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31 articles, 2016-04-25 18:03 1 Myrna Ayad Appointed Director of Art Dubai A month after closing its 10th edition, Art Dubai has announced the appointment of Myrna Ayad as its new director as part of a larger restructuring. 2016-04-25 08:05 2KB news.artnet.com (2.00/3)

2 Meredith Monk and the Walker: A Chronology — Magazine — Walker Art Center On April 15 , groundbreaking interdisciplinary artist Meredith Monk returns to the Twin Cities in celebration of her more than 50 years as a... 2016-04-25 12:40 11KB www.walkerart.org 3 Upcoming Opportunities for Choreographers Momentum: New Dance Works 2017 Proposals are now being accepted for Momentum: New Dance Works 2017. This long-standing annual dance series provides innovative emerging choreographers support for art... 2016-04-25 14:33 972Bytes blogs.walkerart.org 4 Alternate Senses of Tone and Pulse: An Interview with C. Spencer Yeh For Sound Horizon, our series of free in-gallery music performances, we’ve invited critic and Tiny Mix Tapes editor Marvin Lin to share his perspective on each installment of this three-part progr... 2016-04-25 12:09 946Bytes blogs.walkerart.org 5 mark reigelman's puts miniature cabin on top of steaming manhole covers for smökers installation mark reigelman’s smökers uses a miniature cabin to replace colored plastic steam tubes which are used to channel and release smoke atop of man hole covers. 2016-04-25 13:00 4KB www.designboom.com 6 exposed timber frame highlights interior of techné's souvlaki restaurant the eclectic design of each jimmy grants' techne represents a different part of the fictional character’s migration story. 2016-04-25 12:20 2KB www.designboom.com 7 Becoming American: Fionn Meade on Less Than One The first in a series of entries exploring Less Than One, on view through December, “Becoming American” begins with a consideration of author Joseph Brodsky (1940–1996), whose essay provides th... 2016-04-25 07:38 865Bytes blogs.walkerart.org 8 barbarito bancel architects: dior miami boutique façade through large curve movements of white concrete, clear figures of the ‘plisée’ take shape, between which the spaces of the dior miami boutique slide in. 2016-04-25 11:20 2KB www.designboom.com 9 Charlotte Olympia Teams With Bodyism on Activewear Line The collection is to launch in May. 2016-04-25 11:08 2KB wwd.com 10 interview with jane fulton suri, executive design director at IDEO we spoke with jane fulton suri, partner emeritus and executive design director at IDEO, about her carrer, and 'the little book of design research ethics'. 2016-04-25 10:30 12KB www.designboom.com 11 UN Trust Fund Teams With SeeMe on Orange Heart Necklace The necklaces are made by survivors of violence in Tunisia. 2016-04-25 10:28 2KB wwd.com

12 Hyères 2016 Winners Hail from Finland, Sweden The Finnish designers Hanne Jurmu and Anton Vartiainen, plus Amanda Svert from Sweden, scooped prizes. 2016-04-25 10:24 1KB wwd.com 13 harwyn pre-fab pods provide a self-supporting space for any place and use the harwyn pod structure was born out of the desire to create a space that would adapt to the needs of the user, while being luxurious and opulent. 2016-04-25 08:45 1KB www.designboom.com 14 Fashion’s Governing Bodies Meet in Hyères Heads of the four fashion capitals discussed digital, sustainability, education and the future of men’s and women’s fashion shows. 2016-04-25 08:15 4KB wwd.com 15 Turner Is the New Face of England’s £20 Notes - artnet news A self-portrait and a landscape painting by the artist JMW Turner have been chosen to feature on the new £20 banknotes that will enter circulation in 2020. 2016-04-25 06:31 3KB news.artnet.com 16 Talk Dance: Luis Garay on Maneries Talk Dance is a podcast series devoted to in-depth conversations with dance artists produced and hosted by local dancer, educator, and commentator Justin Jones. In this installment, Jones speaks with... 2016-04-25 03:37 896Bytes blogs.walkerart.org 17 Cindy Sherman Returns To A Teen Idea of Aging– Read THE DAILY PIC on how Cindy Sherman, at 62, looks at what oldness is in new work for Metro Pictures. 2016-04-25 06:00 3KB news.artnet.com 18 Call for Applicants: Walker Art Center Mildred Friedman Design Fellowship 2016–2017 THE WALKER IS PLEASED TO ANNOUNCE THAT ITS 2016-2017 MILDRED FRIEDMAN DESIGN FELLOWSHIP IS NOW OPEN FOR APPLICATION. APPLICATIONS ARE DUE: MAY 23rd. Since 1980, the Walker’s Design department has... 2016-04-25 08:31 2KB blogs.walkerart.org 19 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented... 2016-04-25 08:32 1KB gdusa.com 20 Gallery Hopping: Jacques Villeglé at Vallois, Paris- Galerie Vallois is celebrating 20 years with a double exhibition of works by nonagenarian mixed-media artist Jacques Villeglé. 2016-04-25 05:30 1KB news.artnet.com 21 jruiter studio strips machines down, starts over, and ignores all accepted norms designboom spoke to joey ruiter of jruiter studio about aspects of his background that shape his designs, the studio’s strongest assets and his favorite piece of equipment in the workshop. 2016-04-25 05:15 5KB www.designboom.com 22 Andrea Fraser's First Museum Show in Spain Andrea Fraser's first solo exhibition in Spain opened last week at Barcelona's MACBA with works spanning three decades of her unrelenting, sharp critique. 2016-04-25 05:10 3KB news.artnet.com 23 Interview: Jane Seymour on her Return to Theatre with The Vortex Interview: Jane Seymour on her Return to Theatre with The Vortex 2016-04-25 02:54 6KB www.blouinartinfo.com

24 kengo kuma unveils images for the first residential tower in north america kuma unveils the first images of his first residential tower in north america, featuring a design that merges east and west, nature and building. 2016-04-25 02:30 8KB www.designboom.com 25 ‘Game of Thrones’ and the Era of Elaborate Opening Titles The show’s moving map, the dripping crimson of “Daredevil,” and other opening title sequences give birth to a new art on the home screen. 2016-04-25 00:00 3KB www.nytimes.com 26 Garry Shandling Memorial Mixes Laughs, Tears and a Few Characters The filmmaker Judd Apatow produced and hosted the evening dedicated to Mr. Shandling, who died March 24 at age 66. 2016-04-25 00:00 5KB www.nytimes.com 27 a cocktail with a view! designboom celebrated milan design week on the terrace of excelsior hotel gallia beyond the red carpet of milan design week's shows, the designboom cocktail party with a view! 2016-04-24 23:18 4KB www.designboom.com 28 Native Art Biennial Spotlights the Work of Indigenous Americans Montreal’s Contemporary Native Art Biennial showcases works by more than 25 artists. 2016-04-24 22:00 2KB thecreatorsproject.vice.com 29 Intimate Photos Capture Flocks of Dancers at Rest For his new series, Nir Arieli photographed motionless contemporary dance companies. 2016-04-24 21:00 2KB thecreatorsproject.vice.com 30 vardehaugen uses real scale drawings to map out its projects led by architect håkon matre aasarød, vardehaugen is an oslo-based firm currently working on a number of schemes at a variety of different scales. 2016-04-24 19:29 1KB www.designboom.com 31 LEXUS design award 2016 with designboom: agar plasticity by AMAM winner of grand prix LEXUS design award 2016-04-24 19:23 6KB www.designboom.com Articles

31 articles, 2016-04-25 18:03

1 Myrna Ayad Appointed Director of Art Dubai (2.00/3) Hot on the heels of its successful 10th edition , the art fair Art Dubai has announced the appointment of Myrna Ayad as its new director. Born in Beirut, Lebanon, in 1977, Myrna Ayad is an independent arts writer ( and artnet News contributor ), as well as an editor and consultant based in the UAE for the last 30 years. Ayad was previously editor of Canvas , a magazine focused on arts and culture from the Middle East and the Arab world, and has also written for publications including the New York Times , the Art Newspaper , Artsy , and Artforum . Meanwhile, Antonia Carver, the fair's current director, has been appointed first global director of the arts foundation Art Jameel. She will remain a close advisor of Art Dubai and will also serve on the fair's board. “I'm overjoyed to be joining Art Dubai which—thanks to the ambitions of Antonia and the team— has become the world's foremost platform for the art communities of the Middle East and South Asia. Having attended and worked with the fair since 2007, I'm excited by the opportunity to work with the team to build on this success," Ayad said in a statement. Ayad's appointment is part of a larger re-structuring of the fair, which includes also the appointment of Lela Csaky as director of VIP relations and of Pablo Del Val as international director. Ayad's rise to the helm of the fair is in line with the ongoing trend of appointing writers and editors as heads of art fairs —including Ayad's predecessor at Art Dubai, Carver, who had written for The Art Newspaper and was an editor for Bidoun magazine; Marc Spiegler, a former journalist who wrote for the Art Newspaper , New York Magazine , and ARTNews before being tapped to direct Art Basel in 2012; and our very own Benjamin Genocchio, the founder and former editor in chief of artnet News who, in December 2015, became the director of New York's Armory Show . Follow artnet News on Facebook. 2016-04-25 08:05 Lorena Muñoz

