DOCSLIB.ORG

Tim Parsons Thinking: Objects Contemporary Approaches to Product

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tim Parsons Thinking: Objects Contemporary Approaches to Product - - - - - - TIM PARSONS - - - - - - Tim Parsons is a product designer, writer and Product designers have gone from being the Other AVA Academia titles of interest: lecturer. He has worked with manufacturers in packagers of engineering to developing a holistic Britain and Europe and has exhibited widely. He understanding of objects. They have acquired - Visible Signs: An introduction has contributed articles to publications including human-centred perspectives, embraced semiotics Objects Thinking: Thinking: Objects to semiotics Blueprint and Phaidon’s Design Classics. and cognitive science, and warned us of the - potential applications for technologies beyond our Good: An introduction to ethics - - control. Design has stepped into the envisioning Contemporary in graphic design of new business directions and ways in which - consumers can become more involved in shaping Visual Research: An introduction their surroundings. Through all this it has not lost to research methodologies in Tim Parsons Tim Parsons touch with the physical substance of the object approaches to graphic design itself and the refinement and exploration of - new forms. Visual Communication: From theory to practice This book is liberal in its definition of product - product design - design, embracing many categories of object and Verbalising the Visual: Translating including both critical and commercial work. It aims art and design into words to help readers grasp the breadth of design activity - happening today by identifying approaches that are Design Management: Managing design applied across different object types. It explains and strategy, process and implementation questions prescribed design methodologies and - discusses the dual values of logic and intuition that Left to Right: the cultural shift intermingle in the design process. By setting design from words to pictures in the context of a personal journey in which every decision helps determine a unique expression of - - values, Thinking Objects challenges the reader to define how they will affect the world by design. - - ava publishing sa [email protected] www.avabooks.ch an an an AVA Academia AVA Academia AVA Academia AVA Tim Parsons advanced advanced advanced advanced title title title AVA•Thinking Object AVA T.O. Cover_AW_.indd 1 Text 5/14/09 4:18:47 PM CD509-49/3184 4TH PROOF UK Black Thinking: Objects Contemporary approaches to product design Tim Parsons AVA•Thinking Object Text AVA T.O. AW_.indd 1 5/14/09 4:28:52 PM CD509-49/3184 3RD PROOF Black An AVA Book Distributed by English Language Design by Support Offi ce EMMI / www.emmi.co.uk Published by AVA Publishing SA Thames & Hudson Rue des Fontenailles 16 (ex-North America) AVA Publishing (UK) Ltd. Production by Case Postale 181a High Holborn T +44 1903 204 455 AVA Book Production Pte. Ltd., 1000 Lausanne 6 London WC1V 7QX [email protected] Singapore Switzerland United Kingdom T +65 6334 8173 T +41 786 005 109 T +44 20 7845 5000 ©AVA Publishing SA 2009 F +65 6259 9830 [email protected] F +44 20 7845 5055 All rights reserved. No part [email protected] [email protected] of this publication may be www.thamesandhudson.com All reasonable attempts have reproduced, stored in a been made to trace, clear and Distributed in the USA & retrieval system or transmitted credit the copyright holders Canada by: in any form or by any means, of the images reproduced Ingram Publisher Services Inc. electronic, mechanical, in this book. However, if any 1 Ingram Blvd. photocopying, recording or credits have been inadvertently La Vergne, TN 37086 otherwise, without permission omitted, the publisher will USA of the copyright holder. endeavour to incorporate T +1 866 400 5351 ISBN 978-2-940373-74-1 amendments in future editions. F +1 800 838 1149 customer.service@ 10 9 8 7 6 5 4 3 2 1 ingrampublisherservices.com