Slate Magazine (blog) | The Emmys Have a Knack for Being Both Stodgy and Trailblazing at Once Slate Magazine (blog) Joining The Americans as a first time Best Drama contender is the incisive Mr. Robot, whose star Rami Malek adds some fizz to the Best Actor in a Drama category. Thomas Middleditch, who is great as the nervous twitchball at the center of Silicon Valley ... and more » |
The Free Weekly | “No Conflict Has Ever Been Solved with Violence” The Free Weekly Instead of trying to capture him alive, perhaps allowing us to learn more about whether his experience abroad affected his mental stability, a “drone” (robot-delivered) bomb was used to blow him up, a tactic associated with the military, never before ... |
Kieran Williams Photography posted a photo:
christianoblak posted a photo:
The new Design Museum, which is set to open in London's Kensington this November, has revealed the interiors of its shop.
The shop, which opens today 15 July at 224-238 Kensington High Street, marks the museum's first retail space at its new site.
The Design Museum is due to open at this site in November, after the previous museum at Shad Thames closed its doors on 30 June. It will take over the former Commonwealth Institute building.
The 76m2 shop space has been created by designer John Pawson, who is also designing the interiors for the museum itself.
It will include a curated selection of “design classics”, says the Design Museum, which will include items from exhibitions on show at the museum itself, alongside other international pieces.
It will also include a Design Museum-branded range, alongside collaborations with designers and arts book publishers such as Phaidon.
The interiors of the shop aim to reflect the aesthetic of the upcoming museum, says the Design Museum, and use materials such as stained oak, glass and terrazzo, and Dieter Rams-designed shelving. It will also include a shop fixture by Swiss furniture company Vitra Retail.
Deyan Sudjic, director of the Design Museum, says: “The Design Museum shop reflects the values of the museum itself. It's our ambassador on the high street, always changing, always full of fascinating things, displayed with style, and staffed by people who live and breathe design.”
The new museum will be more than three times the size of the old museum, and will include three floors of gallery spaces, a library and archive, a learning centre with workshop space, two events spaces and an auditorium for talks and seminars. There will also be a café, restaurant, film studio, meeting rooms and offices, and another smaller shop based within the museum itself.
Sudjic says he hopes the new museum will act as a “bridge between the V&A and the Science Museum”, as it moves into London's museum quarter.
Alongside the new physical space, the Design Museum also saw a rebrand in March, adding a “the” to its name and creating a graphic pattern based on the roof at the Commonwealth Institute.
The new Design Museum will open on 24 November.
The post A look inside the Design Museum's new shop appeared first on Design Week.
The Swinging 60s sway back into the capital and a sea of naked strangers descends on east Yorkshire. All that and more in your weekly art dispatch
William Eggleston Portraits
Powerful and haunting images of the American south by one of the country's greatest photographers.
• National Portrait Gallery, London, 21 July-23 October.
Walsham-le-Willows, Suffolk
From the peaceful water garden to the sparkling shrine room, this Suffolk meditation complex fuses the exotic with the agricultural
“My name is Maitrivajri,” says the lady waiting at the entrance to a smart black barn, deep in the Suffolk countryside. “It means a diamond thunderbolt of universal loving kindness.”
It's not quite what you expect to encounter on the edge of the sleepy village of Walsham-le-Willows, but then this is no ordinary barn. Since 2000, Potash farm has been home to Vajrasana, the rural outpost of the London Buddhist Centre, now reborn as a £4m purpose-built retreat complex.
Related: Modernist living: let your mind wander at Alain de Botton's Life House
Continue reading...Micro cabins by Reiulf Ramstad Architects
Exhibition at Gateshead's Baltic gallery showcases children's play areas from a bygone age that put the risk back in to frisky
For most parents, the playground is a place to sit on a bench and fiddle with their phones while occasionally glancing up to check their children are still intact. Nothing can go too wrong, anyway: all the equipment is designed so there are no hard landings, jagged edges or dark hiding spaces.
But a new exhibition at the Baltic gallery in Gateshead is celebrating the radical playgrounds designed by mid-20th century visionaries who wanted children to take risks away from mum or dad's overprotective gaze.