2 Meredith Monk and the Walker: A Chronology — Magazine — Walker Art Center On April 15 , groundbreaking interdisciplinary artist Meredith Monk returns to the Twin Cities in celebration of her more than 50 years as a vanguard artist. As a composer of sound, movement, and film, Monk is one of the most innovative American artists of our time. Her expansive body of work, anchored by her trademark, three-octave voice, transcends definition; it is simultaneously contemporary yet timeless, deeply personal yet universal. Since the beginning Monk has pushed boundaries within her practice, and she continues to do so today. But her explorations of sound, time, and space, in whatever form they take, all bear her unmistakable signature. Meredith Monk and the Walker share a long, rich history that has spanned the majority of her career. Since 1974, the Walker has supported Monk’s artistic activity across a variety of mediums, including commissioning five key works, presenting an array of her creative output over 11 visits to the Walker, hosting six artistic and community residencies, featuring her in a prominent exhibition in the Walker galleries, and acquiring her iconic 16 Millimeter Earrings, 1966/98 for the Walker’s visual arts collection. What follows is a chronological history of Meredith Monk’s legacy with the Walker, one that’s sure to continue far into the future. The Walker first presented Meredith Monk’s work in 1974 with Act II from Education of the Girlchild , a theatrical opera, which, in this version, incorporated local artists, alongside her intimate solo work, Our Lady of Late. Each performance happened in a converted Masonic lodge, reflecting Monk’s early and longstanding interest in non-proscenium spaces (a section of her influential work Juice: A Theatre Cantata in Three Installments was the first live performance to happen at the Guggenheim, in 1969). Education of the Girlchild (1973) consisted of three sections at the Masonic Lodge, beginning and ending with the artist performing alone and featuring local performers in the middle section. Monk described the themes of the work as “seeing the process of aging, but backwards … show[ing] the change of time through gesture and through sound.” Likewise, Our Lady of Late (1971) featured Monk alone onstage, this time accompanied by the sound of a wine glass. Taken together, these two performances showcased the artist’s adventurous treatment of both time and sound, making it a fitting introduction for Walker audiences to her early work. Three years later, Monk returned to the Twin Cities with Quarry , her 1976 Obie Award–winning opera music/theater piece set during World War II. With 40 performers, the multidisciplinary work was performed in the Great Hall at the University of Minnesota’s Coffman Memorial Union. In describing the inspiration behind Quarry , Monk asked herself: “How could I make a piece, an abstract, poetic documentary about World War II that had some historical references, but at the same time was free of that and dealt with cycles of war and cycles of dictatorship. How could I do that in a really honest way?” In contrast to the large scale production of Quarry , Monk also performed her unaccompanied solo Songs from the Hill , a work originally composed on a hill in New Mexico in 1975 and 1976, showcasing the dynamic range of Monk’s singular voice. Continuing her site-specific exploration of the Twin Cities, Monk and Ping Chong filmed their collaborative theater piece Paris , a live performance originally created in 1972, over five days in an abandoned grain factory on the Mississippi River. This adaptation was supported by the Walker and KTCA-TV (now TPT or Twin Cities Public Television) and aired on national public television to wide acclaim; Paris was also performed in front of a live audience in the Walker auditorium during a 1982 residency. In celebration of the 20th anniversary of her career, the Walker presented a selection of performances from Meredith Monk’s expansive catalogue, including vocal arrangements from her landmark works Solo Excerpts for Voice and Piano , Turtle Dreams: Waltz , and Dolmen Music. A screening of the documentary film version of Quarry contributed to the evening at Hamline University. Alive from Off Center , a creative collaboration between the Walker and Twin Cities Public Television, was a 1980s broadcast TV show that featured contemporary performing artists across a range of genres. Meredith Monk’s short film Ellis Island (1981) was featured in the third season of the show, in an episode hosted by Laurie Anderson. Ellis Island explores the American immigrant experience through music, dance, and imagery, examining history through a contemporary lens. ATLAS: An Opera in Three Parts was the first work by Meredith Monk that the Walker commissioned—and the artist’s first full-scale opera. The critically acclaimed performance includes a 12-piece orchestra, seven soloists, and a full chorus trained in Monk’s extended vocal technique. The story revolves around Alexandra Daniels, a female explorer based upon the life of Alexandra David-Neel, the first western woman explorer to visit Lhasa, Tibet. The work was performed at the O’Shaughnessy Auditorium at St. Catherine’s University. In 1994, Meredith Monk returned to the Walker auditorium for an early work-in-progress showing of the Walker co-commissioned work Volcano Songs , which deals with themes of aging and the miracle of human transformation and features Monk’s characteristic vocal range. Describing the Walker’s support of Volcano Songs , Monk stated that “they gave me the chance to do what an artist strives to do: to create a new work without knowing what the result will be; to take the risk of starting from zero, cutting through preconceptions and artistic habits to allow the piece to grow organically, so that eventually it will have a life of its own.” In 1994, the Walker also co-commissioned American Archeology #1 , a site-specific work performed only on Roosevelt Island, New York, in Lighthouse Park and Renwick Ruin. The 1998 Walker exhibition Art Performs Life: Merce Cunningham/Meredith Monk/Bill T. Jones documented the Walker’s longstanding relationships with three key innovators who approached multidisciplinary creation in distinct ways. Monk’s gallery included a new set of interactive, memorable installations (which the artist worked closely with Walker curators to create) as well as scores, storyboards, drawings, sets, props, costumes, and sound and film excerpts representing the range of her artistic output, including landmark works like 16 Millimeter Earrings (1966), Juice (1969), Quarry (1976), and ATLAS (1991). Monk’s role in Art Performs Life also included performances, an artist talk with Curator Philip Bither, community residency activities, and an exhibition catalogue. The Meredith Monk gallery in Art Performs Life included an installation of her breakthrough music/performance/film 16 Millimeter Earrings. Created very early in her career, 16 Millimeter Earrings was the first time the artist worked with film and consequently became a watershed moment for Monk. Combining voice, guitar, audio loops, performance, film projections, and sculpture, the work is mesmerizing and unforgettable. In 2010, the Walker acquired 16 Millimeter Earrings , 1966/1998_ , the video/installation version of the work created for Art Performs Life for our visual arts collection; it is currently on view in the Walker exhibition Less Than One. Another key element of the Art Performs Life opening was a moving performance of A Celebration Service (1996) at the First Unitarian Society Church next to the Walker, involving Monk, her Vocal Ensemble, numerous community members, and a post-concert processional. Monk also sang a solo work from the organ loft at the Basilica of St. Mary, also near the Walker, following Sunday mass. In conjunction with the opening weekend of Art Performs Life , Meredith Monk and Vocal Ensemble performed a full concert featuring excerpts from two Walker co-commissioned works: ATLAS (1991) and The Politics of Quiet (1996), which Monk describes in the Art Performs Life exhibition catalogue as a “musical-theater oratorio.” She went on to say, “I am always interested in discovering new forms between the cracks. … In The Politics of Quiet the music was the continuity. I didn’t want to illustrate the music; I wanted images that were a counterpoint to the music. Eventually, the piece revealed itself to be an abstract, nonverbal oratorio, or you could think of it as a ceremonial.” Meredith Monk and visual artist Ann Hamilton worked together for the first time on their 2001 music/performance work mercy. With visual installations by Hamilton and sound and movement by Monk, the work was a true collaboration between the two artists from start to finish. In 2008, Monk said “[ mercy ] ended up being a manifestation of the creative process of two human beings. The first image of the piece—the two of us sitting at opposite ends of a table—was what the piece was about.” The New York Times called mercy “an extraordinary collaboration. … Together, they created a multitude of visual and sonic wonders.” The work was performed at the O’Shaughnessy Auditorium at the College of St. Catherine. When the Walker held a grand opening celebration for the McGuire Theater in 2005, Performing Arts curator Philip Bither invited Meredith Monk and her longtime collaborator, Theo Bleckmann, to inaugurate the space in a series of performances that also included Philip Glass, Mugiyono Kasido, Steve Tibbetts with Choying Drolma, and Rizwan-Muazzam Qawwali. As Bither remembers : “After Meredith Monk and Theo Bleckmann flawlessly performed three excerpts from Monk’sFacing Northto a hushed, reverent crowd, they began their deceptively simple but truly complex vocal work Hocket. A few seconds in, Theo started on a wrong beat and Meredith waved her arms and then faced the audience with a smile: ‘Hold it. Start over.’ Warm laughter flooded the room; rigid shoulders lowered as the relieved audience seemed to settle comfortably into their seats. It was like hanging out with friends in your living room, or being with family and playing music together, or experimenting with something and realizing it was time to start over. The theater had, in a matter of seconds, been transformed from a temple of excellence to the kind of artist-centered, audience-friendly place we’d dreamed of.” Songs of Ascension (2008) combined Meredith Monk’s composition and choreography with Ann Hamilton’s visual elements to create a music/theater work exploring spirituality, ritual, community, and time. Monk was inspired, in part, by Hamilton’s 60-foot spiraling tower located in Geyserville, California, where the work was later performed as a site-specific version. The Walker co-commissioned Songs of Ascension , presented three preview performances, and hosted a 15-day production residency in the McGuire Theater, which helped Monk, her performers, and her artistic collaborators bring the work to life. To honor Meredith Monk’s rich history as a pioneer in contemporary performance, Meredith Monk and Vocal Ensemble performs The Soul’s Messenger, Celebrating 50 Years of New Music on Friday, April 15, 2016 at The O’Shaughnessy Auditorium. Meredith Monk will join Director and Senior Curator of Performing Arts Philip Bither for a conversation about her evolution as an artist on Thursday, April 14, 2016, in the Walker’s McGuire Theater. 16 Millimeter Earrings, 1966/1998 is on view in the Walker galleries as part of the exhibition Less Than One through December 2016. 2016-04-25 12:40 www.walkerart

3 Upcoming Opportunities for Choreographers Momentum: New Dance Works 2017 Proposals are now being accepted for Momentum: New Dance Works 2017. This long-standing annual dance series provides innovative emerging choreographers support for artistic development and a professional presentation of a new evening-length work. Since 2001, Momentum has highlighted Minnesota’s groundbreaking contemporary dance artists–many of whom are now nationally and internationally recognized–and […] 2016-04-25 14:33 By

4 Alternate Senses of Tone and Pulse: An Interview with C. Spencer Yeh For Sound Horizon, our series of free in-gallery music performances, we’ve invited critic and Tiny Mix Tapes editor Marvin Lin to share his perspective on each installment of this three-part program. While his first two pieces were informed responses to work by musicians Mary Halvorson and Vicky Chow / Tristan Perich, he concludes with an in-person […] 2016-04-25 12:09 By

5 5 mark reigelman's puts miniature cabin on top of steaming manhole covers for smökers installation

mark reigelman's puts miniature cabin on top of steaming manhole covers for smökers installation mark reigelman’s puts miniature cabin on top of steaming manhole covers for smökers installation all images courtesy of mark reigelman II mark reigelman’s site-specific public works challenge typical urban settings and celebrate the human condition within the metropolitan landscape. through staged art interventions in public spaces, reigelman reorients the viewer’s perception and enhances collective consciousness. for his project ‘smökers’, the artist has created a miniature monochromatic wooden cabin, which was temporarily installed atop steaming manhole covers throughout new york city, replacing the brightly colored plastic steam tubes which are used to channel and release smoke. the artist created a miniature wooden cabin which was temporarily installed atop steaming manhole coversvideo courtesy of mark reigelman II the plastic orange steam tubes placed above manholes in new york are a commonplace element within the urban landscape. these tubular chimneys offer some sense of spectacle and mystery, but for the most part are one more obstacle in traversing the city. ‘smökers’ forces spectators to reconsider the framework of a city’s infrastructure, and readdress the functionality and activation of public space. the cabin was used to replace the plastic steam tubes which are used to channel and release smoke the project draws upon reigelman’s childhood fascination and familiarity with small hand-made german objects ‘räuchermann’, which are commonly referred to as ‘smokers’. these are typically used as simple wooden incense burners, which often resemble cottages, animals, and chimney sweeps. the aesthetics of these common german items reference the orange and white candy- cane striping of these plastic steam tubes, but more importantly both have identical functionality and usage – to channel and release smoke – compounding the nuance of the work. with this concept in mind reigelman sought to imbricate the purpose of steam tubes, and insert the notion of whimsy and imagined narrative to the everyday. ‘smökers’ forces spectators to reconsider the framework of a city’s infrastructure ‘smökers’ was fabricated in brooklyn, NY utilizing local manufacturers, suppliers and craftspeople. for the construction of the cabin reigelman collaborated with master carpenter andrin widmer. the entire structure hovered 1” above the ground on 4” industrial rubber casters which allowed the small house to glide effortlessly from location to location throughout manhattan. the entire constrcution was hand painted with an outdoor paint color titled ‘pigeon grey’, which further emphasized the notion of overlooked blips in the urban environment. ‘smökers’ was installed in three central manhattan locations ; broadway ave. and grand st. (soho), 1st ave. and 12th st. (east village) and park ave. and 27th st. (midtown). the plastic orange steam tubes placed above manholes are a commonplace element within the urban landscape the small cabin has been installed in three central manhattan locationsvideo courtesy of mark reigelman II the project draws upon reigelman’s childhood fascination with small hand-made german objects industrial rubber casters were used allowing the large structure to glide effortlessly from location to location the cabin was painted an outdoor paint color titled ‘pigeon grey’ plans for the design of the cabin the structure was transported around new york the cabin releases steam through the chimney the plastic orange steam tubes are placed above manholes in new york 'räuchermann' are simple wooden incense burners, which often resemble cottages, animals, and chimney sweeps 'räuchermann' are commonly referred to as ‘smokers’ 2016-04-25 13:00 Hollie Smith

