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Caitlind Rc Brown & Wayne Garrett
CAITLIND r.c. BROWN & WAYNE GARRETT [email protected] | 403-616-3147 | www.incandescentcloud.com EDUCATION BROWN BFA with distinction, Alberta College of Art and Design (ACAD) | Calgary, Canada, 2010 GARRETT Music Performance, Jazz, Mount Royal University | Calgary, Canada, 2012 Red Seal, Journeyman Machinist, Southern Alberta Institute of Technology | Calgary, Canada, 2009 AWARDS + GRANTS 2015 WRECK CITY, Project Grant for Organizations in the Visual Arts, Canada Council for the Arts | Canada 2013 CLOUD, Finalist, Spaces Award, Innovation by Design, Fast Company | USA 2013 Visual Arts Grant, Alberta Foundation for the Arts | Canada 2013 Film and Video Production Grant, Alberta Foundation for the Arts | Canada 2012 Cultural Relations Grant, Alberta Foundation for the Arts | Canada 2012 Travel Grant, Canada Council for the Arts | Canada 2011 Film and Video Production Grant, Alberta Foundation for the Arts | Canada RESIDENCIES 2015 Artists in Residence, Klondike Institute of Art & Culture | Dawson City, Canada 2015 Blueprint for Happiness, The Banff Centre | Banff, Canada 2014 Luminosity, Lexington Art League | Lexington (KY), USA EXHIBITIONS 2016 The Deep Dark [through], SPRING/BREAK, Moynihan Station | New York, USA 2016 CLOUD, Temporarily Visible, Weisman Art Museum | Minneapolis, USA 2015 SOLAR FLARE, Sun Light/Star Light, Louisiana Art & Science Museum | Baton Rouge, USA 2014 SOLAR FLARE, Site Whanki_Wave, Whanki Museum | Seoul, South Korea 2014 BELLWETHER, Site Whanki_Wave, Whanki Museum | Seoul, South Korea 2014 NEW MOON, -
50 City Stories Explored 5 0 City Sto Rie S Exp Lo
50 city stories explored 50 city stories explored city stories “The urbanisation challenge is big, it is real and it is with us now. Future generations will live with how we handle it. At Arup, we have joined the challenge – with interventions large and small – to deliver better cities in our ongoing mission to shape a better world.” Gregory Hodkinson Arup Group Chairman Arup Design Book www.arup.com 50 city stories explored Foreword Gregory Hodkinson The urbanisation challenge is big, it is real and it is with us now. Between 1950 and 2050, the global population is likely to quadruple, from 2.5bn to nearly 10bn. Not so long ago, many commentators believed that such a number would be unsupportable. Yet the inexorable growth continues. The urban population is growing at an even faster rate. In the next 35 years, the number of city dwellers will increase from 4bn today to over 6.5bn. Africa and Asia will accommodate 90% of this growth. The rate, scale and concentration of urbanisation in this century is, of course, unprecedented. To accommodate it, the resources of cities, nations, international institutions, civil society and the private sector are being stretched. If our cities are to be efficient, liveable, resilient and sustainable, the relatively long life-cycle of urban development means we can ill afford to get it wrong. It is a challenge that cities around the world must confront, regardless of their size, wealth or location. Future generations will live with how we handle it. At Arup, we have joined this challenge – with interventions large and small – to deliver better cities in our ongoing mission to shape a better world. -
Thomas Heatherwick, Architecture's Showman
Thomas Heatherwick, Architecture’s Showman His giant new structure aims to be an Eiffel Tower for New York. Is it genius or folly? February 26, 2018 | By IAN PARKER Stephen Ross, the seventy-seven-year-old billionaire property developer and the owner of the Miami Dolphins, has a winningly informal, old-school conversational style. On a recent morning in Manhattan, he spoke of the moment, several years ago, when he decided that the plaza of one of his projects, Hudson Yards—a Doha-like cluster of towers on Manhattan’s West Side—needed a magnificent object at its center. He recalled telling him- self, “It has to be big. It has to be monumental.” He went on, “Then I said, ‘O.K. Who are the great sculptors?’ ” (Ross pronounced the word “sculptures.”) Before long, he met with Thomas Heatherwick, the acclaimed British designer of ingenious, if sometimes unworkable, things. Ross told me that there was a presentation, and that he was very impressed by Heatherwick’s “what do you call it—Television? Internet?” An adviser softly said, “PowerPoint?” Ross was in a meeting room at the Time Warner Center, which his company, Related, built and partly owns, and where he lives and works. We had a view of Columbus Circle and Central Park. The room was filled with models of Hudson Yards, which is a mile and a half southwest, between Thirtieth and Thirty-third Streets, and between Tenth Avenue and the West Side Highway. There, Related and its partner, Oxford Properties Group, are partway through erecting the complex, which includes residential space, office space, and a mall—with such stores as Neiman Marcus, Cartier, and Urban Decay, and a Thomas Keller restaurant designed to evoke “Mad Men”—most of it on a platform built over active rail lines. -
The Londons New Routemaster Free
FREE THE LONDONS NEW ROUTEMASTER PDF Tony Lewin,Thomas Heatherwick | 160 pages | 12 May 2014 | Merrell Publishers Ltd | 9781858946245 | English | London, United Kingdom Heatherwick Studio | Design & Architecture | New Routemaster Looks like The Londons New Routemaster article is a bit old. Be aware that information may have changed since it was published. Earlier this year, as he was stepping off the back of a New Routemaster, a friend of mine had his knee twatted by a door mechanism that was channeling the till from Open All Hours. Reeling from the pain, he wondered whether it was the The Londons New Routemaster or the bus that was to blame. Actually, it was Boris Johnson's fault. According to a promise Johnson had made to Londoners, that door was never going to be there in the first place. In his former guise as Mayor of London back inJohnson had pledged — as a flagship part of his manifesto, mind — that every New Routemaster would have a 'hop on, hop off' option, each vehicle manned by a conductor. It was going to be just like in the good old days. If that sounded too good financially reckless to be true, it was. Bythe open platform, and accompanying The Londons New Routemaster, were consigned The Londons New Routemaster the scrapheap. The conductors' job, by the way, had never been to sell tickets, which they couldn't. It was, presumably, to ensure that the mayor's encouragement for Londoners to leap at moving vehicles with Flynn-esque derring-do, didn't end up in a flurry of law suits. -
The Garden Bridge Design Procurement
GLA Oversight Committee The Garden Bridge Design Procurement March 2016 ©Greater London Authority March 2016 GLA Oversight Committee Members Len Duvall (Chair) Labour Tony Arbour (Deputy Chair) Conservative Jennette Arnold OBE Labour Gareth Bacon Conservative Roger Evans Conservative Darren Johnson Green Joanne McCartney Labour Caroline Pidgeon MBE Liberal Democrat Navin Shah Labour Role of the GLA Oversight Committee The GLA Oversight Committee is responsible for a range of matters, including responding on the Assembly’s behalf to formal staffing consultations from the GLA’s Head of Paid Service, monitoring scrutiny expenditure and approving the expenditure over a certain level, approving rapporteurship proposals, overseeing the programming of the Assembly’s business and recommending to the Mayor a budget proposal for the Assembly for the financial year and then allocating that budget. In addition, the GLA Oversight Committee now has responsibility for scrutinising any actions or decisions taken by the Mayor on matters relating to education. The Committee usually meets ten times a year. Contact Alison Bell, External Relations Manager Email: [email protected] Contact: 020 7983 4228 2 Contents Chair’s foreword ................................................................................................. 4 Executive summary ............................................................................................. 7 1. Introduction ............................................................................................... -