AVA•Thinking Object Text AVA T.O. AW_.indd 2 5/11/09 6:22:59 PM CD509-22/3184 3RD PROOF Black Thinking: Objects Contemporary approaches to product design an AVA Academia advanced title Academia advanced AVA an Tim Parsons AVA•Thinking Object Text AVA T.O. AW_.indd 3 5/11/09 6:20:25 PM CD509-22/3184 2ND PROOF Black - - Contents - - How to get the most out of this book 06 - Introduction 08 - - Chapter 1. Perception - 14 1.1 Design and politics 16 - 1.2 Value and the object 24 - 1.3 Reading form 32 - - Chapter 2. Motivation - 46 2.1 Conforming, reforming or contesting 48 - 2.2 Defi ning approaches 50 - 2.3 Aesthetic refi nement 52 - 2.4 Collective memory and behaviour 62 - 2.5 Social inclusion 82 - 2.6 Materials and processes 92 - 2.7 Technological innovation 106 - 2.8 Ethics 116 - 2.9 Sustainability 126 - 2.10 Participation 130 - 2.11 Strategies and services 138 - 2.12 Design for debate 142 - - 04 05 AVA•Thinking Object Text AVA T.O. AW_.indd 4 3/9/09 8:02:39 PM D309-40/4028 1ST PROOF Black - - Chapter 3. Process - 148 3.1 The elusive design process 150 - 3.2 Design methodology 158 - 3.3 Thinking tools 162 - 3.4 Observation 164 - 3.5 Ideas generation 172 - 3.6 Drawing 178 - 3.7 Maquette and model-making 182 - - Chapter 4. Context - 186 4.1 Employment 188 - 4.2 Commission 192 - 4.3 Speculation 198 - - Chapter 5. Sources - 202 5.1 Bibliography 204 - 5.2 Picture credits 206 - 5.3 Acknowledgements 208 AVA•Thinking Object Text AVA T.O. AW_.indd 5 3/9/09 8:02:39 PM CD309-40/4028 1ST PROOF Black - - - How to get the most out of this book - - - Introduction HOW TO GET THE MOST OUT OF THIS BOOK PROCESS The book has four chapters, each based upon an Perhaps the most diffi cult part of design to adequately essential theme within product design: perception, quantify, this chapter attempts to grapple with the motivation, process and context. elusive nature of the design process. By calling upon PERCEPTION philosophical viewpoints, a picture of the cognitive This chapter discusses the way product design is process is built up. The nature of creativity and insight perceived in relation to societal constructs, such is discussed and a range of working tools introduced, as politics and value. which designers can use to enrich their own process. MOTIVATION CONTEXT This chapter attempts to answer the question: This fi nal chapter examines the working contexts of Beyond the need to earn a living for themselves and designers. It also looks at the rules of engagement with their clients, what drives designers to do what they clients and illustrates how speculative work presents do? It focuses upon the creative rationale behind the opportunity for radical independent voices. projects and suggests that a recognisable (although not exclusive) series of approaches are being taken to product design today. Fig. 1 Chapter openers Each chapter starts 02 Motivation with a chapter opener. Each of the chapters are given a - - specifi c colour, which runs 2.1 Conforming, reforming or contesting 48 - throughout. 2.2 Defi ning approaches 50 - 2.3 Aesthetic refi nement 52 - 2.4 Collective memory and behaviour 62 - 2.5 Social inclusion 82 - 2.6 Materials and processes 92 - 2.7 Technological innovation 106 - 2.8 Ethics 116 - 2.9 Sustainability 126 - 2.10 Participation 130 - 2.11 Strategies and services 138 - 2.12 Design for debate 142 - - 46 47 AVA T.O. AW_.indd 46 3/9/09 9:43:319:41:32 PM AVA T.O. AW_.indd 47 3/9/09 9:43:32 PM - - Fig. 2 Section 2.3 2. Motivation - - as the profession has grown and stratifi ed, designers While designers who work beyond as well as on the “the closer one gets to the public or home, the greater 2.2 Defi ning approaches 2.3 Aesthetic refi nement AESTHETIC REFINEMENT have become able to choose to work in areas (such surface of products are understandably upset when the need for the stylist to intercede with a repertoire 2.4 Collective memory as tableware, furniture and home accessories) where a stylist’s apparently less rigorous work eclipses their of visual