6 exposed timber frame highlights interior of techné's souvlaki restaurant the interior of each jimmy grants restaurants tells a fictional story which influences its design and fit-out. located in ringwood – a suburb of melbourne – the architecture firm in charge techné has translated the fictional character jimmy grant’s migration story into a vibrant souvlaki restaurant referencing a back shed with a contemporary twist. the design of each jimmy grants venue represents a different part of the fictional character’s migration story the result sees an eclectic approach with the blend of industrial detailing. the venue embodies a shed-like structural feel, and technē capitalizes on this by incorporating exposed wooden trusses across the ceilings, which is visible from the street through the higher-level glazing. to highlight the shed-like structure, exposed trusses were installed on the ceiling throughout ‘we placed subtle, rustic furnishes throughout the space to evoke the feeling of a back shed, including suitcases, trays of bottles, tools, watering cans and an old accordion’ explains technē director nick travers. ‘every chapter of jimmy’s story has a certain panache, so it was important that we collaborated with the client to tell the story, while still making the space stylish, and comfortable and inspired.’ additionally, fiberglass embedded poly-carbonate lines sections of walls and roof, creating a contemporary contrast and feel. at night, the restaurant is illuminated from within by the light diffusing through the transparent panels and producing a warm glow. to be consistent between the various jimmy grants locations, each store features varying shades of blue throughout the interiors reclaimed wood panels used on the walls leading to the downstairs room the menu at jimmy grants concentrates on a fast yet modern version of the traditional greek souva 2016-04-25 12:20 Natasha Kwok

7 Becoming American: Fionn Meade on Less Than One The first in a series of entries exploring Less Than One, on view through December, “Becoming American” begins with a consideration of author Joseph Brodsky (1940– 1996), whose essay provides the exhibition title, and Flags (1965), a painting by Jasper Johns included in the exhibition. At an early age Joseph Brodsky experienced much of what it […] 2016-04-25 07:38 By

8 barbarito bancel architects: dior miami boutique façade barbarito bancel merges haute couture + architecture in dior’s miami boutique façade (above) the façade aims to reflect dior’s image and identity all images courtesy of alessandra chemollo paris-based barbarito bancel architects was commissioned to add a façade to a dior boutique located in miami, whose interiors were designed by peter marino. the principal stake of the project was to create a skin for the building that would reflect dior’s image and identity, finding values where haute couture and architecture could meet and blend. from this combination, a duality emerges, linking the haute couture with fashion and with the ephemeral that is constantly in need to renew itself. architecture, on the other hand, transcends fashion and its image needs to outlive times as it goes by, continuing to represent the dior spirit in a lasting manner. more than a question of style, architecture is a question of light, proportion, and elegance. so, under the light, the sculptured white volume reveals its cut. through large curve movements of white concrete, clear figures of the ‘plisée’ take shape, between which the spaces of the boutique slide in. the nobility of the smooth and delicate surfaces is given by a contemporary material made of ultra high-density concrete and by marble power. the project also takes into consideration its commercial nature as the building aims to move away from an institution or museum form thanks to its generous shop windows that open to the immediate public space. the drawing is influenced by the suggestive references of miami, images of the sun and beaches, along with an idea of dynamism, youth, and contemporary design a new star in the miami sky designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here. 2016-04-25 11:20 Bb Team

9 Charlotte Olympia Teams With Bodyism on Activewear Line The capsule comprises 10 ready-to-wear pieces, a gym bag and two pairs of sneakers. Looks include matching pairs of sports bras and leggings in leopard print, and a long-sleeved top and matching gym bag with the same “Kitty” face embroidery that feature on Olympia’s ballerina flats. “I wanted to design a range that could be worn out and about, or for working out in the gym. I wanted to add a touch of glamour to sportswear so that you can feel dressed up, even when you’re on the go,” said the brand’s founder and owner Charlotte Dellal , who has a longstanding friendship with the Bodyism team. Bodyism Activewear co-founder Nathalie Schyllert said Dellal’s playful aesthetic was fully in line with the brand’s philosophy that activewear can be used to make bold fashion statements. Prices range from 75 pounds, or $108, for a sports bra to 295 pounds, or $425, for the gym bag. The collection launches in May, and one retail partner for each market has been chosen exclusively for the first month, before it rolls out internationally. Harrods will be carrying the range exclusively in the U. K., as will Shopbop.com in the U. S. Other retail partners include Stylerunner in Australia, Isetan in Japan, and Rubaiyat in Saudi Arabia. Charlotte Olympia, who hosted her first runway show during London Fashion Week in February , has launched a series of collaborations this year. In January, she unveiled a collection of lingerie and boudoir-inspired shoes with Agent Provocateur , and has also worked with MAC to design a 26-product beauty range that reflects her love for old Hollywood glamour. The range was launched last month and is distributed at about 800 doors worldwide. 2016-04-25 11:08 Natalie Theodosi

10 interview with jane fulton suri, executive design director at IDEO interview with jane fulton suri, executive design director at IDEO all images courtesy of IDEO jane fulton suri is partner emeritus and executive design director at IDEO. for nearly 30 years, fulton suri has been dedicated to maintaining and developing design insight and inspiration for a diverse set of clients from a range of different industries and fields. she pioneered human-centered approaches and evolved techniques for empathic observation and experience prototyping that are now widely used in the making of products, services, environments, systems and strategies. throughout her career, she has sought to increase the accessibility of these human-centered tools, coauthoring and publishing IDEO’s method cards, and creating ‘thoughtless acts?’ — a collection of snapshots that depict the creative ways in which people interact with the world. her latest project is ‘the little book of design research ethics‘, a publication which covers the principles that guide IDEO’s interactions with research participants and clients. originally designed as an internal IDEO tool, the now public book — available to download or purchase — intends to become a place for creatives to source guidance about the issues that arise during their navigation of the increasingly complex terrain of design research. in the book, fulton suri addresses three timeless principles for interaction with people in a search for insight: respect, honesty and responsibility. these core values provide a common framework for reference and discussion as designers explore new technologies, conditions and challenges for human-centered design. we spoke with jane fulton suri about ‘the little book of design research ethics’, how she was originally introduced to IDEO, and where she sees design heading in the next 5-10 years. ‘the little book of design research ethics’ covers IDEO’s interactions with research participants and clients designboom: can you tell us the story of how you came to work at IDEO? jane fulton suri: I had a magical encounter with visionary industrial designer bill moggridge in 1987 at ID two’s studio in san francisco. I showed him 35mm slides of my work identifying remedies for the mismatch between people and the designed world—making motorcyclists more visible to other drivers, improving flow-rates of transit passengers through ticket barriers, and producing safer power tools. I had pictures of people re-enacting the moment they’d lost part of a finger or toe. foreseeable problems, preventable by good design, and the major reason why I wanted to be working with designers before things got out into the world. responsibility: one of three timeless principles to guide interaction with people in our search for insight (continued) after a delightful chat, bill asked… ‘so what would you like to happen now?’ a disarming question and my answer unguarded, ‘I’d like you to offer me a job!’ and he did. my charge was to strengthen the studio’s human-centered approach, and to integrate research with the practice of design. this was new to design, bill took a leap of faith, helped make it work, and shortly afterwards joined two other companies to form IDEO. honesty: of of three core values that provide a common framework for reference and discussion DB: how were you originally introduced to the world of design? JFS: I was born in england in the 50’s, to creative and thrifty parents, establishing their first home. post-war utility furniture, refurbished windsor chairs, home-sewn liberty fabric curtains — surroundings seared in my sensory memory. my father was a potter, so I played in the art department, made models, and pushed clay through the pug-mill. for holidays, we’d camp in cornwall and visit bernard leach’s pottery — all stoking a sensibility about the making of beautiful things. in 1964 terence conran opened habitat. I was 12 with an ambition to travel the world as a buyer for his stores! by the time I was in college, human psychology was more fascinating. and then, applying psychology to architecture, could we design spaces and places to more intentionally support people? that was in the late 70’s and my professional introduction to design. ‘nature cards’ provide examples of the adaptations and synergies species have developed in order survive DB: can you describe your role and responsibilities as partner emeritus and executive design director at IDEO? JFS: I’m a global nomad these days — inspiring, teaching, and tool-making to sustain high- quality craft and insight from california to boston, london to tokyo. the human-centered focus is still at IDEO’s core, deeply relevant to broad-reaching topics, such as our collaboration with la victoria lab to improve the lives of peruvian people. and our first online design thinking course at IDEO U for students world-wide was insights for innovation. but we’re pushing design edges too, so I’m also experimenting with new ways to tackle systemic challenges. IDEO’s nature cards illustrate biological strategies for dynamic and self-regulating ecosystems relevant to design — expanding beyond inspiration drawn from the real-lives of people to inspiration from the real- lives of all living things. the examples found in the ‘nature cards’ provide insight into a myriad of design challenges DB: you’ve been part of IDEO for almost 30 years, what has been the biggest lesson you have learned since working there? JFS: I’ve learned the value of not knowing. of staying curious. of prototyping everything. putting something tangible out there and creating space for others to respond and refine it. ‘thoughtless acts?’ invites viewers to notice the subtle and amusing ways that people react to the world around them DB: what has been the most rewarding project that you have worked on at IDEO? JFS: creating the picture book, ‘thoughtless acts?’ it’s more than 10 years old now but we still hear that ‘it’s changed how I look at the world.’ that was the intent, to prompt people to notice intuitive interactions with the everyday world, a precious source of insight for design. and it’s great to reflect on old projects that shaped new-to-the-world technologies in light of today. work with kodak in the 90’s on the first generation of digital cameras foreshadowed today’s experience of imagery as communication, pervasive, spontaneous and disposable. and explorations with GM/hughes on charging systems for their first electric cars anticipated a future we’re now exploring in the future of automobility. spreads from the book ‘thoughtless acts?’ | photos courtesy of david albertson DB: how did the idea for ‘the little book of design research ethics’ come about? JFS: since our earliest days, IDEO has relied on people to share aspects of their lives, react to our ideas, and try out prototypes to see what needs to change. the approach is personal, open, trusting, and designed to be enjoyable for everyone involved. we work hard to maintain that spirit but rarely spend time articulating just how important a trust-based approach is to uncovering valuable insights. so it was time, long overdue really, to be explicit about what IDEO believes and to provide guidance and support in a concise and durable way. the book form itself, was inspired by the little book of IDEO expressing our values as a community working together. this new book is complementary, expressing our values in interaction with the community beyond IDEO. two images in the book showing how we derive meaning from context — the same item used to send different messages in a park in tokyo and in berkeley, california DB: respect, honesty and responsibility — why do you feel these three principles are the most important? JFS: really what’s important is maintaining trust. but how to do that? tapping the vast base of tacit knowledge within IDEO and beyond we asked: how do you do human-centered design research in a human-centered way? what moments in your experience have not felt quite right, or felt uncomfortably close to pushing over an ethical edge? because these principles emerged from answers, ideas, anecdotes, and conversations about real projects, we know that they’re important and actionable in our day-to-day work. IDEO’s future of automobility explores the experience of electric-powered self-driving cars (read our interview with IDEO’s ricardo figueiroa on the future of automobility here) (continued) respect is the idea that we honor participants as people deserving of consideration. honesty emphasizes our commitment to transparency — even if we don’t disclose everything up front we won’t leave people with false impressions. and responsibility comes with the amazing privilege we have. when people are willing to share their data, ideas, tell us about their children, parents, sex-lives, finances, and to open their closets and hearts we’re vigilant on their behalf, safeguarding information that could compromise their future interests. the concept considers the future of autonomous driving, on demand delivery services, and future workspaces DB: as the book was originally intended as an internal IDEO tool, why did you decide to open it up to the public? JFS: as the contents took shape, we shared early drafts with ethicists for feedback. we learned that there isn’t much out there of its kind, I mean that ties together solid principles with practical guidance and true stories that show how they play out in real life. so, while the book is mostly about design research, we realized that it offers practical guidance to a wide range of situations that depend on building relationships of trust. added to which, we’re encountering a new level of public and corporate awareness of trust and transparency related to capture and use of personal information these days, so there’s a new-found appetite for guidance in navigating ethical complexity. we decided to make it available to download and for purchase as a hardback book. DB: what are some of the lessons you hope readers take away from the book? JFS: I hope it encourages the idea that ethical considerations are worth talking about in business, and the way we do things is as important as the outcome. I hope the principles provide a common framework to support ongoing discussion about how to work with empathy and cultural sensitivity, ensuring that interactions are safe, fair, enjoyable, and mutually beneficial for all involved. and I hope data privacy, now considered largely a legal and technological issue, will be seen as an essentially human design issue too. observing a user testing session with a prototype of an early microsoft mouse 1987 (test devised by bill verplank) DB: where do you see design heading in the next 5-10 years? JFS: I see young people, businesses, and governments waking up to the idea that we can design the future world we’ll want to live in. designers will be the catalysts who unlock creative capacity within communities, inspiring people and collaborating with them. and design will adopt new tools and materials to help address systemic human issues. where everything is interconnected — in challenges around education, food, transportation for example — designers will be using data and biology to explore and create dynamic, adaptive, and beautiful solutions. prototyping the interaction experience for kodak’s first consumer digital camera (prototype by mat hunter and duncan kerr) DB: what is the best piece of advice you have ever been given? JFS: keep it brief. and to the point drivers try out recharging device prototypes in 1994 with GM/hughes for use with their EV1 2016-04-25 10:30 Nina Azzarello

