above> 1 inch collection

we’re talking to london designer jasper morrison and the evolution of his chair, 1 inch. we’re in the emeco showroom. some of the questions have been edited for brevity and clarity.

[DesignApplause] jasper, is the new 1 inch collection better or just another?

[jasper morrison] big smile – it’s always better. that’s the goal. to get better. and working with emeco, especially with emeco, where only one product is shown every year…the goal is to look towards the future creating products which are natural descendants of the original.

we looked at emeco’s whole catalogue and tried to find the gap. we found the gap to be a more comfortable, better-looking stacking chair and how could we make this a slightly cheaper price point than the usual emeco chair. we wanted to stick with a square tube to keep the emeco language going, but maybe we could replace the welded seat back with a plastic option. maybe it would sort of enrich it a bit because you have this fantastic recycled material that allows us to work with a new shape, a square tube.

[DA] gregg (buchbinder, ceo) was telling yesterday that 1 inch looked like a very simple solution, but it turned out not to be so simple.

[JM] it was a hell of a lot of work. when you bend a round tube, you can imagine that whatever direction you bend it in, it bends the same. but when you try for curves which are going in different directions with a square tube, it doesn’t like it. it’s very difficult. particularly the top where it can buckle the whole thing. so we had to redraw it many times. the factory would try and do it and each iteration it was bad news again, that the square was not liking to bend that way.

[DA] were you getting worried?

[JM] yes. and then, slowly we got to something better in the last minute and we were able to show prototypes in milan (2017). now we’re working on perfecting them.

[DA] this all sounds very technical and innovative. was there an ‘aha’ moment?

[JM] there were many ‘oh no’ moments. it was much more slow. it went on through the whole year, really. i think we can be fairly sure that there won’t be too many copies. don’t think anybody would have the patience.

[DA] when did this project begin?

[JM] we started before milan 2016. we only had fifteen months. some of that was for the design. we didn’t get the first prototype until after milan last year. but now we have a collection featuring a chair and armchair, stools in three heights, and café and bar tables.

[DA] gregg also made mention that 1 inch represents emeco’s first stab utilizing upholstery. how did that happen?

[JM] emeco is very unctuous of what people ask for. after so many years of aluminum it soon became clear that we needed plastic and wood. now we need upholstery too.

[DA] you’ve made very hard materials look soft with 1 inch. the upholstery makes things even softer and is unusual, i can’t describe the feeling. not sure if it’s foam or air. what is it?

above> 1 inch collection | emeco | 2017

[JM] we’re using the original seat itself and plopping upholstery and foam on top of it. you know very well if you sit on something flat, it’s not very comfortable. you sit on something curved, it gets better. if you add a little bit of upholstery to something curved, it improves again. we use very little upholstery to make it a comfortable chair.

[DA] i wanted to talk a bit about the process as well. does your design process drive the solution or is the problem driving the process?

[JM] with both this project and the previous one shown the year before, we do it really by conversation. with the first chair i’m asking a lot of questions like: how could we make a more affordable emeco chair with the material and supplies they already have. are there limitations, things we can’t do without losing quality while using recycled materials? the 1 inch frames are recycled aluminum and the seats are 100% reclaimed wood polypropylene, sustainable plywood or upholstered.

for me, before i start the design, it’s much easier as a designer to talk your way into a project than to sit down with a piece of paper and then say voila! then give your paper to the manager. i like designing by discussion with the players, the team thing, you know? a project doesn’t happen without the company, structure, and the engineers. usually the result is very different from the one which was drawn from the beginning.

[DA] a good designer needs a good client.

[JM] absolutely.

[DA] how do you interface with the team?

[JM] this project provides an interesting example. one member from our team in london was just at the emeco factory for three days. up till that point no one from our office had a face-to-face with emeco’s factory. we were just wiring 3d drawings back and forth. once we got through the milan thing, we decided they should meet and gregg flew him over. he arrived with all these templates to make it happen and had their first very physical discussion about what shape the chair should be.

