Monday, September 27, 2010
Saturday, September 25, 2010
Friday, September 17, 2010
Martino Gauper
"Berlino Bench" by Martino Gauper
See more at http://www.gampermartino.com/projects/berlino-bench/
Thursday, September 16, 2010
24 Euro Chair is a Do It Yourself-Chair
Thanks to my friend Matthias for forwarding on information about this chair. Definitely another candidate for an interview!
Made from one wooden board: The 24 Euro Chair is a Do It Yourself-Chair, that costs 24 Euro and can be built in 24 hours. The idea: Timeless and high quality design for everybody. The chair is inspired by modern classics and is part of a furniture project called „Hartz IV Möbel“ (german welfare). These furnitures are not for sale. The Do It Yourself process is what counts. Someone who used to be on welfare invented this idea in a VHS School (Community Center). The VHS offers now 24 Euro Chair workshops. Construction plan is for free. Find out more here
Made from one wooden board: The 24 Euro Chair is a Do It Yourself-Chair, that costs 24 Euro and can be built in 24 hours. The idea: Timeless and high quality design for everybody. The chair is inspired by modern classics and is part of a furniture project called „Hartz IV Möbel“ (german welfare). These furnitures are not for sale. The Do It Yourself process is what counts. Someone who used to be on welfare invented this idea in a VHS School (Community Center). The VHS offers now 24 Euro Chair workshops. Construction plan is for free. Find out more here
Wednesday, September 15, 2010
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I'M STRESSED OUT
1. Picture from a disposable camera. Still too nice, but the blurrying effect is promising.
A painting from Romina Bassu's exhibition called "I am stressed out". Her other works only contain symbols of stress (http://rominabassu.blogspot.com) whereas chairs are a symbol of recreation to her. I like the contradiction, a guy frantically seeking relaxation...She will be ready for an interview.
A concert poster of The Whitest Boy Alive. I d like to know the reason why this Berlin-based band has chosen this design. It's referring to precisely the kind of ragtag, puristic, second-hand design we have been talking about all the time. Def another candidate for interview, even more since Erlend Oye has moved back to Norway in the meanwhile.
Tuesday, September 14, 2010
ON BEAUTY
From a review of Umberto Eco's book The History of Beauty:
At what point," T. S. Eliot wondered, "does the attempt to design and create an object for the sake of beauty become conscious? At what point in civilization does any conscious distinction between practical or magical utility and aesthetic beauty arise?
At what point," T. S. Eliot wondered, "does the attempt to design and create an object for the sake of beauty become conscious? At what point in civilization does any conscious distinction between practical or magical utility and aesthetic beauty arise?
Monday, September 13, 2010
ONTO THE WILD
Ladies,
how is the business going?
G reports for duty and has ordered 25 expired disposable cameras (2006/09). After that he has unsuccessfully tried to post the good news for quite a while, but could'nt find the dashboard (the 14 days in the wild made me somewhat computer illiterate).
Here you can see sample-pictures of expired vs. unexpired films:
- Cornica APS developed 4 years after expiry
- Konica APS unexpired
- Agfa leBox
The cameras i requested are expired Agfa LeBox-cameras
Waiting for further briefing
how is the business going?
G reports for duty and has ordered 25 expired disposable cameras (2006/09). After that he has unsuccessfully tried to post the good news for quite a while, but could'nt find the dashboard (the 14 days in the wild made me somewhat computer illiterate).
Here you can see sample-pictures of expired vs. unexpired films:
- Cornica APS developed 4 years after expiry
- Konica APS unexpired
- Agfa leBox
The cameras i requested are expired Agfa LeBox-cameras
Waiting for further briefing
PRETTY THING
this is not exactly what we are looking for, but it was so gorgeous i had to put it up.
Friday, September 10, 2010
WOHNZIMMER
G,
We've got a new assignment for you. Check out Wohnzimmer, Lettestraße 6, Prenzlauer Berg. It's for business purposes.
We've got a new assignment for you. Check out Wohnzimmer, Lettestraße 6, Prenzlauer Berg. It's for business purposes.
Wednesday, September 8, 2010
CONCEIVABLY, THE OBJECT IS WHAT IT SEEMS
About Lucas Maassen's show in NYC , courtesy of David D:
"Utilising exclusive materials and technologies, a secondary layer of tension of conceiving objects arises. A toy chair made of pure gold, poured out of one bar of gold, raises the question of its value: emotional vs. real value. Likewise, a chair created by a Focus Electron Beam (FEB), results in a chair so small that even a regular microscope cannot reveal this seat. This chair is a leap of faith into technological authorship. Our day-to-day empirical reality is just not good enough to capture these objects. To what extent is technological culture able to transmit empirical experiences to our mindset? And moreover, our cultural tradition tells us that a chair has four legs but what happens when these notions are being challenged by a non-empirical, technological order?