11 UN Trust Fund Teams With SeeMe on Orange Heart Necklace More Articles By SeeMe has worked with female survivors of violence in Tunisia to make necklaces using local, traditional techniques. Their design for the UN anniversary is called the Orange Heart necklace. The aim of the partnership is to help provide the women with an income by developing jewelry- making as a business in the region rather than just as a standalone charitable initiative. SeeMe has in the past supported women in Tunisia and Lebanon by developing the countries’ fair trade jewelry market. Its signature heart- shaped jewelry symbolizes the replacement of violence with love. SeeMe has previously collaborated with brands including Missoni, Tommy Hilfiger and Karl Lagerfeld. “Our new partnership with SeeMe will support the critical work of (recipients) of the UN Trust Fund, who work towards ending violence against women and girls,” said Aldijana Sisic, the fund’s chief. Half of the proceeds from the sales of the Orange Heart necklaces will go to the UN Trust Fund’s prevention, legal, medical and advocacy projects. So far, more than 180,000 women have benefitted from such initiatives. The announcement of the partnership will be made later today at an event in Amsterdam, which will include speakers such as Caterina Occhio, SeeMe’s founder and chief executive officer; and Maja Cecen, director of B92 Foundation, another recipient of the UN Trust fund. The jewelry will be stocked exclusively at De Bijenkorf in Amsterdam and SeeMe’s online store. Prices range from 15 euros or $17 and 130 euros or $145. 2016-04-25 10:28 Natalie Theodosi

12 Hyères 2016 Winners Hail from Finland, Sweden While Wataru Tominaga took home the grand prize, here’s a look at the other Hyères 2016 winners. The duo also received a jury’s special mention for their men’s wear collection. “We used the materials from the area we live in; many of them were thrown away,” Jurmu explained. “They take us to another planet,” said designer Pierre Hardy, a jury member. “It could seem theoretical but it’s done with grace and elegance.” “Her clothes are magnificent and make girls very beautiful,” said Hardy. 2016-04-25 10:24 Laure Guilbault

13 harwyn pre-fab pods provide a self-supporting space for any place and use harwyn pre-fab pods provide a self-supporting space for any place and use all images courtesy of harwyn the ‘harwyn pod’ is a permanent structure that was born out of the desire to create a space that would adapt to the needs of the user, while being luxurious and opulent. fabricated in melbourne, the pod is a self-supporting structure clad in a metallic skin and maintains its form despite being transported and delivered to different locations. the design brief called for the pod to be versatile enough for a wide range of uses. ‘ a drummer needing a practice room, an engineer coding the future, a student studying towards future potential, a creative team briefing a client, the harwyn Pod would be the space to create.’ the harwyn pod is a permanent structure with the ability to be easily relocated suitable for grass or earth surfaces, the site preparation for the pod is minimal. internally, the cube floor plan is fitted out with climate control systems, LED lighting and sound system where ultimately, it provides the user a relaxing and private respite that blends with nature. the initial idea for the harwyn pod was born from the backseat harwyn’s co-founder jason fremders’ 4ED car the pod is clad in alucobond and has a system that within 4 hours, all site preparation is complete 2016-04-25 08:45 Natasha Kwok

14 Fashion’s Governing Bodies Meet in Hyères More Articles By HYÈRES, France — It felt like a Davos for fashion under the sun of Hyères on the French Riviera, where the heads of fashion’s governing bodies from four capitals met on Sunday. The meeting coincided with the 31st edition of the International Fashion and Photography Festival, which ends today. The invitation came from Raph Toledano, president of the Fédération Française de la Couture, du Prêt-à-Porter des Couturiers et des Créateurs de Mode, and Pascal Morand, the federation’s executive president. In attendance were Steven Kolb, CFDA ’s president and chief executive officer; Caroline Rush, ceo of the Bristish Fashion Council; and Carlo Capasa, president of the Italian Chamber of Fashion. It marked the first time the leaders of the industry’s four fashion federations had met all together. Topics on the agenda included digital, sustainability, education and the future of men’s and women’s fashion shows. There have been intense discussions in the last few months around the concept of consumer- facing fashion shows and whether the four cities should maintain the existing formula — with runway shows taking place a season before collections are sold at retail — and whether men’s and women’s shows will be combined. “Fashion is a big family,” said Toledano, before adding: “It’s evolving. Talking and exchanging ideas is very important. It’s not to decide whatever — our bodies don’t decide, I don’t think any of us can pretend we do — but we can make the link with the houses in order to evolve organically. “By meeting regularly — preferably where there’s sunshine — we hope we can make progress,” Toledano noted. Asked how often they plan to meet in future, Capasa joked: “We were thinking of taking an apartment together.” “And we’ll do a reality show,” added Kolb. “I think the conclusions of the CFDA make a lot of sense,” said Toledano, referring to a recent Boston Consulting Group study ordered by the CFDA that after weeks of study basically concluded that each designer company should decide for itself what works best for that particular brand. “Everybody should do what’s best for them. Of course, there should be some coordination; otherwise it will create a mess. [The discussions] started with an initiative [Burberry]. What we see after a few months is that there’s nearly a consensus.” “We have to pay respect to everybody. The core of the logistics is making sure everyone can be at the show they want to be at,” said Kolb. “We are trying to make everybody part of a system and whatever they show, that it will be shown during fashion week,” said Capasa. He noted that Gucci recently said that it would show its men’s and women’s collections together in 2017. “[Gucci ceo] Marco Bizzari said the image of the collection is very genderless and because of that, it’s complicated for them to separate the two. It’s a choice that comes from a specific peculiarity of a brand. It may not work for another brand.” “Every company is different from another,” echoed Toledano. “You have to find the right balance between individual perspectives and the strength of the community.” “We have to pay close attention to what the impact of that shift will be — whether men’s and women’s collections are combined or someone switches to a consumer show. Was it a positive change? Did it change your sales? Did it upset the buyers and the editors? And really being able to look at the specifics of the results and sharing them,” said Kolb. “Also by looking at the drivers for these changes, that’s where we can share what the brands are looking for and addressing these drivers in a different way,” said Rush. Morand stressed the importance of fashion weeks: “The more digital makes strides, the more important the physical experience is,” he said. On Saturday night, they all attended a dinner hosted by the French Federation at La Bastide restaurant in Hyères, where Toledano paid tribute to his predecessor Didier Grumbach, who 15 years ago launched panel discussions on the future of fashion at the festival. 2016-04-25 08:15 Laure Guilbault

15 Turner Is the New Face of England’s £20 Notes - artnet news The Bank of England has announced that a self- portrait of Joseph Mallord William Turner as a young man will grace the new £20 notes. The new design, which will enter circulation in 2020, will also feature Turner's painting The Fighting Temeraire (1839) in the background. Last year, the Bank of England announced that, for the first time, it would feature a visual artist in its new £20 note. Turner was selected after a public nomination period that took place between May and July 2015, followed by a deliberation by the Banknote Character Advisory Committee. This new selection process marked the first occasion in which the public had a say in such matters. The final shortlist, handpicked from a total of 590 artists proposed by the public, also featured Charlie Chaplin, Barbara Hepworth, William Hogarth, and the potter Josiah Wedgwood. The final decision was announced last Friday by Mark Carney, Governor of the Bank of England, and the artist Tracey Emin at Turner Contemporary, a museum in Margate sited on what was formerly Turner's lodging house in the seaside town. “It's so amazing that an artist has been chosen for the £20 note and an artist who was a wild maverick," Emin, who was raised in Margate, said during the presentation. “It's wonderful that Britain's creative side is being honored in this way, and of course I am especially happy because it is Turner and he loved Margate. " “The decision to celebrate JMW Turner, one of the greatest technical pioneers in the history of British art, is extraordinary, not least because it has proven by a public vote that Turner is the nation's favourite artist," Victoria Pomery, director of Turner Contemporary, said. “Brilliantly, it is an official acknowledgment of the immense historical value of the visual arts to the UK. But it is also a stark reminder that we must place increasing value on our future as a nation of creative minds. We must invest to support the next great artists and innovators," she added. Turner's self-portrait, painted in 1799, when he was 24 years old, is part of Tate Britain's collection, and it is currently displayed in the museum's Clore Gallery. “As the home of Turner, we at Tate Britain are extremely pleased that the artist is the new face of the £20 banknote," Alex Farquharson, director of Tate Britain, said in a statement. “We hope that will encourage visitors to see his self-portrait and other outstanding paintings in person in our Clore Gallery. Turner's popularity is unrivalled—he was voted the nation's favorite artist last year—and now everyone can celebrate Turner's great contribution to art on a daily basis. " Meawhile, The Fighting Temeraire part of the collection at London's National Gallery, where it is a favorite with museum-goers. “Every time you pull out a £20-pound note from your pocket, purse or cash machine, you will be reminded of the nation's best-loved picture in the National Gallery and a masterpiece by one of Britain's greatest painters," Gabriele Finaldi, director National Gallery, said in a statement. You can find more information about the selection process and the selection of Turner in the video below: Follow artnet News on Facebook. 2016-04-25 06:31 Lorena Muñoz