[DA] are you computer savvy or are you still a sketcher?

above > alfi shell drawing | emeco | 2015

[JM] i’m still stuck on the 2d program. i pay other people to do the clever bit. i have sent sketches occasionally to start a project, but not usually. i usually do a precise 2d drawing that is the basis for the first 2d digital. after we make a few 2d adjustments we then go 3d and i can then spin it around and check it from every angle. typically i’ll put the old one beside the new one. there’s quite few back and forth making adjustments. but i don’t need to do any more drawings after the first one.

[DA] what’s the prototype stage like?

[JM] the first prototype is quite tiny. the next one we can probably sit on and we begin making functional adjustments. (we’re sitting on prototypes during our chat and jasper says to me…) ‘is the armrest high enough?’ i see you leaning. we’re thinking about raising it up a bit.’

[DA] i am, but maybe it depends on who’s sitting in the chair. the thing is, i’m really interested in what we’re seeing, but i’m not very conscious of the chair. and are you watching everyone who sits in the chair during this prototype stage?

[JM] that’s good about taking the chair itself out of the equation. and yes, by now we have probably twenty other 3d examples of chairs and we know how comfortable each is. like the alfi chair, it’s one of the most comfortable we’ve ever done.

above> alfi | 2015

[DA] let’s switch gears if you don’t mind. what are you thinking about and where are you in this point in time? whether personal or professional? are some things bothering you? tell us a bit about what’s going on up there.

[JM] ok. well i’m beginning to feel a bit senior in the business. it happens. and that’s ok. i’m quite liking it. i have a fairly controlled intake of work. i’m trying not to do too much. i’m really happy working with emeco because of gregg’s paired down vision of what a company needs to be. one product a year. lots of discussion. trying to do things very well and professionally. also his insistence on recycling materials and sustainability and longevity. it feels good. we get on really well.

on another side, i don’t know if you’ve been to my shop in london, but that’s a different kind of thing. it’s very experimental for us because we buy objects from different places and put them in the shop. anybody can come and buy them.

so having the shop has been a learning process and a hobby. we don’t need to make any money with the shop and we don’t really make any money with it. but it gives a lot to the project.

[DA] what do you mean?

[JM] it’s really nice to meet the customers. and the shop setting, it’s an interesting dynamic, we get a lot of feedback that way

[DA] alright, so you have the shop. that’s the experimental thing. anything else?

[JM] i stopped doing any teaching, but i like to do books. tomorrow night i actually have a book thing going on if you’d like to come. i’ve done three books in the last four years. one of them was on my work, one was on my photos and this one i’m launching tomorrow is on the collection of the portuguese ethnology knowledge museum, which is truly amazing. there are so many nice things which were done with nearly no facilities. things made in little villages in portugal. it’s a bit like that book architecture without architects. it’s a kind of product world version of that.

[ jasper morrison ] [ emeco ] [ emeco’s time-tested material ] [ emeco’s 77-step process ]

DesignApplause spoke to spanish designer patricia urquiola in the andreu world chicago showroom during neocon. we talk about her the nuez seat collection, which obtained a hip award in the category hospitality: seating at neocon. the chair is described as enveloping, suggestive, warm and at the same time technological. made of injected thermoplastic, it offers different options for the shell interior: fully upholstered, with upholstered seat or with padded seat and backrest. the different bases versions – four wooden legs, aluminum star, five casters or cantilever – come with a range of ten distinct colors for the shell and numerous upholstery options for the seat and backrest. a versatile design, capable of integrating into any type of corporate environment and also at home. the chair launched at salone del mobile 2017.

[patricia urquiola] we’re speaking about a new product introduction, nuez, which means ‘nut’ in english, from valencia-based [ andreu world ]. i’m very proud of our relationship, one we’ve kept for years that’s grown into friendships. we now know each other’s approach well enough where words easily translate into feelings and shapes.

why do this chair? they asked for formal and discrete, very gentle, very easy. though the company does incredible work in other materials, they were looking for a new material not in their workspace portfolio. our discussions led to plastic and they know that my injection approach is always striving for little details that are a bit curious and distinctive. what evolved was a shell concept.

we liked the concept of one shell using two elements, because of the way the two elements, like two papers, came together, like in a nut. from the back of the shell the elements created little wings which felt natural and just right. we pleated the plastic shell for aesthetics and textures giving it a materiality, a sense of touch. compared to our prior collection called nub, which was very… crafted, nuez represents a completely dissimilar notion.