Measuring up chairs to the extent that they seem to generate a life of their own; through a character derived from inner qualities beyond any man-conceived sphere, Maassen creates an imaginative order..."
"Utilising exclusive materials and technologies, a secondary layer of tension of conceiving objects arises. A toy chair made of pure gold, poured out of one bar of gold, raises the question of its value: emotional vs. real value. Likewise, a chair created by a Focus Electron Beam (FEB), results in a chair so small that even a regular microscope cannot reveal this seat. This chair is a leap of faith into technological authorship. Our day-to-day empirical reality is just not good enough to capture these objects. To what extent is technological culture able to transmit empirical experiences to our mindset? And moreover, our cultural tradition tells us that a chair has four legs but what happens when these notions are being challenged by a non-empirical, technological order?
Measuring up chairs to the extent that they seem to generate a life of their own; through a character derived from inner qualities beyond any man-conceived sphere, Maassen creates an imaginative order..."
Monday, September 6, 2010
ITERATIONS
M,
Along the lines of some of the things we addressed in our long car ride (can the use of an object ever be forecast or secured...can it be defended...? Can an object, such as a chair, take on new meaning when cast into a new context, especially in a context so foreign from its intention? What does it mean to misinterpret the intention of an original, to use it elsewhere, out of context, to translate it, mismatch it -- whether innocently, by accident, for the sake of saving money, or because it is simply on hand. What happens when a design, say of Bauhaus, gets used in the "wrong" context? I offer some quotations from an article Nick once told me about, "Miestakes" by Rem Koolhaus (note the Wordsworthian dilemma!):
"Maybe it is a law that dogmas are defined by those that are most prone to violate them.
Mies’ work had an essence of formlessness, amorphousness, nothingness, perversion, and anxiety behind a stealth shield of serenity. By never ‘explaining’ himself except in the most lapidary terms, Mies condemned all of us –especially his intimates– to second guess his motives. Mies is (too) easily misread. To what extent is Mies –his pronouncements, his example, his method, his aura– to blame for his own misreading?"
"In a way, it was a triumph of the Miesian will: anything can be or become anything.
The Commons survived with an Olympian impassivity vis a vis the encroachment of the pragmatic, the flux of real life. The entire transformation took place on his acolytes’ ‘Mies Watch.’ Their obliviousness allowed alterations by others (‘food experts’, electricians) to remain outside the meticulously preserved limits of architectural consciousness."
"Where is Mies more beautiful, defaced or restored? As ruin, or reconstitution? The Commons could be read in two ways: a surprisingly accommodating, elegant shed, intended by Mies to be common, to absorb whatever iterations of student life are thrown up –to undergo brutal retrofits, each unit an addition to an ultimately aleatory, forever unfinished composition– or a pathetically martyred icon, full of wounds, scars, legible degradations."
*Photo of dancing Bauhaus chairs courtesy of Paul F*
Along the lines of some of the things we addressed in our long car ride (can the use of an object ever be forecast or secured...can it be defended...? Can an object, such as a chair, take on new meaning when cast into a new context, especially in a context so foreign from its intention? What does it mean to misinterpret the intention of an original, to use it elsewhere, out of context, to translate it, mismatch it -- whether innocently, by accident, for the sake of saving money, or because it is simply on hand. What happens when a design, say of Bauhaus, gets used in the "wrong" context? I offer some quotations from an article Nick once told me about, "Miestakes" by Rem Koolhaus (note the Wordsworthian dilemma!):
"Maybe it is a law that dogmas are defined by those that are most prone to violate them.
Mies’ work had an essence of formlessness, amorphousness, nothingness, perversion, and anxiety behind a stealth shield of serenity. By never ‘explaining’ himself except in the most lapidary terms, Mies condemned all of us –especially his intimates– to second guess his motives. Mies is (too) easily misread. To what extent is Mies –his pronouncements, his example, his method, his aura– to blame for his own misreading?"
"In a way, it was a triumph of the Miesian will: anything can be or become anything.
The Commons survived with an Olympian impassivity vis a vis the encroachment of the pragmatic, the flux of real life. The entire transformation took place on his acolytes’ ‘Mies Watch.’ Their obliviousness allowed alterations by others (‘food experts’, electricians) to remain outside the meticulously preserved limits of architectural consciousness."
"Where is Mies more beautiful, defaced or restored? As ruin, or reconstitution? The Commons could be read in two ways: a surprisingly accommodating, elegant shed, intended by Mies to be common, to absorb whatever iterations of student life are thrown up –to undergo brutal retrofits, each unit an addition to an ultimately aleatory, forever unfinished composition– or a pathetically martyred icon, full of wounds, scars, legible degradations."
*Photo of dancing Bauhaus chairs courtesy of Paul F*
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