16 Talk Dance: Luis Garay on Maneries Talk Dance is a podcast series devoted to in- depth conversations with dance artists produced and hosted by local dancer, educator, and commentator Justin Jones. In this installment, Jones speaks with Luis Garay, whose work Maneries will be performed in the Walker’s McGuire Theater April 21-23, 2016. You can listen to the full podcast on the Walker Channel. […] 2016-04-25 03:37 By

17 Cindy Sherman Returns To A Teen Idea of Aging– THE DAILY PIC (#1535): Today's Pic is from a series of new works that Cindy Sherman came up with this winter, after a five-year break from photographing herself – the longest pause in a career that turned 40 this year. The photo has never been made public before, not even in the feature I wrote on Sherman for yesterday's New York Times. The new images, which premiere on May 5 at Metro Pictures gallery in New York, portray Sherman as a series of Golden Age Hollywood stars, still wearing their Jazz Age outfits even though they are as old as they might have been in the 1960s – and as Sherman herself is today. Commenting on my Times piece, the artist and writer Steel Stillman noticed something I hadn't. I'd mentioned that these new images might be seen as aged versions of the younger starlets that Sherman had posed as in her great Untitled Film Stills of the late 1970s, and as Stillman put it, “it is weird how her women have aged by going backward in time. " One pop-psych explanation might be that in order for Sherman to accept these figures as stand- ins for her own aging self, they also needed to be distanced enough to pose less of a threat; aging gets declawed, that is, by making it a thing of the past. Another reading might say that, for whatever reason, the Grandes Dames of the Silent Screen represent an apogee of potent womanhood in the modern age – maybe because they are the first images of women that are definitively and exclusively modern. If those icons can be shown growing old graciously, then there's hope for all women to do the same. But maybe there's a simpler, more “ecological" reason for Sherman's choice of these women as her avatars, and of herself as theirs. I think we all fashion our basic worldview sometime in our mid-teens: Several of my older sisters fixed their notions of male beauty in the years around 1970, which means that to this day they like men with hippy locks. (Their comments on Viggo Mortensen as Aragorn made me blush.) In my own teen years, I imprinted on New Wave tomboys – and luckily for me my wife fits that bill, even 35 years later. I have a feeling that Sherman, who would have been 15 in 1969, formed a notion, accurate for her at the time, that older women were creatures of the 1920s, with the most elegant among them having been movie stars. For that same teenage Sherman, aspiring “starlets" in their mid- 20s were creatures of the late 1950s and early 1960s – and sure enough, that's the era she chooses to depict them in, a decade later when she becomes an artist and makes her Film Stills. It is now 2016, but when it came time to represent age in her latest photos, Sherman worked with an image that her mind built for her 50 years ago. For a full survey of past Daily Pics visit blakegopnik.com/archive . 2016-04-25 06:00 Blake Gopnik

18 Call for Applicants: Walker Art Center Mildred Friedman Design Fellowship 2016–2017 THE WALKER IS PLEASED TO ANNOUNCE THAT ITS 2016-2017 MILDRED FRIEDMAN DESIGN FELLOWSHIP IS NOW OPEN FOR APPLICATION. APPLICATIONS ARE DUE: MAY 23rd. Since 1980, the Walker’s Design department has maintained a graphic design fellowship program that provides recent graduates the opportunity to work in a professional design studio environment. Selected from a highly competitive pool of applicants, fellows come from graphic design programs throughout the United States and abroad representing a diverse range of design programs, such as Art Center College of Design, California Institute of the Arts, Cranbrook Academy of Art, Eastern Michigan University, Ecole cantonale d’art de Lausanne, Minneapolis College of Art and Design, NC State University, Rhode Island School of Design, Royal College of Art, Werkplaats Typografie, and Yale University, among many others. See samples of previous fellow’s work here and in this video highlighting 75 years of Walker design. The fellows will also be key contributors to the Design department’s blog, The Gradient —so an interest in the discourse of graphic design and contemporary culture is highly desirable. Fellows are salaried, full-time employees and are involved in all aspects of the design process, including client meetings and presentations through production and development. Duration of fellowship: September 1, 2016 – August 31, 2017 Email application packets to [email protected]. If you do not receive an automatic confirmation of your application, please send another note to the same email address, without any attachments. No phone calls please. For more information, visit our fellowship page. Also check out the Walker’s job listing. April 23, 2016 2016-04-25 08:31 By

19 2016 American Package Design Awards Makers, sellers and marketers are challenged as never before to convey the message, promote the brand, close the deal. Think fragmented audiences, information overload, media clutter, global competition, economic dislocation, changing practices and preferences. Package design and related disciplines are increasingly the difference makers in advancing the brand and influencing the purchasing decision. The outstanding work showcased here – from 200 elite design firms, design departments and production companies – is testimony to this phenomenon. Our annual competition celebrates attractive graphics, of course, but more importantly the power of design to forge an emotional link with the buyer at the moment of truth. Beauty + Personal Care Health + Wellness Wine, Beer + Liquor Food + Beverages Electronics + Computers Music + Entertainment Home, Garden + Industrial Sports, Toys + Games Babies + Children Animals + Pets Fashion, Apparel + Accessories Luxury Packaging Sustainable Packaging Private Label Packaging P-O-P, Posters + Signs Hangtags, Labels + Shopping Bags Logos, Identity + Branding Students Click on the name of an individual firm to see their winning projects 2016-04-25 08:32 GDUSA Staff

20 Gallery Hopping: Jacques Villeglé at Vallois, Paris- Galerie Georges-Philippe et Nathalie Vallois, credited with putting on the first French shows of artists like Paul McCarthy and Gilles Barbier, marked some major milestones this month: The opening of its second Paris location at Rue de Seine and the gallery's 20 anniversary were marked with a double exhibition of acclaimed French artist Jacques Villeglé. The exhibition "Villeglé–Opération Quimpéroise", at 36 Rue de Seine, also celebrated Villeglé's 90th birthday. In a self-reflective twist, the show contains works made from posters for an exhibition which celebrated the artist's 80th birthday, which were later defaced and covered by posters for upcoming events after the exhibition had passed. Villeglé took down and framed these in the vein of a found object while making a reference to his own early practice of poster slashing. Meanwhile, the second show "Villeglé & Hains: Pénélope," on view just a stone's throw away at 33 Rue de Seine, comprises a series of collages, paintings, drawings, sketches, and notebooks based on the unfinished experimental film Pénélope (1950-1954) rendered in a Situationist tradition. The film is bases on "Ulysses's wife's ploy, undoing during the night what she had woven in the course of the day. " You can view images from the exhibition below: "Jacques Villeglé & Raymond Hains" and "Villeglé – Opération Quimpéroise" will be on view at Galerie Georges-Philippe & Nathalie Vallois until May 13, 2016. Follow artnet News on Facebook. 2016-04-25 05:30 Amah-Rose

21 jruiter studio strips machines down, starts over, and ignores all accepted norms jruiter studio strips machines down, starts over, and ignores all accepted norms image courtesy of dean van dis in his studio in west michigan, joey ruiter is redefining expectations in the world of art and design. his signature methods of mixing a range of ideas results in objects that meet everyday needs in surprising ways. that’s because joey ruiter and his team at jruiter + studio, can’t wait to strip a machine down to the bare parts, start over, and ignore all accepted norms. just like ‘the buggy robot‘, ‘snoped’ is a great example of the studio’s design process. taking a 1980s chrysler ‘sno-runner’ and blending it to form a whole new level of winter travel. with a lightweight chassis and a motorcycle stance, the piece of work re-establishes what a snowmobile should look like. powered by a 90cc engine, the ‘snoped’ is almost two meters long. the body is made of aluminum and composite plastics with a front grille completely filled with headlights. influenced by some of their favorite winder apparel brands, this bike/snowmobile extends riding on top of the snow even further. but even on days off, the studio loves to experiment with any junk they can find. on a cold michigan winter, they decided to put another 90cc motor on a bike frame that was heading to the scrap pile. without any criteria, goals, thoughtful planning or design, they gave themselves an evening to make a fun bike they called ‘moped’. these late night conversations help the team create new stories, memories and interactions with each other, ultimately pushing innovation and new ideas forward. we spoke to joey ruiter about aspects of his background that shape his designs, the studio’s strongest assets and his favorite piece of equipment in the workshop. designboom: what originally made you want to study industrial design and become an designer? joey ruiter (JR): as a studying artist, I was already playing ‘industrial designer’ altering cars, bikes, and small objects. at that time, they didn’t have a name for it. I always felt like an outsider in the art community. then one day, I saw a scooter designed by kirt martin during a student show at the kendall college of art and design. that changed everything. DB: what particular aspects of your background and upbringing have shaped your design principles and philosophies? JR: I grew up in michigan – so it’s basically the capital of motors and horsepower. we are american mid-western creators, so access to shops, garages and resources are always just down the street or at a neighbors. seeing this first hand, gave me an appreciation for how complex simple things are to produce. DB: overall, what would you say is your studio’s strongest asset and how have you developed that skill over time? JR: our studio’s strongest asset is developing skill through huge fails and wins. I want each project to speak for itself, be something of its own, and break into new references so its hard to categorize. the recipe is a mix of the power of gesture, form, and presence. add in simplicity, use of materials, and something known, finishes it off nicely. but it’s definitely, not easy. DB: now that computer generated visualizations are so commonplace, is there still a place for physical model making or sketching designs by hand? JR: the only reason this ‘snoped’ is interesting is because it exists physically. it was a conversation, then a sketch, a foam core mock-up, lots of measuring, and a CAD model for some sheet metal. no renderings were created as of yet… what’s your favorite piece of equipment in the workshop to use? DB: what are your biggest frustrations when looking at the design industry? JR: almost daily, I drive a 1962 lincoln ‘continental’. it speaks to design for the sake of just being there. it’s beautiful. it has tremendous presence, full of life, and is terrifically fun to drive. this is my frustration with the industry. we want this emotional connection with objects and it isn’t that hard to get. it’s just shapes, colors, and sprinkled textures here and there. we are so generalized and market driven by expectations, that design suggestions are based on previous sales. it’s getting boring and sets us back in time. DB: can you tell us about any projects you are currently working on that you are especially excited about? JR: I can’t really talk about anything but I will…vaguely. I have a few contract furniture clients that we are exploring. so we are in the midsts of journey. also, there is a new car in the shop called ‘the consumer’. I can’t say anything else. footage of the ‘snoped’ projectvideo courtesy of baas creative 2016-04-25 05:15 Piotr Boruslawski

