Donald Judd: Born in Excelsior Springs, Missouri, 1928. Died in New York City, 1994.
Donald Judd had three main yields: sculpture, writing and furniture. Of course, it is well known that he delved a bit into architecture and was a formidable collector of all manner of things (books, real estate, tartan plaids, etc.), but it is his own texts, designs and dimensional forms that received the full brunt of his passion. It is very hard to simultaneously describe these three aspects, for though each sprang from the same ideological fount, each combination (particular medium with fundamental idea) created quite different results. If we were talking about the sculpture only or the writing only, I don't think it would be imperative to say much about the remaining two, but the understanding of Judd's furniture is a more contingent affair; it occupies an almost uncomfortable position between the dogmatic, untenable propositions of his writing and the absolutely transcendent, mind-bending power of his sculpture.
Between the three, the sculptures are most able to bear the load of Judd's heavy inquiries. They work incredibly well at displaying his fascination with the nature of perception. They're almost autonomous tools—sculptures independent of the artist, where Judd has set the stage for a deep viewing but left the circuit open, so that it is the viewer and the cosmos that complete it. His writing is a wholly different situation—a primarily closed circuit. The essays are fanatically assertive, all maxim and no poetry; one either gets on board or is quickly ejected. In a very real sense, the furniture is the sculpture with the art removed; it is made of the same materials and employs the same techniques of fabrication, but instead of being finely tuned to challenge the confidence of our senses, a Judd chair is engaged in the physical activity of seated positions. Even though the furniture is actively involved in these physical and practical activities, it has an assertive allegiance to the "right angle" that pushes it a touch closer to the bold tenets of the essays, as both seem to fetishize extremely defined silhouettes—something that the sculptures play with but simultaneously destroy.
Inside Judd's loft on Spring Street in New York City
Above: an adodized-aluminum desk and chair (left) and bookshelf. Top image: Judd's high-walled bed(more...)
Lore has it that a niche player in the very early years of Hollywood eventually became the model for the golden statue.
Last night, along with about a million montages ("remember movies???"), we saw a couple dozen golden Oscar statuettes handed out ceremoniously to this year's Academy Awards winners. There's always talk of history at the Oscars, but one element of film history received not a single mention: who is the Oscar statuette modeled after?
interview with the founders of atelier ter bekke & behage, a graphic design studio based in paris that specializes in corporate identity.
Here's some exciting news: The U.S. Department of Energy's Oak Ridge National Laboratory is currently working on a 3D printer "that is 200 to 500 times faster and capable of printing polymer components 10 times larger than today's common additive machines—in sizes greater than one cubic meter." To do it they're partnering with Cincinnati Inc., an Ohio-based company that produces manufacturing machines. Details are sketchy, but it seems the Oak Ridge boys are adapting a gantry-based Cincinnati laser cutter (above) for the prototype, so we're assuming it'll be SLS rather than FDM.
The move is a welcome one for American jobs, and points the way towards a possible return of U.S. manufacturing might. Said Cincinnati CEO Andrew Jamison in a press statement, "As one of the oldest U.S. machine tool manufacturers, with continuous operation since 1898, we view this exciting opportunity as starting a new chapter in our history of serving U.S. manufacturing. Out of this developmental partnership with ORNL, CINCINNATI intends to lead the world in big area additive manufacturing machinery for both prototyping and production." It is not clear whether he was shouting the word "CINCINNATI" or whether they just printed it in all caps for that one paragraph.
The Oak Ridge Boys could not be reached for comment, and when pressed for a quote, their uncooperative manager hung up on me.(more...)
the collective center envisions a series of mixed programs such as a pub, synagogue and low cost housing development that engage with the surrounding urban narrative.
The post mixed intervention proposal for elsternwick center in melbourne appeared first on designboom | architecture & design magazine.
CarPlay gives iPhone users an incredibly intuitive way to make calls, use maps, listen to music and access messages with voice activation or through the intuitive touch interface.
Nendo designed a table collection for Walt Disney Japan, and the pieces are as sweet as Pooh's honeypot.
Before Winnie and Tigger and Eeyore ever appeared on television, they were real stuffed animals that belonged to a real boy named Christopher Robin. They then became the illustrations of A.A. Milne (Christopher Robin's father), before they were brought to animated life by Disney. The characters have been transformed yet again, into playful yet elegant furniture by Japanese design studio Nendo for Walt Disney Japan.