Continue reading...Pentagram partner Abbott Miller has relaunched the quarterly dance magazine that he edited and directed, 20 years after it was first published.
Originally started by Miller in 1989 along with publisher Patsy Tarr, the two of them have picked up where they left off with Dance Ink in 1996, with the publication of Volume 8, Number 1.
The magazine, which developed a cult following among dancers, photographers and designers in the 1990s, has also expanded its remit to include additional formats. Two large-scale posters will be produced with every issue, and single or multiple images are designed to be used as wall murals.
Transparency is one of the key themes of the new issue it comes in a clear sleeve, while the design plays with the transparency of ink on the page, “suggesting layers of performance and motion”, according to Miller.
The format consists of a single collaboration with a photographer and performer, and the look will vary from issue to issue.
Volume 8, Number 1 is limited to a run of 500 copies, and can be purchased online here.
We speak to Miller to find out more about the Dance Ink relaunch and the design inspiration behind it.
Design Week: Was the relaunch something you've wanted to do for a while?
Abbott Miller: For many years the 2wice Arts Foundation has been operating on a schedule of producing one or two projects a year, depending on the complexity and expense of the projects.
Our last three endeavors were a series of digital apps (Fifth Wall, Dot Dot Dot, and Passe Partout) that were really exciting but also fairly complicated and expensive. We recalled how direct and comparatively inexpensive print is and we thought we would make a return to something tangible and seductive.
DW: Why was it important for you to pick up where you left off with Volume 8, Number 1?
AM:That was more a perverse sense of humour! We liked the idea that you could pick up where you left off despite the passage of 20 years. It was a way for us to continue a story and a mission, but with new characters.
DW: What was the main inspiration behind the design of the magazine?
AM: A kind of complex simplicity a feeling of bareness and focus that feels a little bit like starting from zero. I had a funny struggle with going back in time, and my way around it was to maintain the notion of pacing and rhythm in the layouts, but have more restraint in the type.
The biggest component was to honour our original idea of making dance happen on the page, so the shoot is really conceived for a sequence that transpires in the scale and sequence of the magazine.
DW: What are the key design features and why have you included them?
AM: I used colour in a specific way, where the imagery is primarily black and white, but it is reproduced in CMYK to give it a beautiful depth. The type allows hints of that colour to show through. In one feature there is a slippage between different layers of the letters so they create overall dark letterforms, but there are edges that reveal the magenta, yellow, and cyan to be perceived.
In another feature the tattered oriental carpet is present in most of the images. I asked Christian Witkin to shoot direct overhead details of the carpet and used those to create layered letterforms that incorporated the CMYK layers to create a distinctive texture within the letterforms.
I saw these as subtle ways to introduce colour in a largely black and white world. The restraint of those contrasts with the full-on red world of the last dance sequence, which feels more powerful because of the importance of red in the costume that Robert Rauschenberg designed for Merce Cunningham, which was performed in the issue by Silas Riener.
DW: Why have you decided to expand its remit to include new formats such as posters and murals?
AM: All media is now multi-media. We are now accustomed to the translation of images and texts from one medium to another. That is a different type of elasticity than what existed when we published the original Dance Ink, and we liked the idea of offering other ways of seeing the imagery we'd developed with Christian Witkin.
The wallpaper mural format allows someone to incorporate the imagery into an architectural space. Having designed several wallpaper patterns, and doing a lot of environmentally-scaled work, I was interested in the idea of a magazine that could become a part of an architectural space.
DW: How has the dance community changed since you first set up the magazine, and how have you relaunched the magazine to reflect this?
AM: The biggest difference is generational there is a totally new generation of artists from when we last published. The other difference is that the promotion of dance and performance has become more sophisticated. Whether small companies, individual choreographers, or big organisations, the use of video as a creative tool is now pretty standard.
The other difference is what seems to be a kind of renaissance of choreography, especially in the classical arena. Originally Dance Ink was far more aligned with modern and contemporary dancers and choreographers because that was where the creative focus was, whereas now you are seeing large classical ballet companies commissioning young choreographers like Justin Peck, Christopher Wheeldon, Alexei Ratmansky, Benjamin Millipied, Jessica Lang, and Lauren Lovette. That just means we may have more of a complex mixture of forms in the magazine.
