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Chandigarh's Capitol Complex joins the UNESCO World Heritage list
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Filmmaker Scott Crawford on the publication that set the soundtrack for a generation of misfits.
www.matthewcattellphotography.com posted a photo:
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A young red deer stag reaching up to eat fresh willow leaves. It was shortly after sunrise and there was a heavy mist resulting in beautiful light which was perfect for near silhouette shots. The dawn sun is just hidden behind the canopy of the tree.
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Designer stationery brand Moleskine branched into food and drink this week, opening up a café in Italy, which doubles up as a store, exhibition and work space.
The Moleskine Café is based in Milan, and has been conceptualised and designed by global consultancy Interbrand along with Moleskine's in-house creative team.
Split across two levels, the ground floor is centred around a coffee and food counter, with product displays that visitors can interact with and exhibition spaces around the peripheries.
There are also shared seating areas, where people are encouraged to chat and share ideas, while the mezzanine floor has quieter rest spaces where people can have a more “reflective and intimate experience”, says Manfredi Ricca, chief strategy officer at Interbrand Europe.
The store concept is based on rebranding Moleskine from a high-end stationery brand into a whole creative experience, which allows people to peruse artwork and design-led products, while allowing time to sit, reflect and use their own imagination too.
The Moleskine Café concept will roll out worldwide, though the company has not announced in which cities yet.
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Selfridges' flagship store opened its redesigned Designer Studio this week, which showcases the work of established and up-and-coming fashion designers.
The interiors of the London Oxford Street store have been designed by studio Campaign, with installations created by artists including Patternity and Anna Lomax.
The space also includes an art gallery, and a book shop selling photography, fashion and art books, magazines, annuals and collectible editions.
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From rooms filled with blaring transistor radios to rooms as hot as a furnace, Daydreaming with Stanley Kubrick is an attack on the senses, leaving its visitors feeling disconcerted, uncomfortable and overwhelmed.
The show, which is open at London's Somerset House until 24 August, includes 45 commissions from different artists, which interpret Kubrick's films, with a heavy favouritism towards his well-loved classics A Clockwork Orange, The Shining and 2001: A Space Odyssey.
Although there isn't much exploration of his lesser known films, the unnerving exhibition uses multimedia forms to address Kubrick's wider themes of dark humour, sex, violence, horror and dystopia, which find their way into the majority of his movies.
This week, we spoke to co-curator James Putnam, who explains why the show had to be “different from a conventional art exhibition”.
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This week, design business advisor Shan Preddy shared insight on how design company owners can succeed following the EU referendum.
Industry experts have noted that leaving the European Union could cause problems for design businesses, which include restricted movement of talent and goods, change to copyright laws and loss of access to EU funding.
Others also noted however that leaving could give UK businesses more freedom and autonomy over their spending and resources.
Either way, now's the time to think about how your business need to change following the vote. In an exclusive piece for Design Week, Preddy advises that some of the things business owners should be focusing on are maintaining client relationships, investing in marketing and valuing all team members, no matter what level they are.
To read her in-depth advice piece, head here.
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Designers have transformed the design of classic book covers from the last 100 years this week, including titles such as Barry Hines' A Kestrel for a Knave, Kathryn Stockett's The Help and Gabriel Garcia Marquez's Love in the time of Cholera.
The commissioned designers span professions from illustrators to tattoo artists, and were sourced by Penguin via blogs, exhibitions and tattoo shops.
Picking from a multi-disciplinary range of professions means some of the artists won't have worked on a book cover before, which produces “original and fresh” designs, says Penguin designer Gill Heeley.
The Penguin Essentials series will be published on 6 August in paperback and each book costs £8.99.
The post 5 important things that happened in design this week appeared first on Design Week.
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Seymourpowell has developed technology to recycle paint more cost-effectively and on a mass scale for the first time.
Working with Dulux-owner AkzoNobel and Newlife Paints, the consultancy's technology, based on the concept of a vacuum cleaner, mechanises the process of decanting unused paint from tins, which if used commercially would help both to save resources and reduce landfill.
AkzoNobel initially teamed up with paint chemist Keith Harrison to tackle the problem of huge amounts of paint being wasted each year. Over 400 million litres of paint is sold annually in the UK but 13% of it remains unused, amounting to 55 million litres wasted in total, according to Seymourpowell.
Harrison had already developed a technique of re-engineering used paint into a recycled paint product. Seymourpowell's brief was then to create machinery and technology that would allow a technically and commercially viable way of scaling up Harrison's recycling process.