ANNEX a Complete List of Featured Artists and a I Light Marina Bay 2012 9 March – 1 April Marina Bay Featured Artists And
i Light Marina Bay 2012 9 March – 1 April Marina Bay ANNEX A Complete List of Featured Artists and Art Installations No Artist Gender Born Country of Birth Base 1 Aleksandra Stratimirovic * F 1968 Yugoslavia Sweden Andrew Daly F 1986 Australia Australia 2 Katherine Fife M 1990 Australia Australia 3 Angela Chong* F 1977 Singapore Singapore 4 Be Takerng Pattanopas* M 1965 Thailand Bangkok 5 BIBI M 1964 France France 6 Cornelia Erdmann* F 1976 Germany Hong Kong 7 Craig Walsh M 1966 Australia Australia 8 Dev Harlan M 1978 USA USA 9 Edwin Tan* M 1981 Singapore Singapore Groupe LAPS 10 Thomas Veyssiere (Director) M 1971 France France Hexogon Solution* 11 M 1976 Singapore Singapore Adrian Goh (Team Leader) 12 Li Hui M 1977 China China Light Collective* 13 Martin Lupton M 1969 UK UK Sharon Stammers F 1971 UK UK France, 14 Marine Ky* F 1966 Cambodia Cambodia, Australia Martin Bevz M 1986 Australia Australia 15 Kathryn Clifton F 1985 Australia Australia OCUBO* 16 Nuno Maya M 1978 Portugal Portugal Carolle Pumelle F 1964 Democratic Republic of Portugal Congo 17 Olivia d’Aboville* F 1986 Philippines Philippines 18 Olivia Lee* F 1985 Singapore Singapore 19 Ryf Zaini* M 1980 Singapore Singapore 20 Shinya Okuda M - Japan Singapore 21 StoryBox M 1975 New Zealand New Zealand Singapore Student 22 Showcase 1: - - - Singapore LASALLE College of the Arts 23 Singapore Student - - - Singapore Organised by Festival Direction by Held in i Light Marina Bay 2012 9 March – 1 April Marina Bay Showcase 2: School of the Arts Singapore 24 Takahiro Matsuo M 1979 Japan -
Thomas Heatherwick Presentation March 2021
Thomas Heatherwick Designing the Extraordinary Hazel Frith March 2021 UK Pavilion Shanghai 2010 • Born 17 February 1970, now 51 • Attended Sevenoaks School • Studied what was then ‘Wood, Metal, Glass and Ceramics’, now Three-Dimensional Design, at Manchester Polytechnic • Followed by MA Royal College of Art • Mother jeweller, grandmother textile designer, great grandfather owned Jaeger Heatherwick Studio philosophy ‘The discipline of ideas’ Please note all images copyright Heatherwick Studio unless stated Three dimensional design - not multidisciplinary architecture, sculpture, furniture, metalwork, fashion Early Work Kiosk/Pavilion 1991-2 • Now owned by Cass Foundation Goodwood Sculpture Park Early Work Gazebo 1994 • RCA final project • Sponsored by Terence Conran, built in his garden • Tilting stacks of birch ply support each other structurally • 18 feet high Heatherwick Studio Founded 1994 Harvey Nichols Facade 1997 London Fashion Week • First major public design project • Ribbon of laminated birch ply winding in and out of shop frontage • ‘Playful urban surrealism’ - The Architectural Review • Won a D&AD Gold Award Materials House 1998-9 Materials Gallery, Science Museum, London • Lottery funded commission • Combines 213 different materials built up in undulating layers • Intended to be exploratory and tactile • Library describing the materials adjacent Photographs Science Museum Chandelier - Bleigiessen 2002 Wellcome Trust • 42,000 droplets of glass suspended on 27,000 high tensile wires • Hanging down through 8 floors Photography Wellcome -
Review of the Garden Bridge Project