The post Pentagram's Abbott Miller relaunches 90s dance mag Dance Ink appeared first on Design Week.
The UK's new Conservative prime minister Theresa May has announced her new cabinet, which includes a reshuffle of MPs in charge of culture and business.
The two main governmental departments which affect design businesses are Culture, Media and Sport, and Business, Innovation and Skills.
Culture, Media and Sport is in charge of protecting and promoting cultural sites and heritage, and investing in funds and innovation that enable creative businesses to grow.
John Whittingdale has been sacked as Culture, Media and Sport Secretary. He took up the post when the Conservatives won the general election last year and David Cameron entered his second term of office.
He has been superseded by Karen Bradley, a former Home Office minister who was a Remain supporter throughout the EU referendum.
Business, Innovation and Skills was previously in charge of economic growth, and invests in skills and education which aim to promote trade, boost innovation and also enable people to start and develop businesses.
The Business, Innovation and Skills department is now being “reshaped”, according to the BBC, with former BIS secretary Sajid Javid having been reappointed as Communities Secretary. Javid is also pro-Remain.
A new department has been created called Business, Energy and Industrial strategy, with Greg Clarke appointed as secretary. Clarke is also a Remain supporter.
10 Downing Street was unable to confirm at the time of publication whether Business, Innovation and Skills will continue to exist as a department in its own right.
The post Theresa May's cabinet includes new Culture, Media and Sport secretary appeared first on Design Week.
Ikea has opened its first UK store for seven years in Reading, complete with sensory features designed to make it feel homelier.
The 32,000m2 store, which opened in Thames Valley today, includes features such as fireplaces that smell of wood and which make crackling sounds.
“The sensory features help to bring our room sets to life, further helping our customers to imagine and feel how our products will look in their home,” says Ikea.
The furniture company has already introduced features such as these in its Cardiff store, and says it is looking to introduce them in future stores as well.
Of the 50 room sets that make up the new space, five of them come with ceilings designed to “give customers a clearer image of how products will look in [the] home”.
Visitors will also be able to try out a new Style Island concept, which help them to design a kitchen by creating a mood board for inspiration.
Ikea says its key inspiration when designing the store was “the people of the Thames Valley”.
“Our dedicated team have carried out extensive home research in the region to ensure that each of the room sets in our store reflect real-life living situations of those who live nearby, whether it be room-sets that reflect clever storage solutions for children's toys in the living room or practical spaces for recycling bins in the kitchen.”
The post Ikea opens new immersive store in Reading appeared first on Design Week.
The post Age of Design: exploring design-led businesses appeared first on Design Week.
National railway service Network Rail promised to better accommodate for people with disabilities this week, announcing a new inclusive design strategy.
The Spaces and Places for Everyone programme has been launched in order to improve services for people with disabilities, after research found that rail was the most used form of public transport by people with disabilities (67%), yet a quarter of these people felt travel by train was difficult for them.
Network Rail chief executive Mark Carne said he wants to create a national rail service where “everyone can travel equally, confidently and independently”.
The new guidelines have started to make headway, as new facilities for visually impaired people have already been implemented at Birmingham New Street and Reading stations. You can find the inclusivity document here.
Last week, we ran a feature speaking to the founder of Hidden Women of Design a new talks programme which looks to raise the profile of female designers.
This week, a talk took place in Peckham, London, which allowed a female freelance designer, consultancy-based designer and design educator to share their stories.
The programme will continue to run, and includes Pecha Kucha-style evenings where each designer is given 20 minutes and 20 slides to talk about their career and work.
It hopes to encourage people to talk about women's representation in the design industry, says founder Lorna Allan. “Having groups of female designers promoting and supporting each other can make a difference,” she says.
Annual research conducted by accountancy firm Kingston Smith across the marketing and creative sectors showed this week that the design sector is “performing well” and has “continued to grow this year”.
It found that its Top 30 design consultancies (based on financial results) have an increased amount of gross income compared to last year (£13.5 million more).