To make a statement about the craft vs. art debate, U.K. ceramicist Beccy Ridsdel peels back the surfaces of cutesy china.
Have you ever wanted to surgically dissect your dinnerware? If you're like most people, probably not. You just want to eat off your pretty china in peace, quietly admiring the decoration peeking out under your meal. But if you're U.K. ceramicist Beccy Ridsdel, you've spent a lot of time taking forceps and scalpels to cutesy floral plates and mugs.
You'll need a stunt double.
Plenty of fashion designers send models down the runway in garb so dramatic no sane person would ever really wear it. Lauren Bowker turns those theatrics (and the heat) up a notch, by lighting her pieces on fire.
Aspiring to Improve the World by Crafting a Career in Sustainable Design, Part 1: A New Way of Thinking
In this three-part mini-series, Stefanie Koehler shares her experiences in bringing a sustainability focus into her work.
We all know the plight of the typical industrial designer: make (more) stuff; repeat. But with the nexus of vast technical abilities and support systems to deliver ideas, where does responsibility and "design sensitivity" come into play? How will we be able to design with an understanding that every design decision is connected in some way to everything else (either directly or indirectly) and will inevitably have a social and environmental impact (intended or not)? Is it even our responsibility as designers to think about the impact of our designs? Do we need to worry about what happens up or downstream of our products, or is that someone else's job?
Where I Was
In 2009, armed with a traditional industrial design degree, I entered the workforce and immediately began to struggle with the paradox of wanting to use my newly-honed design skills yet feeling like I needed to make crap to get paid. At the time, I did not grasp my role as a young designer, but I did know that continuing to design harmful, and sometimes pointless, products was not going to fulfill me. I decided I did not want to participate in a cycle that turns everything into a consumable or everyone into a consumer.
Following my undergrad, I initially tried to get my foot in the door, only to question why I was trying to get in the door in the first place. I ended up not taking the prescribed path of working for a conventional design firm, taking on freelance projects instead, ranging from corporate product design and branding to gritty consulting for start-ups and training dogs on the side. I wondered if could I turn my (perceived) inability to get a "real job" into an opportunity to engage in a career path that makes me happy? Luckily, I found that the answer was "yes," and that sustainability-focused design has filled this void for me, both personally and professionally.(more...)
At first glance, Misko looks like your average bedside drawer table… minimal and well-balanced. But, flip the switch and that’s when you’ll fall in love! An internal LED shines bright from within, illuminating the translucent top and peeking through the handle space. Combining these two functions keeps your bedroom space uncluttered but just as bright. DO WANT!
Designer: Haim Evgi
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(It’s what’s inside that counts. was originally posted on Yanko Design)
in working with the transparent, high gloss characteristics that are typical of glass, the japanese designer has finished the linear, box-like forms of the furniture pieces with more contrasting organic textures, emulating brushstrokes.
The post nendo brings brushstroke furniture for glasitalia to milan salone 2014 appeared first on designboom | architecture & design magazine.
New York City police are stepping up efforts to rein in jaywalkers after cars struck and killed several pedestrians earlier this year. But enforcement alone won't make streets safer.
In the wake of public outcry over a spate of pedestrian deaths earlier this year, New York City officials announced that they would adopt a "Vision Zero" policy. Modeled after a Swedish concept introduced in the late '90s, it sets a goal of absolutely no traffic fatalities in the country. Sweden has reduced its road deaths by half since 2000, becoming one of the safest places in the world when it comes to traffic deaths. A total of 264 people died in traffic in the country last year. By contrast, 176 pedestrians were killed in traffic in New York City alone last year.
Letter-shaped desks by French designer Benoit Challand could give new life to the tired open office model.
CSA+D's Disruptive Distribution Model: Lessons from the Inaugural Community-Supported Art + Design Initiative; Call for Proposals Extended to April 3rd
The website has been updated since it launched last summer
We were certainly curious to hear about the Brooklyn CSA+D when it first launched last summer, based on the community-supported agriculture model in which producers provide goods to local buyers on a subscription basis. Founded by Dianne Debicella and Jill Allyn Peterson, the program is now accepting submissions for its second season. Here, they share some of their learnings and exactly how they're iterating on their inaugural offering.