The Garden Bridge Executive Summary 1. On 19 October, the Mayor of London, Sadiq Khan formally appointed me to undertake a review of the Garden Bridge project. This review does not seek to assess whether building a Garden Bridge over the River Thames is a good idea; that is a matter for the Mayor, and I made clear at the start of this review process that I had no view. I have studied the papers to which I have been given access and have held meetings with relevant stakeholders and others who have asked to see me. 2. My conclusions on value for money, escalating costs and conduct and procedures are set out in this summary: Value for money 3. Decisions on the Garden Bridge were driven by electoral cycles rather than value for money. From its inception when there was confusion as to its purpose, through a weak business case that was constructed after contracts had been let and money had been spent, little regard has been had to value for money. 4. The original ambition to fund the Garden Bridge solely through private finance has been abandoned. Furthermore the goalposts have moved several times and each time the risks to the taxpayer have intensified. Looking to the future, the costs of construction have escalated and are likely to increase further. What started life as a project costing an estimated £60 million is likely to end up costing over £200 million. At the same time the Garden Bridge Trust has lost two major donors and has only secured £69 million in private funding pledges, leaving a gap of at least £70 million that needs to be raised for the capital investment. -
Annual Review 2011/12
RCA ANNUAL REVIEW 2011/ 12 Royal College of Art Annual Review 2011/12 18 School of Architecture Architecture 20 School of Communication Animation Visual Communication 30 Research RCA 22 School of Design 34 Design Interactions Helen Hamlyn Centre Design Products for Design Innovation Design Engineering 36 Vehicle Design InnovationRCA 24 38 School of Fine Art Industry Partnerships Painting Photography 40 Printmaking FuelRCA Sculpture Drawing Studio/ 41 2 Moving Image Studio Scholarships Rector’s Review 26 42 4 School of Humanities SustainRCA Student Statistics Critical & Historical 2011/12 Studies 43 Critical Writing in ReachOutRCA 6 Art & Design 2011/12 to View Curating Contemporary 44 Art Alumni 10 V&A / RCA History 175 Years of the of Design 46 Royal College of Art Donors & Sponsors 28 12 School of Material 48 Show RCA 2012 Ceramics & Glass Honours & Appointments Goldsmithing, /Court Membership 14 Silversmithing, Battersea Developments Metalwork & 50 Jewellery Council Membership 16 Fashion Menswear New Academic Fashion Womenswear 51 Programmes Textiles Summary Accounts This year Professor Jane Pavitt became Dean Rector’s of Humanities, having joined the College in 2011 as Head of History of Design. In addition to her academic activities at the RCA, she managed to find time to Review co-curate the highly successful Postmodernism: Style and Subversion 1970–1990 exhibition at the Victoria and Albert Museum with the museum’s Head of Research, Dr Glenn Adamson. The History of Design joint Master’s programme, run by the V&A and the RCA, also celebrated its thirtieth anniversary in 2012. In research terms, the RCA was successful in securing its largest-ever grant from Research Councils UK, working in collaboration with the universities of Lancaster and Newcastle. -
Thomas Heatherwick
THOMAS HEATHERWICK Thomas Heatherwick is the founder of Heatherwick Studio. At the heart of his studio’s work is a profound commitment, at every scale, to finding innovative design solutions with an absolute dedication to artistic thinking and the latent potential of materials and craftsmanship. Notable projects include the Olympic Cauldron for the 2012 Olympic Games, the New Bus for London, and the award winning UK Pavilion for the Shanghai World Expo 2010. The studio’s current work includes two large scale developments in Shanghai; a university building in Singapore; a new distillery in the south of England; a museum of contemporary African art in Cape Town and a 200-passenger boat for a river estuary in France. Thomas is an Honorary Fellow of the Royal Institute of British Architects; a Senior Research Fellow at the Victoria & Albert Museum; and has been awarded Honorary Doctorates from the Royal College of Art, University of Dundee, University of Brighton, Sheffield Hallam University and University of Manchester. In 2013 he was elected a Royal Academician by the Royal Academy of Arts, London. Thomas was on the panel of The Farrell Review of Architecture and the Built Environment, published in Spring 2014. In 2004 Thomas was the youngest practitioner to be appointed a Royal Designer for Industry. He was awarded the Prince Philip Designers Prize in 2006 and the London Design Medal in recognition of his outstanding contribution to design in 2010. In 2013, he was awarded the Critics’ Circle Visual Arts and Architecture Award and he was appointed Commander of the Order of the British Empire (CBE) for services to the design industry. -