good manners.” (4) Dormer’s eloquent breaks and navigation Each With the exterior design of products carrying and behaviour aesthetic refi nement can legitimately be seen as the own, the skill with which the stylist talks is often description of exterior form as an object’s “manners” so much weight in conferring status upon them, central aspect of their projects. When functionality and grudgingly admired. The legitimate stylist works in is useful. Manners are culture-specifi c and constantly infl uencing sales and eliciting emotional responses complex components are reduced to a minimum in the [1.] - the realm of intuitive decisions, infl ecting forms with evolving. What is considered polite in one situation from people, it follows that a great deal of energy Loewy, R. In: Offi cial Website chapter is broken down into design of, say, a fruit bowl as opposed to a camera, the subtle nuances that may not be consciously noticed may be embarrassingly out of place in another. As with is chanelled into exploring and refi ning product of Raymond Loewy. 2003 intuitive, formal aspects of design (“styling”) naturally [online]. [Accessed 26th by the consumer but are nonetheless felt. Such manners, so with objects. We may choose to surround aesthetics. This section examines the nature become the focus of the designer’s activity. In the January 2009]. Available intangible work is diffi cult to pin down with words. ourselves with objects of pedigree, displaying the latest of product styling, identifying the infl uence of on World Wide Web: <www. further sections. The start case of the camera, its functional requirements (to be raymondloewy.com/about/ This, as designer and critic Michael Bierut points out, style, prefer an eclectic mix or fi nd matters of style scientifi c and technological progress and revealing comfortable to hold, clear and easy to adjust etc.) must quotesby.html> is the reason designers have a reputation for “bullshit”: pedantic in relation to function.
Load more

Recommended publications
  • “The Great Archipelago,” Its Eighth Project
    Kayu is pleased to present “The Great Archipelago,” its eighth project, which consists of an international group exhibition including contributions by Arahmaiani, Ashley Bickerton, Dora Budor, Marco Cassani, Rafram Chaddad + Rirkrit Tiravanija, Fendry Ekel, Michal Helfman, Michelangelo Pistoletto, Rochelle Goldberg, Filippo Sciascia, and Entang Wiharso. The exhibition is part of the first “Rebirth Forum–Sustainability Through Differences,”*a three-dayevent –29, 30, 31 October–which aim is to create a platform for public and private entities, individuals and institutions, engaged in daily practices of sustainability and coming from different fields: from energy to food, from production to intercultural dialogue, from design to agriculture, from culture to health. The exhibition is deeply inspired by the work of Michelangelo Pistoletto and reflects on the concept of the table as a domestic object and as a symbol of union. The exhibition will feature eleven tables designed by the aforementioned artists and produced in Indonesia. The tables exhibited will host one hundred guests during the aforementioned three-day event. After the conclusion of the forum all the tables will remain on view for the entire duration of the exhibition. Furthermore, the title of the exhibition refers to the title of Michelangelo Pistoletto’s artwork, Il Grande Arcipelago [The Great Archipelago], a mirror table conceived by the artist for this occasion and produced in Indonesia. The table represents the seas that touch Indonesia and it is part of the mirror table series that Pistoletto made and which looks at the sea as the ultimate cultural melting pot, a symbol of meeting between different cultures. Kayu is Lucie Fontaine’s branch in Bali and since its inception it presented solo exhibitions by Luigi Ontani, Radu Comșa, Ashley Bickerton as well as the international group shows Domesticity V, Domesticity VI, Domesticity VII, and Ritiro.