22 Andrea Fraser's First Museum Show in Spain Andrea Fraser's first institutional solo exhibition in Spain opened at Museu d'Art Contemporani de Barcelona (MACBA) this past Friday. Titled "Andrea Fraser. L'1%, C'est Moi " (I am the one percent), the exhibition brings together 30 years of boundary-pushing work by the highly influential performance artist whose art encompasses political and feminist ideologies, and addresses issues of inequality—including wealth disparity within the art world. The museum seems a perfect match for or Fraser, who praises the MACBA as one of the most progressive art institutions in the world. In fact, the title of the exhibition was first suggested by its curators Cuauhtémoc Medina and Hiuwai Chu. In addition to the more blatant nod to wealth disparity, the title also makes a literary reference to the French author Gustav Flaubert's quote “Madame Bovary C'est Moi," in reference to his famous novel Madame Bovary about a woman seeking adventure. “The aim was not to place the analysis of wealth concentration in the context of the time we are in but as a reflective critique," Fraser told artnet News over the phone from Barcelona. “Not only pointing our fingers at the super rich but also reflecting critically on our own participation, the ways in which we benefit from the concentration of wealth, and how that serves at the interests of artists and institutions and other participants in the contemporary art world and contemporary art market. " The exhibition covers Fraser's work from 1984 up to 2014, displaying not just the active results but also the extensive research that she puts into the concepts behind these performances. “I think a survey of my work has two inherent challenges," she told artnet News . “There is a huge amount of content and a lot of it is non-visual content, either in the form of spoken word, performances or research material and writing […] I'm really happy with the installation here because there's a good balance of performance and non-performance work," she explained. "We wanted to distinguish in our minds between work that's experiential and work that activates an intellectual process and critical thinking, research, and so forth," she added. Visitors will have a chance to see some of Fraser's most famous performances, such as May I Help You?, in the exhibition which is organized into five sections: The chapter “Globalization" focuses on the art growth of the 90s; “It's a Beautiful Show isn't it? " deals with Fraser's work influenced by sociologist Pierre Bourdieu's writings on stratification and consumption; “The Personal and Political" explores how the different elements of Fraser's practice relate back to fundamental principles; and “Collected and Archived" deals with the documentation of and inherent in Fraser's performance work. For viewers less familiar with Fraser's position, but also for those well versed in her unrelenting critical approach, this survey spanning three decades offers a unique opportunity to rediscover and reconsider her performances seen in the context of today's various inequalities. "Andrea Fraser, L'1% C'est Moi" in on view at MACBA until September 4, 2016. Follow artnet News on Facebook. 2016-04-25 05:10 Amah-Rose

23 Interview: Jane Seymour on her Return to Theatre with The Vortex Related Venues British Theatre Playhouse Although she has been asked to return many times, Jane Seymour has not been on stage since 1980, when she performed opposite Ian McKellen and Tim Curry in the Tony Award- winning Amadeus. But this is all about to change when she takes on the role of Florence Lancaster in the Noël Coward play “The Vortex,” which opens later this week in Singapore. Seymour is best known for her work on screen, especially the hugely successful “Dr. Quinn, Medicine Woman” in the 1990s for which she won a Golden Globe, but like many British actors of her generation she had a grounding in the theater. “I didn’t know the play, but when I read it, it was so impactful for me that I thought if there was going to be a vehicle for me to come back, The Vortex was it,” she says, adding the opportunity to join the short run in Southeast Asia offered freedom to experiment and “see how much I like it. I can do it for two and a half weeks. If I don’t like doing theater, I’ll never do it again, but if I do, I open up a whole new world for myself, because I’m always asked in London or New York to do theater.” There was also an element of good-natured family pressure, too. “My daughter [Katie Flynn] who is an actress and my boyfriend [David Green] who is a director producer, both told me I had to do it. They kind of kicked me out of the nest. They told me ‘you’re at the peak of your ability, now is the time to push yourself even further.’ And they were right because I’ve loved the rehearsal process,” she says. First performed in 1924, “The Vortex,” with its theme of infidelity and barely veiled references to homosexuality and drug addiction, scandalized London society at the time, and became an immediate box office success, launching Coward’s career. “It has everything that you expect and want from a Noel Coward play, the frivolity, the fun, the 1920s, the kind of whole craziness, and all the comedy, but it also has a very deep side to it,” explains Seymour, “He wrote it for himself, and he wrote it about himself, I’m sure.” Seymour met Coward once, briefly in 1973 at a matinee performance of Terence Rattigan’s Midnight that she was watching with her then boyfriend, Michael Attenborough. “We were sitting on the side, towards the front and at the last minute before they turned the lights off, they wheeled Noël in. Michael immediately told him ‘Noël, I’m your godson,’ and he said ‘You’ve changed since the font!’ and then because his voice was so recognizable, the man in front of us turned around and said in this very pretentious voice, ‘Noël, how ARE you,’ and Noël replied, ‘dying!’ and he did die a few weeks later.” While it is not performed as often as other Coward plays, Seymour is confident the themes will resonate with a modern audience, especially her character’s quest for youth. “I think the play is still incredibly appropriate for today. How many women around the world, and men, are trying to be younger … 60 is the new 40, and 50 is the new 30, it’s going to be 80 is the new birth soon” she says with a laugh adding, “Everybody is trying to fight to keep their youth, both physically, emotionally, and mentally, and here is a woman who emotionally feels like a young woman inside, but she’s no longer young and she’s supposed to get old with her husband, retire. She wants to be the life and soul of London, and she is, she’s the celebrated Flo Lancaster and she doesn’t want to give that up.” The rehearsal process has been “an amazing learning experience,” she says and she is full of praise for her co-stars James Cartwright and Alex Spinney and director Bob Tomson. “I’d forgotten how much I liked doing live theater. Of course we haven’t had an audience yet. We’ve only had one day where we’ve invited our friends and families, and they were sitting right in front of the stage, so it’s still not quite like having a real audience.” Seymour continues to regularly appear on screen, though often in smaller parts, such as a demanding dance instructor in the just released dance movie “High Strung” (which she co- produced) and as the racist mother of the main protagpnist in Marlon Wayans’s “50 Shades of Black,” a spoof of “50 Shades of Gray.” “It’s very hard for a woman of my age to be in a lead role,” she says, noting that theater offers a new avenue for her talent. “With the theater it’s not about the camera seeing everything about yourself, you can play younger, you can play older; you can do a lot of different things, because you’re further away. And there are some great roles for older people. That said, I’m 65 and Florence Lancaster is probably in her 50s, so I’m still playing much younger that I already am. But as Florence Lancaster proves, age is just the way you feel inside.” Seymour has just finished shooting the independent film “Mistrust,” reuniting with William Shockley, whom she played opposite in Dr. Quinn. “I’m playing the lead, a woman who can only be a mistress. She doesn’t trust being in any other relationship. I thought she was interesting, because there are woman like that, who can’t get married. She has all her rules about how the relationship should work. That’s not me, again, but I’m curious about the mindset of different women at different stages in their life.” Later this year, she will appear in “Hooten & the Lady,” a new eight-part British television series with Michael Landes (CSI) and Ophelia Lovibond (Elementary), playing Lady Tabitha Lindo- Parker , the mother of Lovibond’s character, “a crazy, over the top and very funny character.” She’s also planning to produce a movie, “in which there will be a great role for me. But I don’t want to talk about it yet. " 2016-04-25 02:54 Sonia Kolesnikov

24 kengo kuma unveils images for the first residential tower in north america kengo kuma unveils images for the first residential tower in north america image © kengo kuma and associates all images courtesy of killeencommunication designboom recently had the chance to talk with famed japanese architect kengo kuma about his first residential tower project in north america located in a transitioning urban context near downtown vancouver. ‘alberni’ is a project commissioned by the canadian firm westbank corporation, an avant garde developer whose scope of work transcends that of the traditional developer through its holistic integration of the senses, merging the worlds of construction, urban design, art, culture, and philanthropy that results in structures that are meant to fit within the greater context of the community in all aspects. given kuma’s sensibilities with light and material as well as his acute sense of designing with nature, he was an obvious choice to design the new 42-story building in a city so closely tied with the surrounding landscape and asian heritage. alberni is primarily a residential tower with commercial spaces on the ground floor. the unique form features concave voids that carve away at an otherwise rectangular volume, with an exposed structure that emphasizes the sinuous facade complemented by a tessellated three-dimensional wooden trellis. in keeping with westbank’s cultural principles, the project employs a new strategy to integrate into the urban fabric- a large part of the ground floor is public space taking the form of a japanese moss garden, the first of its kind in the city. a sculpted topography forms a natural amphitheater with walkways that cut across the site that depart from the traditional grid and offer the community a new experience when moving around the city. the moss garden offers ground- level green space capable of hosting events or simply offering a momentary pause from the concrete and glass, whose centerpiece is a westbank signature: a custom made, kuma- designed fazioli piano that adds the element of music to the astounding architectural enclosure. vancouver is a beautiful place. the wild nature is very close to the city and also the beautiful ocean is very close to the center of the city. in tokyo we have an ocean but the ocean is not as beautiful and we don’t feel that it is close. here the water is just there, it’s very clean water and that’s important for a city. – kengo kuma vancouver is a city closely tied to its varied natural surroundings, how has this influenced the approach in designing alberni? at a certain point this is not an independent tower. with the tower we can create the connection with this beautiful environment and we carefully designed the relationship between the unit and the view. the shape of the tower is irregular – from every unit we designed the view to the ocean, to the mountains, and eventually we achieved this unique shape. this unique shape and section is not arbitrary it is a natural solution. how does the program fit within the greater context of a transitioning and developing urban community? there is commercial [space] on the ground floor but more importantly is the moss garden, it’s the most important part. [the moss garden] is a kind of in-between space with the street and we think it should be part of the street life because the street life in vancouver is very lively, very human. we want to give a special gift to that kind of city life. in the moss garden anything can happen, concerts, small parties, and gardens are also beautiful. a wooden lattice as a special structural system will be in this construction and people can get a sense of craftsmanship even in this kind of high rise building. the site is on a very important street- after this building we believe people will love the street more. your projects are known for their particular attention to detail, which at a smaller scale is possible to achieve- when working at this scale do you find you are not able to detail to the same degree you would on a smaller project? even for this kind of big project we can bring craftsmanship to the building. normally the architects just design the skin but we designed every detail. there is the moss garden, there are special balconies, we tried to achieve the special details. from the residences and even the people walking on the street can get a sense of the preciseness of detail. in the 20th century wood disappeared from the city, but before the 20th century we were living with wood, the warmth of wood, the softness of wood. so I would like to go back to that kind of lifestyle. now with contemporary technology we can make it happen. the wood changes the atmosphere of the building totally different from the typical towers. some of it is inside some is outside. a unique aspect to the design is the use of wood, which exposes itself especially in the carved out sections of the structure. in the ‘city of green glass’ the wood in its various forms brings a touch of warmth to the public realm, especially when paired with the lush green of the moss garden. the underside of the balconies are also made up of exposed timber members which become nothing more than a shadow on clear days but when the light levels change during cloudy days the color and texture of the wood is easily visible from the street changing the feel of the structure. the unit interiors also feature more organic timber elements that offer a more human feel. the material is not only historically a staple industry in the area but also represents the merging of two cultures, as wood has been used as a primary building material in japan for centuries. ground level of the moss garden with variations on the wood trellis image © kengo kuma and associates to what degree have you integrated materials or design ideas from japan and to what extent do you believe this is necessary or appropriate in today’s globalized world? some of [the materials] are from asia, from japan. these materials are a sort of cultural exchange- the city itself is a cultural exchange, so the details and the materials are the result of this cultural exchange. using materials from other cultures can stimulate a city. how was the experience working with the developer, westbank, who is known for their unique cultural approach to each project? westbank is very unique. they designated this a cultural project, it’s a cultural exchange between east and west. we are talking about japanese gardens and japanese food. this kind of approach was very shocking to us. we realized that this kind of cultural debate is still possible in a contemporary city. yes we have gotten more freedom with them but more importantly it’s the conversation with westbank that is very interesting. aerial view of the moss garden integrating circulation, structure and vegetation in an urban context image © kengo kuma and associates what have been some of the more challenging aspects of designing at this scale? it’s a very unique shape that came from a conversation with the neighbors and a conversation with the environment. some architects believe the shape of the skyscraper is a representation of their own ego but our shape is coming from the relationship with nature, which was a challenge to translate into form. the regular internal grid of the building is in reality a small area that is able to continue from ground level to the rooftop. the design’s footprint at the ground level occupies a completely different space than it does at the top, leading to the use of curved concrete columns that are capable of transferring the forces of the irregular shape from all directions, including the more unpredictable wind and seismic loads. you mentioned that it’s important to learn from every project, what have you learned after designing alberni? with alberni I learned how to fit a skyscraper into a beautiful city. this skyscraper is a response to the beautiful city. it is a big city but at the same time it is a part of nature and I love that kind of unique combination, a combination of functional design and beautiful design. interior of a typical unit – wood softens the internal material palette image © kengo kuma and associates 2016-04-25 02:30 Danny Hudson

