let's pick this conversation up again in a few months, when sales figures start coming out, and 2) right now, what do you guys think?
I think Nokia can't win. Apple manages their brand image so successful. People buy Apple's products are not for its superb functions, is because its trendy design and the social value. People built up their self-images by using them. In Taiwan, people buy Apple's products just like people buy luxury goods in the United States. They show off what they have got. One of my friend complained about inconvenience of operating I-tune; however, he still bought another Apple's products. Nokia should reinforce their brand image if they want to compete with Apple.
We have to disagree with PC World's recent article, "Why Nokia's 'Tube' Is the iPhone's Biggest Threat," purporting that Nokia's 5800 will provide close competition to the iPhone. And our stance does not come from some blind reverence for Apple; we're talking about a basic understanding product designers should all have--the importance of emotion when it comes to people, objects, and purchasing decisions.
The article points out that the $390 price tag of the Nokia is okay because it's simfree. They also say the phone
...will feature the Nokia's Comes with Music bundle, which will allow users to freely download an unlimited number of songs from Nokia's Music Store over a year after the initial purchase.
...Nokia's 5800 Express Music also features a 3.2-megapixel camera, with autofocus Carl Zeiss optics and a dual LED flash. All these blow iPhone's 2006 style 2-megapixel-no flash camera out of the water. Also, Tube records videos at VGA quality (640X480px) and has a frontal camera for video calls, something that the iPhone can't do at all. In this category, it's clear who's the winner.
Really, it's not. No one buys the iPhone for the camera. And are there a lot of bands people like on the Nokia Music Store?
The Apple hype did help Apple to sell millions of iPhones, but Nokia sells over 500 million devices every year, out of which almost 100 million are smartphones. If we take in consideration brand loyalty and the other advantages Tube has over iPhone, we're about to see a very tight competition between the two.
We disagree. People like the iPhone because it's easy to use, simple, and for better or worse, it's considered "cool." People ditched brand loyalty to get their hands on the iPhone, and the insane store lines proved it. The Nokia may have better features, but when it sees wide release and the two phones really go head-to-head in the marketplace, I think we'll all have an opportunity to learn something about product design.
Two more things: 1) Let's pick this conversation up again in a few months, when sales figures start coming out, and 2) right now, what do you guys think?
I think Nokia can't win. Apple manages their brand image so successful. People buy Apple's products are not for its superb functions, is because its trendy design and the social value. People built up their self-images by using them. In Taiwan, people buy Apple's products just like people buy luxury goods in the United States. They show off what they have got. One of my friend complained about inconvenience of operating I-tune; however, he still bought another Apple's products. Nokia should reinforce their brand image if they want to compete with Apple.
The Big Picture
http://www.nytimes.com/2008/09/28/magazine/28Style-t.html?ref=design
The same week that scientists at the CERN laboratory outside Geneva were getting ready to fire up the Large Hadron Collider, the artist Josiah McElheny was conducting a test of his own ideas on the Big Bang theory at Andrea Rosen Gallery in New York City. Inspired by the Lobmeyr chandeliers at the Metropolitan Opera House and informed by logarithmic equations devised by the cosmologist David H. Weinberg, McElheny’s chrome, glass and electric-light sculpture “The End of the Dark Ages” is part of a four-year investigation into the origins of the universe. What began with “The End to Modernity,” a sculpture commissioned by the Wexner Center for the Arts at Ohio State University, will culminate next month in a massive installation titled “Island Universe” at White Cube in London. “I had this quixotic idea to do modernized versions of the Lobmeyr chandeliers as sculpture with secret information behind it,” says McElheny, who upon first encountering these “gilded age/space age” objects immediately thought they looked like pop renditions of the Big Bang.
According to McElheny, physicists continue to struggle with the question “is the world this way because it must be, or is it just random?” In 1965, the year that the Lobmeyr chandeliers were designed, it was suddenly evident that our world is not in fact the center of the universe. This idea that there could be an infinite number of possible narratives was becoming popular not just in science but also in literature and art — so why not in interior design, too? As it turns out, Wallace K. Harrison, the architect for the Met, having rejected the original design for the chandeliers, gave Hans Harald Rath of Lobmeyr, the Vienna-based glassmaker, a book about galaxies and sent him back to the drawing board.
“The End of the Dark Ages” is a scientifically accurate model: the shortest rod represents 100 million years, the longest about 1.3 billion; the clusters of glass stand for galaxy formations, the lights for quasars. Still, McElheny is less concerned with the conceits of exact science than the limits of reason and knowledge. (The White Cube show proposes a “multiverse” and “speaks to what Kant describes so well as an endless world made of imperfection, complication and specificity.”) “Politically, I’m against finding the single answer,” McElheny insists. “I’m more interested in what these questions mean to our sense of who we are.
Art and Science? Searching for the truth is too serious. I don't really enjoy the work which connect to rational reasons. Can't it be more relaxing. Let simple thoughts dominate.
The same week that scientists at the CERN laboratory outside Geneva were getting ready to fire up the Large Hadron Collider, the artist Josiah McElheny was conducting a test of his own ideas on the Big Bang theory at Andrea Rosen Gallery in New York City. Inspired by the Lobmeyr chandeliers at the Metropolitan Opera House and informed by logarithmic equations devised by the cosmologist David H. Weinberg, McElheny’s chrome, glass and electric-light sculpture “The End of the Dark Ages” is part of a four-year investigation into the origins of the universe. What began with “The End to Modernity,” a sculpture commissioned by the Wexner Center for the Arts at Ohio State University, will culminate next month in a massive installation titled “Island Universe” at White Cube in London. “I had this quixotic idea to do modernized versions of the Lobmeyr chandeliers as sculpture with secret information behind it,” says McElheny, who upon first encountering these “gilded age/space age” objects immediately thought they looked like pop renditions of the Big Bang.
According to McElheny, physicists continue to struggle with the question “is the world this way because it must be, or is it just random?” In 1965, the year that the Lobmeyr chandeliers were designed, it was suddenly evident that our world is not in fact the center of the universe. This idea that there could be an infinite number of possible narratives was becoming popular not just in science but also in literature and art — so why not in interior design, too? As it turns out, Wallace K. Harrison, the architect for the Met, having rejected the original design for the chandeliers, gave Hans Harald Rath of Lobmeyr, the Vienna-based glassmaker, a book about galaxies and sent him back to the drawing board.
“The End of the Dark Ages” is a scientifically accurate model: the shortest rod represents 100 million years, the longest about 1.3 billion; the clusters of glass stand for galaxy formations, the lights for quasars. Still, McElheny is less concerned with the conceits of exact science than the limits of reason and knowledge. (The White Cube show proposes a “multiverse” and “speaks to what Kant describes so well as an endless world made of imperfection, complication and specificity.”) “Politically, I’m against finding the single answer,” McElheny insists. “I’m more interested in what these questions mean to our sense of who we are.
Art and Science? Searching for the truth is too serious. I don't really enjoy the work which connect to rational reasons. Can't it be more relaxing. Let simple thoughts dominate.
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