Thomas Heatherwick: Making Free
FREE THOMAS HEATHERWICK: MAKING PDF Thomas Heatherwick,Maisie Rowe | 608 pages | 08 Mar 2013 | Thames & Hudson Ltd | 9780500290934 | English | London, United Kingdom Thomas Heatherwick : Making - - Purchase your copy here. A public space like no other, Vessel was designed to give New Yorkers and visitors a unique vertical experience. In this book, readers can witness every part of its development, from initial designs to the finished Thomas Heatherwick: Making. Copies can be purchased here. Produced by Italian furniture manufacturer Magis and made from moulded polypropylene, the plastic Spun chair is suitable for both indoor and outdoor use. The studio produces a range of limited edition Spun chairs which are produced by master spinners in Italy and finished by specialist craftsmen in the Thomas Heatherwick: Making. Finishes range from pure mirror-polished metal to a lacquered rust patina. UK-sourced leather is handfitted to the peripheral edge and base of each Spun chair. A beautiful feat Thomas Heatherwick: Making contemporary design, the Extrusions series is remarkable because it is the first piece of seating in metal comprised of a single component, free from any joins. Each bench is unique in form Thomas Heatherwick: Making signed and numbered by Thomas Heatherwick. The Thomas Heatherwick: Making Table uses the simple mechanical device of the lattice with precision execution to change its proportions and adapt to different spaces and functions. Spun Produced by Italian furniture manufacturer Magis and made from moulded polypropylene, the plastic Spun chair is suitable for both indoor and outdoor use. Purchase Spun here. Limited Edition Spun The studio produces a range of limited edition Spun chairs which are produced by master spinners in Italy and finished by specialist craftsmen in the UK. -
Dallas' Nasher Sculpture Center Makes Way for Thomas Heatherwick
Dallas’ Nasher Sculpture Center makes way for Thomas Heatherwick STAR-TELEGRAM / RODGER MALLISON Provocations: The Architecture and Design of Heatherwick Studio • Through Jan. 4 • Nasher Sculpture Center, 2001 Flora St., Dallas • $5-$10 • 214-242-5100,www.nashersculpturecenter.org. By Gaile Robinson dfw.com Posted 7:38am on Wednesday, Sep. 24, 2014 If you worry about the future, despair at the state of the world and dread the headlines, you are certainly not alone, but all is not hopeless. Recently an exhibit opened at the Nasher Sculpture Center in Dallas of work by Thomas Heatherwick, a British designer and architect who shines a brilliant beacon of hope that things can be better — much, much better. He is imaginative, sensitive, clever beyond all reason, and a very nice person. What he and his studio partners are creating often defies belief and certainly exceeds expectations. While “Provocations: The Architecture and Design of Heatherwick Studio” does not offer an end to world hunger or bring about world peace, it does address the world’s built environment with wonderfully ingenious solutions that seem inspirational. In 2010 he was asked by the British government to create the U.K. Pavilion for the Shanghai World Expo. Each participating country — there were 240 of them — was given a soccer- pitch-size plot of land. Heatherwick says his budget was half that of other designers and he was expected to produce one of the top five pavilions. In response to the big demands and tiny budget, Heatherwick said he was not going to do a teabag-Union Jack-QEII-David Beckham-Sherlock Holmes-themed pavilion.