    [Show full text]
  • The Artist As Researcher by Janneke Wesseling
    Barcode at rear See it Sayit TheArt ist as Researcher Janneke Wesseling (ed.) Antennae Valiz, Amsterdam With contributions by Jeroen Boomgaard Jeremiah Day Siebren de Haan Stephan Dillemuth Irene Fortuyn Gijs Frieling Hadley+Maxwell Henri Jacobs WJMKok AglaiaKonrad Frank Mandersloot Aemout Mik Ruchama Noorda Va nessa Ohlraun Graeme Sullivan Moniek To ebosch Lonnie van Brummelen Hilde Van Gelder Philippe Va n Snick Barbara Visser Janneke Wesseling KittyZijlm ans Italo Zuffi See it Again, Say it Again: The Artist as Researcher Jan n eke We sse1 ing (ed.) See it Again, Say it Again: .. .. l TheArdst as Researcher Introduction Janneke We sseling The Use and Abuse of .. ...... .. .. .. .. 17 Research fo r Art and Vic e Versa Jeremiah Day .Art Research . 23 Hilde Va n Gelder Visual Contribution ................. 41 Ae rnout Mik Absinthe and Floating Tables . 51 Frank Mandersloot The Chimera ofMedtod ...... ........ ... 57 Jero en Boomgaard Reform and Education .. ...... ...... .. 73 Ruchama Noorda TheArtist as Researcher . 79 New Roles for New Realities Graeme Sullivan Visual Contribution .. .. .... .. .... .. 103 Ag laia Ko nrad Some Thoughts about Artistic . 117 Research Lonnie van Brummelen & Siebren de Haan Surtace Research . 123 Henri Jacobs TheArtist's To olbox .......... .......... 169 Irene Fortuyn Knight's Move . 175 The Idiosyncrasies of Artistic Research Ki tty Z ij 1 m a n s In Leaving the Shelter ................. 193 It alo Zu ffi Letterto Janneke Wesse6ng .......... 199 Va nessa Ohlraun Painting in Times of Research ..... 205 G ij s F r i e 1 ing Visual Contribution ........ .... ...... 211 Philippe Va n Snick TheAcademy and ........................... 221 the Corporate Pub&c Stephan Dillemuth Fleeting Profundity . 243 Mon iek To e bosch And, And , And So On .
    [Show full text]
  • ALWEER EEN SIERAAD VOOR DE STAD Het Werk
    Voorjaar 2018 Het werk van Ed. Cuypers en Hulswit-Fermont in Nederlands-Indië 1897-1927 Nederlands-Indië in Hulswit-Fermont en Cuypers Ed. van werk Het NORBRUIS OBBE ALWEER EEN SIERAAD VOOR DE STAD Het werk ALWEER EEN SIERAADALWEER VOOR DE STAD van Ed.Cuypers en Hulswit-Fermont in Nederlands-Indië 1897-1927 Met grote vanzelfsprekendheid kwam het ene gebouw na het andere tot stand in Nederlands-Indië. Kranten schreven telkens jubelend van ‘een sieraad voor de stad’. De man daarachter was Eduard Cuypers (1859-1927). Hij hoorde met zijn bureau rond 1900 tot een van de meest gevierde architecten in Nederland. Nieuwe opvattingen in de architec- tuur maakten dat hij het daar moeilijk kreeg en, met het verstrijken der jaren, vrijwel doodgezwegen werd. Werkend vanuit Amsterdam verlegde hij zijn werkterrein deels naar Nederlands-Indië waar, in samenwerking met Marius Hulswit (1862-1921) en Arthur Fermont (1882-1967), talloze gebouwen tot stand kwamen. Vele bestaan nog, Indonesië is er trots op. Dit is het boeiende verhaal van die gebouwen en de mensen daarachter. Obbe H. Norbruis studeerde architectuur en stedenbouw in Delft. Hij deed onderzoek op dat gebied, en werkte als ontwerper en adviseur in jan pronk Nederland voor diverse bureaus en gemeentes. Geïnteresseerd in de onderhandelen over vrede en recht in het afrika hart van In 1994 werden een miljoen mensen vermoord in Rwanda. De architectuur en stedenbouw uit het koloniaal verleden breidde hij zijn JAN PRONK genocide op Tutsi’s schokte de wereld, maar niemand greep in, men onderzoeksveld uit naar Indonesië. keek alleen maar toe. Pas later kwam de hulp op gang.