25 ‘Game of Thrones’ and the Era of Elaborate Opening Titles When “Game of Thrones” returned to HBO on Sunday night, many viewers probably had to rely on the map in the opening sequence to reorient themselves in the sprawling fantasy world. What’s the name of that sandy place in the south with the snakes? Oh, right, Dorne. The opening title sequence plays the very practical role of providing viewers the only guide through the physical landscape, not to mention the earworm so closely associated with the show. It’s one of several title sequences in recent years designed to be a significant part of how you process and remember a program — in other words, something you don’t want to fast-forward through. “They can do things that the show itself isn’t necessarily capable of doing,” said Angus Wall, a co-founder of the design studio Elastic and the leader of the team that created the “Game of Thrones” opener. “They can sort of give you a broader sense of the world in which the show takes place.” Elastic is also the firm responsible for several of the most memorable opening sequences on TV, including Netflix’s “Daredevil,” “True Detective” on HBO and “ The Man in the High Castle ” on Amazon. In addition to “Game of Thrones,” Mr. Wall has created the openers for “The Leftovers,” “ Halt and Catch Fire ,” “ Deadwood ” and “ Carnivàle.” While “Game of Thrones” offers exposition in its opening, others in the current trend of slick, highly produced openers are more intended to establish a mood, said Lola Landekic, the managing editor of Art of the Title , a website focused on opening sequences. Think of the dripping, red sludge of “Daredevil,” or the brooding landscapes of the first season of “True Detective.” They’re aiming to walk you through a gateway, away from your normal life, she said. “They’re really preparing you and giving you the feeling and tonality you need to enter that world,” Ms. Landekic said. Mr. Wall said he believed the era of the elaborate opener was unlikely to continue indefinitely. Interest in title sequences tends to ebb and flow, with surges in the 1960s and 1990s, and a new one sparked largely by HBO and “ The Sopranos.” For “Game of Thrones,” the map concept grew out of the show’s original idea of having a crow fly from King’s Landing to Winterfell, two of the key locations. Anticipating that viewers would have trouble keeping up with the action, Mr. Wall and his team designed interstitial scenes for the pilot that would move viewers from one location in Westeros to the next, much like the style of what ended up being the opening credits. The idea was to help viewers place where each scene was happening in the big, confusing world. “It was awful, and it ended up disrupting the narrative rhythm,” he said, explaining why the scenes never made it to air. But that highlighted viewers’ need for some kind of legend to understand the layout of the world, to remind them this wasn’t happening on Earth, Mr. Wall said. In the books, readers could always turn to an included map. Viewers had no such anchor. So a team of 25 to 30 people worked on creating the map for the first season. It features a level of detail Mr. Wall said most viewers would never notice, with cogs and gears mostly under the surface that you can see only if you’re looking in small gaps. Now a team of five or six people works on updating the map before each season, he said. 2016-04-25 00:00 By

26 26 Garry Shandling Memorial Mixes Laughs, Tears and a Few Characters LOS ANGELES — Kevin Nealon appeared to be fighting back genuine tears as he delivered one of the biggest laugh lines at a memorial service Sunday night for the comedian Garry Shandling. “The sad irony of all this,” Mr. Nealon said, “is that Garry is reunited with his mother for all eternity.” Mr. Nealon’s quip came after other speakers in the packed Wilshire Ebell Theater in Los Angeles had described Mr. Shandling’s mother, Muriel, as smothering, wounding and, as the security consultant Gavin de Becker, a longtime friend of Mr. Shandling’s, put it, “awful.” Mr. Nealon was keeping it authentic — one of Mr. Shandling’s oft-repeated entreaties — but he also understood the importance of landing that punch line. Such was the balancing act at the program dedicated to Mr. Shandling, who died on March 24 at age 66 after a heart attack in his Los Angeles home. The filmmaker Judd Apatow produced and hosted the memorial, which ran more than two and a half hours. Mr. Apatow’s career was catapulted when Mr. Shandling hired him to write for a Grammy Awards telecast, and later as a writer and consulting producer on the groundbreaking HBO comedy series “The Larry Sanders Show.” “Garry was like a second father to me,” Mr. Apatow said. “I think a lot of people felt that way.” Mr. Shandling had no children and never married, but his friends discussed how he had created extended families through his weekly Sunday basketball games and his work. Blurring fiction and reality even more provocatively than Mr. Shandling’s fourth-wall-breaking sitcom “It’s Garry Shandling’s Show,” “The Larry Sanders Show” had Mr. Shandling playing the late-night talk show host Larry Sanders who interviewed actual celebrities in between backstage battles of ego, insecurity and network politics. Jeffrey Tambor, who played Larry’s indelibly thick sidekick Hank Kingsley, and Penny Johnson Jerald, who had the role of Larry’s loyal assistant Beverly, reprised these characters to start the memorial. But as the sketch ended — with Beverly consoling a sobbing Hank, who declared, “He was irreplaceable” — reality eclipsed the gag. Sarah Silverman, who played a writer in “Larry Sanders,” called him “The Giving Tree” before an audience that also included the “Sanders” alumni Bob Odenkirk and Rip Torn, as well as comedy figures like Billy Crystal, Conan O’Brien, Tim Allen, Ray Romano, Vince Vaughn, Albert Brooks, Norman Lear, Robert Wuhl, Henry Winkler, Pauly Shore and Carrot Top. From his seat, George Segal, who appeared as himself in three “Larry Sanders” episodes, called Mr. Shandling “the Prince of comedians, because he changed everything with ‘The Larry Sanders Show.’ ” Mr. Apatow drew laughs with that comparison, saying that both Mr. Shandling and Prince were “mysterious, complicated, sexually ambiguous” and that “ ‘The Larry Sanders Show’ was Garry’s ‘Purple Rain.’ ” “ ‘It’s Garry Shandling’s Show,’ was his ‘Dirty Mind,’ ” Mr. Apatow added. Jokes from Mr. Shandling — some never before unveiled — were shared and devoured. But time was devoted to less funny matters, too: his older brother’s death from cystic fibrosis; his $100 million lawsuit (eventually settled) against Brad Grey, his former manager and the executive producer of “Larry Sanders”; his testimony in the Anthony Pellicano wiretapping trial; his recent health problems, including diagnoses of hyperthyroidism and pancreatitis and major surgery; and his immersion into Zen Buddhism. “The truth is, I think it was very hard to be Garry,” Mr. Nealon said. “He was complex, at times neurotic, persnickety, high maintenance, a perfectionist with the highest standards. He could be a handful.” Linda Doucett, who had been engaged to Mr. Shandling while playing Hank’s assistant Darlene — and who sued Mr. Shandling for sexual harassment and wrongful termination after they broke up and she was dismissed from the show — told the audience, “Garry was the bravest man I have ever met.” Later she called him “the love of my life.” Stories abounded of Mr. Shandling’s generosity and mentorship, whether to Brooke Shields when she was acting onstage or to many others whose projects he would nurture after he had largely faded from public view. “He went past laughter to humanity,” Mr. Tambor said. Adam Sandler closed the program with a rendition of George Harrison’s “Give Me Love (Give Me Peace on Earth).” Many in the audience lingered at a cocktail party after the memorial, exchanging hugs and tales. Mr. O’Brien, the comedian and television host, chatted with Senator Al Franken. The actor David Arquette showed off a marionette of Mr. Shandling that he had made. The comedian and actor Demetri Martin said he had been working with Mr. Shandling on a new HBO series. “It was wonderfully funny and reverent and beautiful at the same time,” Mr. Crystal said of the memorial. “But the bottom line is, the guy’s gone, and you’re just left with the sad.” Mr. Brooks, the filmmaker and “Broadcast News” actor, said he had found one aspect of Mr. Shandling’s life particularly instructive: “For a guy who seemed to be very alone, who didn’t have children, who you could think was lonely,” he said, Mr. Shandling “had more close friends than I’ve ever seen.” 2016-04-25 00:00 By

27 a cocktail with a view! designboom celebrated milan design week on the terrace of excelsior hotel gallia a cocktail with a view! designboom celebrated milan design week on the terrace of excelsior hotel gallia a cocktail with a view! designboom celebrated milan design week on the terrace of excelsior hotel gallia during one of the most glamorous moments on the international events calendar, the design world kicked-off milan design week in a landmark structure in the cosmopolitan italian city. what better way to spend a beautiful late evening in milan than on the terrace of a grand palazzo – the stunning location of the excelsior hotel gallia. designboom and the luxury collection waved its party flag from this grand belle-epoque building of 1932 – recently restored and refurbished by studio marco piva – in the heart of milan, right next to central station. on tuesday april 12th, designboom and the luxury collection put together a cocktail party for all designboom contributors, friends from the worlds of art, architecture and design. guests enjoyed drinks (a delicious selection of wet aperitifs – the best cocktails!), delicacies served in miniature, conversation, spring weather, music and an overwhelming panoramic view of the city by night. designboom is the first online design magazine, established in 1999. during our 17-year-long activity, we made a lot of friends and many designers attended, we take this opportunity to thank you all for joining us in this celebration. to name a few – antonio arico, daniel arsham and alex mustonen of snarkitecture, sam baron of fabrica, farg and blanche, jaime hayon, karim rashid studio, claesson koivisto rune, nigel coates, alain gilles, martino gamper, richard hutten, toyo ito, giulio iacchetti, defne koz, arik levy, lissoni studio, pearson lloyd, andrea maffei, stefano and elisa giovannoni, william sawaya and paolo moroni, carlo ratti, barber osgerby studio, marco piva, satyendra pakhalé, lorenzo palmieri, icaro rota, matteo thun studio, irene kronenberg and alon baranowitz, nika zupanc, jin kuramoto, xavier lust, fornasetti studio, … manufacturers (baccarat, ceasarstone, gandia blasco, gufram, hermes, kvadrat, laufen, pepsico, sancal, sisecam, vitra, …), PR agencies and members from the italian and international press. cyril zammit of dubai design fair, jovan and vesna jelovac of belgrade design week, salone del mobile, karen kang of IDS toronto and shauna levy of designexchange, kenji kawasaki of tokyo design week, beatrice leanza of beijing design week, and kristian slattberg of stockholm furniture fair… thank you for coming and sharing this special time with us. the terrazza gallia is milan’s new place for mixology. the unique viewpoint over milan caters for all weather conditions, providing a roof cover, outdoor heating and a glamorous indoor bar lounge. the excelsior hotel gallia, dating back to 1932, offers a new perspective of the milan’s central railway station from the same historic period (1931), characterised by a blend of architecture styles, particularly the liberty and art deco styles, adorned with numerous sculptures. from the terrace, you can also see a close-up of gio ponti’s most famous architectural work, the pirelli tower (1958). and from a distance: the regione lombardia tower (2010) by pei cobb freed & partners, the asymmetrical unicredit tower (2012, by cesar pelli) and the diamond tower with its irregular geometry (2012) by lee polisano of kohn pedersen fox… the construction of the hotel, which was designed and built by giuseppe laveni and aldo avati, was finished in 1927, when, instead of the present day piazza duca d’aosta, today headquarters to the central station, there was simply countryside and the outskirts of milan. both the hotel and the central station should have been inaugurated simultaneously, however delays with the monumental construction of the railway, saw the hotel open its doors well before. as a result, this luxurious hotel with its elegant liberty-style facade – today still under the protection of the italian institute of fine arts – stood out in all its majestic splendour. thank you excelsior gallia hotel for your kind collaboration and for hosting that special night. the excelsior hotel gallia is a luxury collection hotel. the luxury collection is an ensemble of more than 75 of the world’s finest hotels and resorts in more than 30 countries. explore the history of the luxury collection brand. 2016-04-24 23:18 Nina Azzarello