However, it also found that margins between fee income and expenditure had decreased, while employment costs had crept up compared to fee income.
You can see the full report here.
Food and drink giant Nestlé opened a 3500m2 interactive exhibition space in Switzerland recently, to mark the company's 150th anniversary.
Nest is based in Nestlé founder Henri Nestlé's original 1866 factory in Vevy, Lake Geneva, and has been renovated by Swiss architectural practice Concept-Consult Architectes in a 45m (£38m) project.
This week, we spoke to the exhibition designers, Dutch consultancy Tinker Imagineers, about how they incorporated “organic” interior design alongside the industrial aesthetic of the venue.
The space is split into past, present and future zones, looking at the history and future possibilities of the brand, through ten different immersive exhibits.
This week, the BBC published a tender saying it is seeking a team to design several of its most prevalent financial documents.
This would include its Annual Report and Accounts (ARA), full financial statements and six other print documents.
The broadcaster highlights the importance of this job, in that these reports play a key role in showing openness and transparency, and make the BBC's financial performance publicly available.
The contract value is £400,000, and will run for up to four years from December 2016 to December 2020. More details can be found here.
The post 5 important things that happened in design this week appeared first on Design Week.
320
Have you ever had an idea that you wanted to be involved in and execute, but it never quite happened for you? For Tillman, Design Director for Society of Grownups, this was not only true for her, but at times it felt like the defining sentiment of her career. While we live in a world of interconnection, it's still so easy to feel like we're not making the impact that we'd like, or that we're not taking advantage of all of our opportunities. But instead of asking for permission or waiting for opportunities to magically unfold before us Kristy challenges us to make our own opportunities. How? By inviting yourself to the table.
Kristy Tillman currently serves as the Design Director for Society of Grownups, a Boston-based start-up whose mission is to democratize financial literacy for the young adult set. There she leads design teams dedicated to crafting exceptional experiences across both digital and physical platforms.
Prior to Society of Grownups, Kristy was a designer at IDEO, an award-winning global design consultancy where she helped solve design problems across a variety of industries including consumer product goods, finance, education, and healthcare. She also did a tour through the footwear industry as a product graphic designer at PUMA and Reebok.
Kristy believes in a future where design is a tool that aids undeserved communities in solving socio-cultural problems. As the former co-founder of the Detroit Water Project and founder of Tomorrow Looks Bright, Kristy has a strong commitment to furthering the accessibility of design.
She is an alumna of Florida A&M University.
US one sheet for ATLANTIC CITY (Louis Malle, USA, 1980)
Designer: Gerard Huerta
Poster source: Heritage Auctions
1970 East German poster for IN THE HEAT OF THE NIGHT (Norman Jewison, USA, 1967)
Designer: Erhard Grüttner
Poster source: Posteritati
philsfotos1 Thanks Everyone for over 3/4 of a mill posted a photo:
you go to the right,... i"ll go to the left....Left Right Left..Great Lakes Piping Plover juveniles Practicing the art of yoga....
Une lectrice du @lemondefr nous envoie ce dessin après l'attaque de #Nice. Dire que l'été était arrivé... pic.twitter.com/mJdliTpDGX
-- Clément Martel (@martelclem) July 15, 2016
WHO WE ARE
EDITORS: Nathan Gardels, Co-Founder and Executive Advisor to the Berggruen Institute, is the Editor-in-Chief of The WorldPost. Kathleen Miles is the Executive Editor of The WorldPost. Farah Mohamed is the Managing Editor of The WorldPost. Alex Gardels and Peter Mellgard are the Associate Editors of The WorldPost. Suzanne Gaber is the Editorial Assistant of The WorldPost. Katie Nelson is News Director at The Huffington Post, overseeing The WorldPost and HuffPost's news coverage. Charlotte Alfred and Nick Robins-Early are World Reporters. Rowaida Abdelaziz is World Social Media Editor.
CORRESPONDENTS: Sophia Jones in Istanbul.