    [Show full text]
  • Booklet 1987.Cdr
    1987 FENDRY EKEL 12.02-21.02.2016 Galeri Nasional Indonesia Jakarta www.ofcainternational.com 1987 1987: Man and Memory By Astrid Honold Fendry Ekel Solo Exhibition curated by Suwarno Wisetrotomo 12.02-21.02.2016 Galeri Nasional Indonesia Jakarta FENDRYEKEL 1987 2 3 one of thousands of islands somewhere in Indonesia I was born. […] The moving at that time felt like a travel without destination. […] There was never any intention to 1987: Man and Memory go back to the old place, every step that I took was one By Astrid Honold step further. The necessity of travelling now has become my passion.' 1987 was the year in which painter Fendry Ekel, as a teenager, followed his mother's emigration to the 1987 is also the title of one of Ekel's recent paintings Netherlands. He left behind not only Indonesia, his (2014, Fig. 1), depicting a three-mast clipper sailing country of birth, but consequently almost everything that vessel seen in three-quarter view from the front right and is vitally important to a young man in search of identity: executed in oil and acrylic on a monumental canvas of school, confidants, first girlfriend perhaps, and – what is 250 by 200 cm. For those acquainted with the painterly more – continent, mother tongue, and culture. In other oeuvre of Fendry Ekel, this excursion into naval painting words, he lost an overall system of reference that he doesn't come as a complete surprise. Portraiture, still life, could blindly trust, and on which he could base his daily architecture, text: because Ekel's paintings are based on activities, values, and future aspirations.
    [Show full text]
  • Investigating the Role of Design in the Circular Economy
    Report 01: June 2013 Investigating the role of designa. in the circular economy A N M A G E E C M R E U N O T S E R M LANDFILL MANAGERS RECYCLING FACILITIES RECYCLING A REPAIR, REFURB T & REMANUFACTURE RECOVERY MATERIAL E R I A MATERIAL TECHNOLOGISTS MEDIA & PRESS L E CAMPAIGNERS X S P CHEMISTS R E E R THINK TANKS THINK K T A S M MATERIAL SCIENTISTS EUROPEAN GOV. EUROPEAN Y C I L PUBLIC PROCUREMENT PUBLIC RAW MATERIALS O M P A POLICY WRITERS POLICY N U MATERIAL F MANUFACTURERS A STANDARD REGULATORS STANDARD C T U BRAND LICENSEES LOCAL AUTHORITIES LOCAL R E R S B2B COMPONENT MANUFACTURERS UK PLC LEADERS PLC UK B CONSUMER FACING BRANDS ENTREPRENEURS S R R A O N T D CONSTRUCTION COMPANIES S S VENTURE CAPITALISTS VENTURE E / V C O N I M CONSUMER FACING P A MANUFACTURERS INVESTORS BUSINESS N I E S RETAILERS COUNCILS RESEARCH N O I ADVERTISING AGENCIES RESEARCHERS T C & ACADEMICS A O C U N D S ANTHROPOLOGISTS LEADERS E INTERIOR U COURSE FE & HE M & E INDUSTRIAL S R IC MARKETEERS LEADERS S M APPRENTICESHIP E & D U A S CONSUMERS SYSTEM THINKERS SYSTEM C ER A S ENGINEERS DESIGN MAKERS & FIXERS SERVICE & PRODUCT FASHION & TEXTILES & ARCHITECTS COMMS & DIGITAL TRANSPORT DESIGN The Great Recovery REPORT Contents Executive Summary Introduction to The Great Recovery Teardown, Build Up – The Workshop Process Outcomes and Recommendations 2 www.greatrecovery.org.uk Businesses who want to be profitable, innovative and progressive will look to reduce the volumes of waste they produce, will think about the way their products are made and distributed, and what happens to them when they reach their end of life.