“One of the major technical problems with recycling paint is that it's very difficult to decant from tins,” says Chris Sherwin, sustainability consultant at Seymourpowell.
“The process is labour-intensive and expensive because it all has to be done by hand. Our first challenge was to discover the very best way of harvesting all of the unused paint in the most cost-effective way.”
The consultancy experimented with different technologies, including high-pressure air jets, vibrations, crushing and squeezing the paint tins, and a large “worm-screw” device that crushed tins and drained paint at the same time.
An industrial vacuum cleaner, however, proved to be the quickest and most efficient means of extracting unused paint. Seymourpowell developed and adapted the suction technology and created a large prototype that could be used on an industrial scale.
The concept was then trialed with waste management company Veolia and proved to allow paint to be recycled four times faster and at one-seventh of the cost of previous methods.
It also leaves tins clean enough to be recycled straight away and is cost-effective to scale up.
Seymourpowell plans to develop the technology further alongside AkzoNobel and Newlife Paints, as well as a smaller paint suction prototype for smaller scale paint recycling operations.
The consultancy has not yet confirmed how the collection process for used tins would work.
More details about the technology are expected to be revealed later this year.
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The post Seymourpowell designs new paint recycling technology appeared first on Design Week.
Indulge your spy-film fantasies at this cool clifftop hangout a design classic by iconic architect César Manrique
Technically, the Mirador del Río is a cafe and bar, but the reason people come here is to live out their 1960s spy-film fantasies. Created in 1974 by visionary architect and artist César Manrique, it is a perfect example of his impeccable grooviness, as well as his affinity for the otherworldly beauty of his beloved island. Carved into the summit of a 474-metre-high cliff on Lanzarote's northern tip, the Mirador is almost invisible from the outside. But step inside and a winding corridor leads you up through lava rock into two cave-like rooms, with vast panoramic windows overlooking the “Rio”, a strait between Lanzarote and the tiny island of La Graciosa.
All of Manrique's constructions are works of art but the Mirador is the one you can imagine as your own apartment
Continue reading...Stanley Kubrick's disconcerting and uncomfortable cinematic style is tricky to replicate in an exhibition space. But Somerset House's latest show successfully transports its visitors from gallery to film set with its array of multimedia installations inspired by the likes of A Clockwork Orange, The Shining and 2001: A Space Odyssey.
As visitors snake their way around the West Wing at Somerset House, their senses are attacked by the sound of 114 broken radio transistors, the warmth of a roaring electric fireplace, the sight of a giant penis sculpture and the all-round immersion of a virtual reality space scene.
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Daydreaming with Stanley Kubrick sees 45 artists spanning fields from graphic design and sculpture to filmmaking and object curation recreate scenes from the movies, or interpret Kubrick's more overarching themes of sex, violence, dystopia and the unknown.
By removing text from the walls of the exhibition space and placing it in a succinct booklet instead, Daydreaming with Stanley Kubrick provides no distractions for its visitors, holding them captive in rooms with nothing but multi-sensory installations, and breaking down boundaries between curator and visitor.
The exhibition was conceptualised and curated by filmmaker and musician James Lavelle, who began working on the project five years ago, alongside freelancer James Putnam, who came in halfway.
“Lavelle is a DJ, whereas I'm a straightforward art curator,” says Putnam. “I brought in heavy-weight artists while he brought in film-makers and musicians. His skill of mixing music worked well in curation, and meant we came up with something quite progressive.”
Exhibition design was completed by Richard Greenwood, Miska Lovegrove and Mathilde Bretillot, and graphic design by Studio Barnbrook.
While Somerset House's usual photography and graphic design exhibitions are characterised by framed wall pieces alongside descriptions, Putnam explains that this show needed to stand out. It has no text on the walls at all, and instead replaces this with a booklet offering a little explanation on each installation.
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“We wanted to make it very different from a conventional art exhibition,” Putnam says. “It had to be an arresting, visceral experience. We were very careful not to make it too interpretative with labels, as we didn't want people stopping and trying to read them under dim, flickering or strobe lighting.”
This lack of explanation is meant to leave as much to the viewer's imagination as possible, sometimes to the point of confusion. “There's this ambiguity to Kubrick's films, this feeling of a dissatisfactory ending, and never quite knowing what message he's trying to get across,” says Putnam. “So the show had to be thought-provoking.”
The exhibition makes good use of the museum's West Wing, assigning some more immersive installations an entire room, whereas others are placed several within the same room but separated by maze-like wall structures within it, adding to the feeling of the unexpected as visitors turn corners.