28 Native Art Biennial Spotlights the Work of Indigenous Americans Rande Cook. All images courtesy of Art Mûr The oppression of Native North Americans is deeply insidious in that Indigenous peoples must contend not only with centuries of racial discrimination, but all too-often do so silently—their plight overlooked by a Western world that frequently oversimplifies issues of race to a black/white dichotomy. Culture Shift , the third edition of Canada's Contemporary Native Art Biennial, celebrates the works and voices of Indigenous artists from around the continent. "Many of the projects included in the exhibition aspire to reassert Indigenous identity within contemporaneity while acknowledging the consequences of colonialism on aboriginal people,” curator Michael Patten tells The Creators Project. "The Biennial of Contemporary Native Art is also about the promotion of indigenous ideologies and ways of understanding the world that carry a potential for all citizens of North America. It is a cultural shift that takes place on the side of settlers as well. It wants to see them open up to their indigenous neighbours and recognize how their culture can influence a society that can be more egalitarian and compassionate. " Sonny Assu Alison Bremner Andrew Dexel Bev Koski Hachivi Edgar Heap of Birds Quavavau Manumie Ludovic Boney To learn more about Culture Shift, click here. Related: Stunning Photos Show the Disappearing Remains of Navajo History The Wrong New Digital Art Biennial Brings Together The Best Of the Net Art Insta of the Week: The Nordic Biennial's Eternal Donut 2016-04-24 22:00 thecreatorsproject.vice

29 Intimate Photos Capture Flocks of Dancers at Rest All images courtesy the artist and Daniel Cooney Fine Art Visual artists from Degas to Rick Guest have found inspiration in dancers’ forms, and most of the time their work capitalizes on the kinetic heft of graceful bodies. But the works in photographer Nir Arieli ’s latest exhibit at New York’s Daniel Cooney Fine Art gallery, Flocks , capture dancers at moments of perfect stillness. Arieli photographed contemporary dance companies in intimate, resting poses in a search to find "what remains in the dancers’ bodies when the dance stops. " "My ultimate guideline and rule is to never look for something perfect, but mix my natural attraction to beauty with some complexity,” Arieli tells The Creators Project. "In Flocks there is what I'd like to think as an undercurrent of sex and death, the images are very quiet but there is a sense of tragedy. Nevertheless, there is also a sense of intimacy, which is something I consider to be the root and heart of my work. " Each company took a different approach to the assignment, says Arieli. "Each group in this project has a different style of movement, different heritage, dancers from different nationalities and races. The task I gave them was the same, yet each company had a different way to go about it,” he writes. "The dancers started to arrange their bodies, offered and requested support from each other. Cedar Lake for example wanted to pile up high—it worked out beautifully with the 45 degrees skylight in their Chelsea studio... and they offered backs and shoulders to support each other. " The easy familiarity with which the dancers Arieli photographed interlocked could only be achieved by people who know their own bodies and each others’ intimately. While no full form can be discerned in the mazes of limbs and faces, the works are a celebration of the body in fragment—a veined hand, a lithe leg. "Nir’s images are an important addition to dance photography as they picture the dancers performing without movement,” Daniel Cooney tells The Creators Project. "They maintain the photographer’s concerns of beauty but have a dark undercurrent throughout. " To find more of Nir Arieli’s work, click here. Related: Life-Sized Photographs Expose the Brutality of Ballet Bodies Gravity-Defying Self-Portraits Capture Ballet in Midair Create Your Own Stop Motion/Bullet Time Photography Mashups 2016-04-24 21:00 Gabrielle Bruney

30 vardehaugen uses real scale drawings to map out its projects vardehaugen uses real scale drawings to map out its future architectural projects all images courtesy of vardehaugen led by architect håkon matre aasarød, vardehaugen is an oslo-based firm currently working on a number of schemes at a variety of different scales. in order to better visualize its work, the design team has developed a method of ‘real scale drawing’ that allows a form of human occupation, even before a project is built. the 1:1 drawings are mapped out in the courtyard behind vardehaugen’s studio using lasers, chalk, and tape. the architects believe that this ensures a greater understanding of size and proportion, enabling them to take a stroll through the ‘building’ to gain an understanding of dimensions and spatial sequences. ‘the ability to visualize the unbuilt is an important part of the architectural profession,’ explains vardehaugen. ‘both in order to evaluate and communicate concepts and solutions. however, the bodily sensation of scale or the notion of simply walking through a room cannot be experienced through traditional 3D visualizations or scaled models. architecture is not an abstract geometrical size, but something concrete that relates to our bodily existence and the world around us.’ the 1:1 drawings are mapped out in the courtyard behind vardehaugen’s studio lasers, chalk, and tape are used to map out the various spaces testing the plan of ‘cabin vardehaugen’ on site 2016-04-24 19:29 Philip Stevens

31 31 LEXUS design award 2016 with designboom: agar plasticity by AMAM winner of grand prix LEXUS design award 2016 with designboom: agar plasticity by AMAM winner of grand prix since 2013, the LEXUS design award provides young innovators a platform to fund their works while receiving feedback from world renowned professionals in the area of design. the grand prize winner of this year’s LEXUS design award went to AMAM design group for their agar plasticity project, which explored marine algae as an environmentally friendly alternative to plastic for packaging materials. for the fourth time, designboom co-organized the LEXUS design awards, with ‘anticipation’ being this year’s theme video © LEXUS goods are usually (shipped) wrapped in plastic materials. once unwrapped, they soon become waste or are collected to be recycled. even with significant recycling efforts, plastic cannot (unlike aluminum and glass) be recycled over and over again. plastic is also notorious for its resistance to decomposition, with estimates placing its life cycle somewhere between 500 and 1,000 years. ANTICIPATING (the theme of this year’s LEXUS design award!) an effective and sustainable utilisation of natural resources has become crucial. the winners with the LEXUS design award 2016 trophy, the juror panel, mentors and finalists. the japanese design team AMAM were mentored in their work by product and furniture designer max lamb image © designboom the AMAM collective researched seaweed-derived agar, which is traditionally consumed as food in japan, and is used in scientific and medical applications worldwide. considering that everyday packaging requires raw materials and energy to manufacture, the team produced a moldable agar which can not only be used as cushioning, but also as packaging material. after being used, agar products can be disposed of in an environmentally friendly way. it can serve as a material to improve the water retention property of soil, and should it reach oceans, it would not harm marine life. ‘agar can be extracted by first boiling red algae and then dehydrating the mixture (its resultant state depends on the ways of dehydration, and the types of red algae). for a soft cushioning structure, we have frozen it, for a stiff film-like state, we compressed it. agar is also moldable. we propose it not only as a cushioning material, but also as packaging material.’ AMAM design group stated. close-up, in a dry state, agar shows porous, feathery structure and is very light despite its volume image © designboom in the ‘verdict’, alice rawsthorn, as representative of the judging panel, expressed: ‘this is a bold and ambitious experiment, which aims to address one of the biggest pollution problems of our time. the designers have made tremendous progress during the course of the award cycle, particularly in devising a wide range of possible practical applications for the material. their success in doing so gives us confidence in their ability to tackle the many challenges and complexities they will face in continuing the development of the project.’ samples of different forms of agar — no more bubble wrap, the future of packaging is marine algae! image © designboom ‘the overall quality of the shortlisted entries are always very high’, states the jury. ‘interesting about judging the LEXUS design awards is that every year there are different proposals and solutions focused on essential social and humanitarian issues — that could benefit society’. moldable, agar can be shaped for different purposes, soon your packages may arrive cushioned in seaweed image © designboom ‘we are currently designing a box-like package, which has a cushioning structure derived from the freezing process for delicate objects (like a fragrance bottle), cushioning sheets for wrapping, and nugget-like cushioning,’ explains kosuke araki of AMAM. ‘we are ultimately dreaming of replacing disposable plastic products, such as shopping bags, amenity goods prepared at hotels and so forth, with agar-derived plastic. we believe in that possibility, but unfortunately that is beyond our ability—[it’s] too technical and chemical for us to achieve by ourselves. so we hope some researchers become interested in our project and get in touch with us for a possible collaboration.’ the 2016 encounter exhibition by LEXUS during milan design week the LEXUS design award 2016 event space (featured in our previous article) was designed by formafantasma, an amsterdam-based, italian design duo. two kinetic installations and a tasting experience, created by yoji tokuyoshi (a milan-based japanese chef) underlined this year’s award theme: ANTICIPATION. the 12 finalists projects and 4 prototypes were featured in a gallery space that highlighted the experimental character of the works and gave insight into LEXUS design award’s philosophy and selection procedure. the LEXUS design award call for entries on designboom’s pages ended on october 18, 2015 after a first screening by LEXUS and designboom of the in total 1,232 submissions, 100 best projects were shortlisted and presented to the jury and mentors in a meeting in tokyo on november 20th. members of the japanese press attended the jury session. from the 100- shortlist, 12 finalists were selected after careful consideration and in january 2016, the 4 finalists were officially announced. in addition to ¥2.5 million ($23,000) that LEXUS made available for each of the competition’s four finalists, the young designers were paired with a mentor for over a three-month prototype development phase. the 6 jury members – the president of LEXUS international mr. tokuo fukuichi; designboom’s chief editor birgit lohmann; architect toyo ito; design commentator alice rawsthorn and museum curators paola antonelli (MoMA NY) and aric chen (M+ hong kong) … assisted by the mentors. the 4 mentors – designers and architects neri & hu (shanghai), max lamb (london), elena manferdini (los angeles) and snarkitecture (new york) open doors during milan design week (press and public attended) when the 12 finalist projects were personally presented by the designers to the six judges panel image © designboom 2016-04-24 19:23 Piotr Boruslawski

Total 31 articles. Created at 2016-04-25 18:03