    [Show full text]
  • The Urban and Cultural Climate of Rotterdam Changed Radically Between 1970 and 2000. Opinions Differ About What the Most Importa
    The urban and cultural climate of Rotterdam changed radically between 1970 and 2000. Opinions differ about what the most important changes were, and when they occurred. Imagine a Metropolis shows that it was first and foremost a new perspective on Rotterdam that stimulated the development of the city during this period. If the Rotterdam of 1970 was still a city with an identity crisis that wanted to be small rather than large and cosy rather than commercial, by 2000 Rotterdam had the image of the most metropolitan of all Dutch cities. Artists and other cultural practitioners – a group these days termed the ‘creative class’ – were the first to advance this metropolitan vision, thereby paving the way for the New Rotterdam that would begin to take concrete shape at the end of the 1980s. Imagine a Metropolis goes on to show that this New Rotterdam is returning to its nineteenth-century identity and the developments of the inter-war years and the period of post-war reconstruction. For Nina and Maria IMAGINE A METROPOLIS ROTTERDAM’S CREATIVE CLASS, 1970-2000 PATRICIA VAN ULZEN 010 Publishers, Rotterdam 2007 This publication was produced in association with Stichting Kunstpublicaties Rotterdam. On February 2, 2007, it was defended as a Ph.D. thesis at the Erasmus University, Rotterdam. The thesis supervisor was Prof. Dr. Marlite Halbertsma. The research and this book were both made possible by the generous support of the Faculty of History and Arts at the Erasmus University Rotterdam, G.Ph. Verhagen-Stichting, Stichting Kunstpublicaties Rotterdam, J.E. Jurriaanse Stichting, Prins Bernhard Cultuurfonds Zuid-Holland and the Netherlands Architecture Fund.
    [Show full text]
  • Folkert De Jong
    FOLKERT DE JONG Born 1972 in Egmond aan Zee, The Netherlands Lives and works in Amsterdam SOLO EXHIBITIONS 2011 Operation Harmony, James Cohan Gallery, New York Brandnew Gallery, Milan, IT 2010 The Balance Luis Adelantado Gallery Mexico City 27 Nov 2009 Circle of Trust Selected Works 2001-2009, Groninger Museum, Groningen, The Netherlands Luis Adelantado Gallery, Valencia, Spain A Thousand Years of Business as Usual, James Cohan Gallery Shanghai, Shanghai, China The Shooting, Wadsworth Atheneum, Hartford, CT 2008 Xu Zhen, Folkert de Jong, Martha Colburn, James Cohan Gallery, New York, NY 2007 Les Saltimbanques, James Cohan Gallery, New York, NY Mount Maslow, Hudson Valley Center for Contemporary Art, Peekskill, NY 2006 Gott Mit Uns, Kunsthalle Winterhur, Switzerland 2005 Golden Dawn, Peres Projects, Los Angeles, CA Museum Het Domein, Sittard, The Netherlands Medusa’s First Move: The Council, Chisenhale Gallery, London, UK 2004 Prix de Rome/Life’s Illusions Upstream Gallery, Amsterdam, The Netherlands 2003 Meetme and Mister Beefy, The Netherlands Foundation for Fine Arts, Design and Architecture, Amsterdam, The Netherlands 2002 Marlin says, Playstation Galerie Fons Welters, Amsterdam, WWW.SAATCHIGALLERY.COM FOLKERT DE JONG The Netherlands Meet me and Mister Beefy, USF Bergen, Norway 2001 The Iceman Cometh, Stedelijk Museum Bureau Amsterdam, The Netherlands 2000 The Ilemauzer, De Vleeshal, Middelburg, The Netherlands 1999 De Verschijning, Tilburg, The Netherlands GROUP EXHIBITIONS 2011 The Shape Of Things To Come: New Sculpture, Saatchi
    [Show full text]
  • The William Shipley Group
    the William Shipley group FOR RSA HISTORY Newsletter 29 September 2011 Forthcoming meetings Friday and Saturday 9-10 September 2011. The Prince Albert Society in Coburg’s 30th conference on Monarchy and the Art of Presentation will be held at the Schloss Ehrenburg in Coburg. For the programme and further details email [email protected] or visit their website http://www.prinz-albert-gesellschaft.uni-bayreuth.de/de/index.html. Thursday 22 September 2011. Following the RSA London Region AGM Susan Bennett will give a talk on ‘The Society that pokes its nose into everything’ in the Durham Street Auditorium, RSA, 8 John Adam Street, London WC2N 6EZ. Contact Elinor Pritchard at [email protected] or phone 0208 546 2613 Thursday 13 October 2011 at 11.00am. Tour of the Garrick Club and their collections by Marcus Risdell, Garrick Club Curator & Librarian. The Garrick Club is located at 15 Garrick Street, London WC2E 9AY Tuesday 15 November 2011 at 12.30pm. ‘The Society that pokes its nose into everything’ highlighting connections with Coventry, by Susan Bennett, Honorary Secretary, WSG. This general overview of the Society’s history is being given as part of the lunchtime series at the Herbert Art Gallery and Museum, Coventry and will include references to Coventry. Thursday 17 November 2011 at 4.30 for 5pm. “Between these…a great deal of my time is engaged”: the contribution of Henry Baker (1698-1774) and the Antiquaries to the Society for the encouragement of Arts, Manufactures and Commerce by Dr David G. C. Allan, FSA, HonFRSA.