“We had to think about how we would get 45 artists into that confined space,” says Putnam. “We wanted to make it like a film itself, so that visitors would experience the thrill of a Kubrick film that disquieting, edgy atmosphere.”
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Some of the more arresting installations include Iain Forsyth and Jane Pollard's dimly lit room filled with 114 crackling analogue radio sets, with old VHS recorders and torn up cassettes added for effect. The individual noises from the radios join together in harmony to produce one voice singing Dies Irae the eerie Roman Catholic hymn used by Kubrick in the soundtrack of The Shining and A Clockwork Orange. The atmospheres leaves the viewer with an unnerving feeling of nostalgia mingled with dread and anticipation, while Stuart Haygarth's tower of electric fires sets its room ablaze with heat and gives off a supernatural red glow.
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Doug Foster's visual display replicates a scene from 2001: A Space Odyssey, mesmerising viewers as they watch patterns emerge and change from a central point on the screen, accompanied by a foreboding soundtrack by composer Phillip Shepherd. Chris Levine's LED light display projects a quickly vanishing portrait of Kubrick himself as the viewer looks from side to side, while Sarah Lucas' concrete penis sculpture lying on top of a crushed car is a cheeky nod to Kubrick's interpretation of sex and violence bleak and sordid, yet laced with dark humour, much like the films themselves.
While the installations take centre stage at the show, Studio Barnbrook's graphic design elements were well-considered with a “simple, direct” approach that purposely did not take away from the effect of the pieces, says Putnam.
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The studio created flat, two-dimensional icons which communicate some of the more iconic characters in Kubrick's films a winking eye, symbolising Alex from A Clockwork Orange, and a heart to mark Lolita's heart-shaped sunglasses which are then used in various formations across advertising posters.
A bright orange colour is used throughout the print and exhibition graphics, and plastered all over the walls, creating a symbolic blank canvas while also drumming home this association with one of Kubrick's best-known films. Complemented by a navy blue, the graphic identity had to be “strong visually”, accompanied by “brief and clear” wayfinding information, says Putnam.
Creating such an immersive experience within a building like Somerset House could not have been an easy task. As a listed site, some installations a transcript from The Shining which adorns the walls of the building's historic Nelson staircase had to be carefully considered, while others Adam Broomberg and Oliver Chanarin's carpet design taken from The Shining were installed just 10 days before the exhibition opening. But working across disciplines and at times spontaneously, the curators and design teams have put together a fitting show for Kubrick's filmic style an erratic, perplexing and captivating visitor journey which turns an exhibition into theatre.
Daydreaming with Stanley Kubrick will run at West Wing, Somerset House, Strand, London WC2R 1LA until 24 August. Tickets are £12.50, or £9.50 for concessions.
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The post Review: Daydreaming with Stanley Kubrick at Somerset House appeared first on Design Week.
Images show designs for leafy Stratford waterfront and new outposts for Sadler's Wells and V&A on site of 2012 Olympic park
New images have been released showing what the cultural district rising like a brick phoenix from the 2012 London Olympics site will look like.
The London Legacy Development Corporation (LLDC) published the computer-generated images on Wednesday at a conference called Rising in the East to mark the four-year anniversary of the Olympic opening ceremony.
Related: Plans for Olympicopolis arts hub in east London attract £45m of private cash
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Fernando Hueso Photography posted a photo:
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Big Ben is the nickname for the Great Bell of the clock at the north end of the Palace of Westminster in London, and often extended to refer to the clock and the clock tower. The tower is officially known as Elizabeth Tower, renamed to celebrate the Diamond Jubilee of Elizabeth II in 2012; previously it was known simply as the Clock Tower. The tower holds the second largest four-faced chiming clock in the world (after Minneapolis City Hall). The tower was completed in 1859 and had its 150th anniversary on 31 May 2009, during which celebratory events took place. The tower has become one of the most prominent symbols of the United Kingdom and is often in the establishing shot of films set in London.
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After another cracking series of summer lectures, we're planning our next run of talks, and we want you to help us put them together. So whether you want to take the mike, or know someone we simply must speak to, now's your chance.…
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Working with dubious sourcing, a group close to NATO's chief military commander Philip Breedlove sought to secure weapons deliveries for Ukraine, a trove of newly released emails revealed. The efforts served to intensify the conflict between the West and Russia. ![]("https://drscdn.500px.org/photo/165210157/m%3D900/c09dddc7e1cf5ea5221e28cdd97f7aef")
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