Submission Deadline Extended for Second Season of Brooklyn Community Supported Art + Design. Accepting proposals from artists and designers through April 3rd, 2014.
As we begin the second season of Brooklyn CSA+D (Community Supported Art + Design), we take a look back on the inaugural season of Brooklyn's first CSA for art and design - an experiment in translating the model of Community Supported Agriculture to the realm of aesthetic and creative production.
Throughout the summer and fall of 2013, the launch of CSA+D was met with loads of enthusiasm from the press as well as the community of artists, designers and collectors here in Brooklyn, who welcomed the possibility of a new marketplace that fosters a direct connection between makers and collectors. We were thrilled to receive hundreds of applications to our very first open call last summer, which yielded a range of offerings for shareholders, including painting, photography, ceramics, sculpture, poster art, wallpaper, installation and printmaking. The jury ranked the submissions and with those selections we then created balanced groups for half-shares and full-shares to ensure an even selection of unique pieces and editions, as well as 2D and 3D works.
Clockwise from top: Hannah June Lueptow, Katerina Usvitsky, Julia Gualtieri
Based on conversations with shareholders and survey results, it's clear they had various reasons for joining. Some were ready to start collecting art but didn't know how to start, while others felt that the mission of supporting emerging artists was an important enough reason on its own to become a shareholder. Some had new apartments to decorate while others wanted to join simply based on the element of surprise and delight. The idea that an expert panel would be selecting the work was reassuring for many shareholders, while others simply liked the artists' previous work and knew that joining would be a safe bet.
The selected artists and designers, on the other hand, were slightly more unified in their reasons for getting involved: Most of them were drawn to CSA+D by the prospect of connecting to the community directly and getting to meet the people who would own their work. While we received some feedback from potential applicants who thought the $3,000 commission for 50 works was too low, the participants expressed satisfaction with the commission, explaining that they worked backward from that number to make decisions about the material costs, size and time commitment to determine their own compensation. This model is certainly not for every artist or designer, especially those creating large-scale or time- and resource-intensive works. But, as we saw with the results of the first season, there is much desirable work being created at the scale where the commission makes sense to the artists and the quality of the work is pleasing to the shareholders.
Clockwise from top: Evan Venegas, Chandra Bocci, Beth Bolgla(more...)
Would you lick your disgusting phone screen to improve certain bedroom skills? If so, Lick This is for you.
Who says your finger is the only way to interact with a touch screen? Lick This promises to teach your tongue a few tricks to improve your skills when it comes to, you know, dining at the Y, facing the nation, pearl diving. The app has users flick a light switch and turn a crank by literally licking the screen. Think it's a joke? Well, maybe.
I have always been a fan of fitness and find the Nova Climbing Wall an interesting way to integrate workout installation into the interior design of a home. Essentially, Nova is a climbing wall with a compelling interactive interface. The wall includes panels with pattern-cut-outs, which replace the colored holds of regular training walls. Climbing routes, difficulty levels and routes are flexibly indicated through light and can be selected via the Smartphone App.
When not in use, you can create a modern ambiance just by the play of lights.
Nova is a 2014 iF Design Award – Gold Winner.
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(Walls To Climb was originally posted on Yanko Design)
- He That Would Have The Fruit Must Climb The Tree
- You don’t climb into a MMR25 to be a driver…
- To Relax, Climb A Wall
By bundling geeky privacy features into a sleekly branded physical product, Blackphone aims to make private communications into an object of desire.
I'm not proud to admit it, but the revelations of NSA spying on millions of Americans' telecommunications didn't faze me much. Sure, the intellectual part of my brain was shocked--shocked!--just like it is about climate change and other diffuse, abstract-seeming catastrophes. But I didn't change my actions. I still use the internet and mobile phone just like I always did. The value of obscuring my personal communications from surveillance just didn't seem tangible.
Erik Åberg's eye-popping wooden sculptures can be manipulated into an assortment of shapes and configurations.
Imagine a giant origami sculpture made of wood and you start to understand Ghostcubes. A series of interconnected wooden cubes that can be manipulated into an assortment of shapes and configurations, Ghostcubes are the invention of Erik Åberg, a Stockholm-based designer, juggler, woodworker, and magician. In one deft, fluid motion a Ghostcube can be folded, unfurled, and refolded to make a vast spectrum of ellipsoids and polyhedra.