    [Show full text]
  • Ar Mondriaan Stichting
    2008 Mondriaan Foundation International Activities In 2008, the Mondriaan Foundation supported 877 projects with a total of € 23.110.498. 319 international projects in 46 different countries were supported financially with a total amount of € 2.899.000. 1 www.mondriaanfoundation.nl Contents Foreword 5 1. Mondriaan Foundation 7 2. Facts and figures 8 3. Exhibitions and publications 12 Countries 13 Art and design institutions 14 Artists, designers and other professionals 21 4. Art fairs 24 5. International network programmes 26 Visitors programme 26 Group programme 26 Mondriaan Foundation International Activities 2008 – 6. State manifestations 28 Venice Biennale 28 7. Internationalization projects 29 8. Lofts 30 9. Further information 32 Contents 2 3 Foreword Authority and reputation in the art world are determined more and more in an international context. It is important for the development of artists and designers from the Netherlands to be able to measure themselves against international standards. It is also important to facilitate and encourage cooperation between Dutch organizations and partners abroad. In 2008, a new crop of Dutch artists and designers once again attracted inter- national attention. Art from the Netherlands was presented in a record number of countries. The Mondriaan Foundation is pleased that there has been a consistent increase in applications from Latin America, Asia and Africa. Mondriaan Foundation International Activities 2008 – This is partly due to the Mondriaan Foundation orientation visits to these areas and reflects developments in visual arts across the world. This annual report reviews the Mondriaan Foundation’s international activities in 2008. If we can be of service to you or if you require further information, please visit our website www.mondriaanfoundation.nl or contact us at our Amsterdam office.
    [Show full text]
  • Penny Sparke
    THEORY AND DESIGN IN THE AGE OF POP by Penny Sparke Thesis for Ph.D. Faculty of Art and Design Brighton Polytechnic October 1975 \ Acknowledgements I should like to thank the following for help given during the writing of this thesis : Gillian Naylor, Charles Jencks, P. Reyner Banham,, Kenneth Grange, John Blake, Michael English, Christopher Logue, Brian Rice , Paul Clark and Ken Baynes. J Theory and Design in the Age of Pop Summary The aim of this thesis is to discover the principle determining factors behind British Design in the 1960's in order to describe and analyse the background and effects of the crisis in Design theory that occurred at this time. This crisis, which meant a questioning of the tenets of Functionalism - the name with which the architectural and design theorists of the 1920's had identified themselves - constitutes, in both theoretical and practical terms, a major development in Twentieth Century Design History and by implication for any Design historical study. The period thus serves as a model for an examination of some major factors pertinent to many Design historiographical problems. The philosophical and stylistic implications of Functionalism, its discrepancies and variations, are noted briefly. A description of their continuation into the 1950's and 1960's is given in which the gap between abstract ideas and stylistic considerations is seen to widen. The critical reaction to Functionalism, manifested in several spheres, is noted and analysed. This reaction stems from an involvement with popular culture as a serious matter for academic discussion and a desire to restructure the value system within which judgements about buildings, objects and other social phenomena are made.