EDITORIAL BOARD: Nicolas Berggruen, Nathan Gardels, Arianna Huffington, Eric Schmidt (Google Inc.), Pierre Omidyar (First Look Media), Juan Luis Cebrian (El Pais/PRISA), Walter Isaacson (Aspen Institute/TIME-CNN), John Elkann (Corriere della Sera, La Stampa), Wadah Khanfar (Al Jazeera), Dileep Padgaonkar (Times of India) and Yoichi Funabashi (Asahi Shimbun).
VICE PRESIDENT OF OPERATIONS: Dawn Nakagawa.
CONTRIBUTING EDITORS: Moises Naim (former editor of Foreign Policy), Nayan Chanda (Yale/Global; Far Eastern Economic Review) and Katherine Keating (One-On-One). Sergio Munoz Bata and Parag Khanna are Contributing Editors-At-Large.
The Asia Society and its ChinaFile, edited by Orville Schell, is our primary partner on Asia coverage. Eric X. Li and the Chunqiu Institute/Fudan University in Shanghai and Guancha.cn also provide first person voices from China. We also draw on the content of China Digital Times. Seung-yoon Lee is The WorldPost link in South Korea.
Jared Cohen of Google Ideas provides regular commentary from young thinkers, leaders and activists around the globe. Bruce Mau provides regular columns from MassiveChangeNetwork.com on the "whole mind" way of thinking. Patrick Soon-Shiong is Contributing Editor for Health and Medicine.
ADVISORY COUNCIL: Members of the Berggruen Institute's 21st Century Council and Council for the Future of Europe serve as the Advisory Council -- as well as regular contributors -- to the site. These include, Jacques Attali, Shaukat Aziz, Gordon Brown, Fernando Henrique Cardoso, Juan Luis Cebrian, Jack Dorsey, Mohamed El-Erian, Francis Fukuyama, Felipe Gonzalez, John Gray, Reid Hoffman, Fred Hu, Mo Ibrahim, Alexei Kudrin, Pascal Lamy, Kishore Mahbubani, Alain Minc, Dambisa Moyo, Laura Tyson, Elon Musk, Pierre Omidyar, Raghuram Rajan, Nouriel Roubini, Nicolas Sarkozy, Eric Schmidt, Gerhard Schroeder, Peter Schwartz, Amartya Sen, Jeff Skoll, Michael Spence, Joe Stiglitz, Larry Summers, Wu Jianmin, George Yeo, Fareed Zakaria, Ernesto Zedillo, Ahmed Zewail and Zheng Bijian.
From the Europe group, these include: Marek Belka, Tony Blair, Jacques Delors, Niall Ferguson, Anthony Giddens, Otmar Issing, Mario Monti, Robert Mundell, Peter Sutherland and Guy Verhofstadt.
-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.
There's also an entirely engaging story happening here: a group of four friends, all nerdy boys of the Dungeons & Dragons varietal, is hurled into a supernatural mystery when one of them, kind and thoughtful Will (Noah Schnapp), goes missing. This frightening event coincides with some sort of incident at a nearby military-research facility, a looming, ominous presence that the sleepy town of Hawkins, Indiana, doesn't seem all that aware of. Will's mother, played with convincing fire by none other than Winona Ryder, begins a mad hunt for her son, while his friends, led by Finn Wolfhard's (what a name!) Mike, embark on their own quest. Mike's sister, Nancy (Natalia Dyer), also gets involved, teen romance swirling around winningly with teen terror, as does the local sheriff, a shambly guy with a tragic backstory played with perfect underdog heroism by the great David Harbour.- Stranger Things: The Excellent Netflix Show That's Going to Take Over Your Weekend [GQ]
Stranger Things is a show so '80s, it's almost tempting to make fun of it. Created with nostalgic affection by Matt and Ross Duffer, it looks like Spielberg, sounds like John Carpenter, and smells a bit like Stephen King. It feels like a scary story told over a campfire, about a thing that happened to a friend of a friend a long time ago, about what really goes on in that mysterious building at the edge of town no one knows anything about, and what might happen there late at night. Altogether, it's pretty wonderful.- Winona Ryder's Guide To New Netflix Show 'Stranger Things' [NME]
1. I play Joyce Buyers.
2. I'm not a parent.
3. I was trying to look as unglamorous as possible.
4. Stranger Things is set in a small town.