    [Show full text]
  • March Lite — Sir Kenneth Grange & Smithmatthias
    March Lite — Sir Kenneth Grange & SmithMatthias March Lite — Sir Kenneth Grange & SmithMatthias 01 modusfurniture.co.uk Description Materials March Lite is an extension to the original stacking chair, March, by Frame and legs Solid ash the design duo Sir Kenneth Grange and SmithMatthias. Bearing Seat and back Pressed plywood with ash veneer all the hallmark simplicity of the original March chair, March Lite is visually and physically lighter, using less material due to a 2D Foot Nylon glide veneer on the backrest. This simplified engineering results in a Foam CertiPUR certified, CMHR foam pared back chair that still retains the design details and elegance Fabric Available in a wide range of fabrics and of form of the original. Available in natural or painted ash with a leathers water-based lacquer finish and optional upholstered seat. March Lite — Sir Kenneth Grange & SmithMatthias 02 modusfurniture.co.uk March Lite — Sir Kenneth Grange & SmithMatthias 03 modusfurniture.co.uk March Lite — Sir Kenneth Grange & SmithMatthias 04 modusfurniture.co.uk Chair - Ash Chair - Painted ash MLT001 MLT002 Height (mm) 780/455 Height (mm) 780/455 Width (mm) 525 Width (mm) 525 Depth (mm) 515 Depth (mm) 515 Packed: Packed: Dims (mm) 800 x 545 x 535 Dims (mm) 800 x 545 x 535 Weight (kg) 4.7 Weight (kg) 4.5 Chair - Upholstered ash Chair - Upholstererd painted ash MLT003 MLT004 Height (mm) 780/455 Height (mm) 780/455 Width (mm) 525 Width (mm) 525 Depth (mm) 515 Depth (mm) 515 Packed: Packed: Dims (mm) 800 x 545 x 535 Dims (mm) 800 x 545 x 535 Weight (kg) 5.6 Weight (kg) 5.5 March Lite — Sir Kenneth Grange & SmithMatthias 05 modusfurniture.co.uk Other Products by Sir Kenneth Grange & SmithMatthias Designer March Spring — Sir Kenneth Grange & SmithMatthias Sir Kenneth Grange is Britain’s leading product designer, his prolific career spans over 50 years and he is responsible for designing some of the most iconic and familiar products and appliances that shape our daily lives.
    [Show full text]
  • Jumaldi Alfi, Born in Lintau, West Sumatra. Lives and Works in Yogyakarta – Indonesia
    Jumaldi Alfi, Born in Lintau, West Sumatra. Lives and works in Yogyakarta – Indonesia. In 2010, he co-founded the Artists Initiative, Office For Contemporary Art (OFCA) International in Yogyakarta, Indonesia. He is a also cofounder and member of Jendela Artists Group who in the early phase of their careers, surprised art audiences in Indonesia with their works that were very much removed from socio-political themes while being also removed from the kind of works capitalizing on the technical sophistication of realist painting. Instead, they showed inclination for extreme naïvism in the form of meaningless ‘doodles’ or formalism – that was also extreme – by drawing exclusively on minimal visual elements of line, color and texture. Professional trainings 2010 Artist in Residence, STPI (Singapore Tyler Print Institute), Singapore 1999 Indonesian Institute of Arts (ISI), Yogyakarta, Indonesia 1993 Indonesian High School of Arts (SMSR), Yogyakarta, Indonesia Solo Exhibitions 2013 Jumaldi Alfi’s Blackboard Paintings, Primo Marella Gallery, Milan Re-Play #3, OFCA International, Yogyakarta - Indonesia 2012 Jumaldi Alfi, Asian One - Art Hong Kong with Sin Sin Gallery, Hong Kong 2011 Melting Memories #2, Nadi Gallery, Jakarta Art District, Jakarta Nightswimmer, Metis Gallery, Amsterdam Melting Memories, STPI (Singapore Tyler Print Institute), Singapore 2010 Life / Art # 101: Never Ending Lesson, Sangkring Art Space, Yogyakarta - Indonesia; Valentine Willie Fine Art Kuala Lumpur, Malaysia; Singapore 2008 Color Guide Series, Nadi Gallery, Jakarta
    [Show full text]