[DesignApplause] nuez is crisp yet shapely. very light and does feel good to the touch. what’s her character like?

[PU] both my company and andreu philosophies are similar on many fronts. we’re all concerned, about who we work with and the way we proceed. we work with nature with a high regard for sustainability and social responsibility. we’re efficient, we produce functionality, durability, timelessness and our work, well it looks like our work. and in the end i’m very proud of this project.

[DA] what’s big on your mind right now? what’s important?

[PU] this is a conversation about a process. a company gives you a brief, you give an answer and you work in this kind of duet. it’s a beautiful established way a designer works within an industrial project. now i’m not a young designer, i’m a mature designer who’s been working this way for awhile. lately i’m doing a lot of experimentation with a group at haworth contributing to define a future vision for the group, creating an umbrella over everything. // in 2015, patricia became cassina’s art director tasked with creative management.

in the beginning it was an object and then a collection. but now we also talk about the relations of objects and space, the experiences, the services the company can offer, about everything! i’m working this way with cassina, haworth, mutina. and with andreu world i’m not doing that but i’m a good friend and they’re accustomed to my opinions and conversations. these conversations are important because they always lead to something new.

in this conversational role, the designer operates in this huge space, to re-think things, to ask more questions, it’s so open ended, so many possibilities. really, at this point the only bad decision is not to try something. and we’re just beginning.

<strong>[DA] stay tuned. [ formafantasma ] (andrea trimarchi and simone farresin) while lecturing at the school of the art institute of chicago was asked if designers are important, is design important. simone said this… the designer and the design is not important in and of themselves. formafantasma’s projects are complete once they leave the studio. it’s rare to know if their projects are a success and are rarely asked to improve what they created. their business model does not involve the relationship you’re experiencing right now.

in contrast simone felt the entrepreneur is more likely to be important. there’s a degree of control over a long period of time whereby something important could evolve.

[PU] “design thinking”, for me a label used too much, has become like a big inclusive net over everything in the world of design. i feel one starts as a specialist in design, like an industrial designer. for those who grow into more systemic integrated spaces the space opens up to expand your reach over the project. the more aspects you touch in sense the more important you are.

we can be a kind of catalyst in between society and ideals for living. we’re not only solving problems, we’re also questioning a lot of problems. i like the idea that this is a new attitude for designers: question and not only solving.

supercar maker lamborghini can’t help themselves habitually creating super’s in performance and looks. new – urus will become their first turbo-charged lamborghini. while we love these cars, times dictate who benefits from just another supercar, when should we ask, is it a better solution? with this model superlatives kick into another gear with a plug-in hybrid following shortly. notably they recently unveiled their first all-electric terzo millennio

[ specs ]
engine > twin-turbo 4.0-liter V8 tuned to send 650 horsepower and 627 pound-feet of torque to all four wheels
transmission > eight-speed auto channeling
0 to 60 mph > 3.6 seconds
top speed > 190 mph

[ configure your car ]
hey, have fun with the family and visit the urus site and play with the configurator. here’s mine below…
exterior color > giallo auge
tires and rims > nath 22 inch titanium matt
brakes and calipers > yellow
interior color > sportivo alcantara giallo taurus
steering wheel > stitched to match interior
interior details > carbon fiber big package
equipment > interior ambient light package / acoustic and heat insulated glass / off-road modes
options > heads-up display / night vision / front and rear seat heated / bang & olufsen 3d advanced sound system / hands free tailgate / 22 pzero corsa tires / washing package / 85 liter fuel tank / full ada package

the first deliveries are scheduled for spring 2018, and in the u.s.a., the urus base price is $200,000 usd.

above> fantastical architecture concepts can and do provoke reality assignments / left > 2015 chicago architecture biennial project: doodle constructivism: shellfish brazen / right > simple house

many of moon hoon’s residential commissions in south korea come from young highly spirited couples who have small budgets but big ideas. the simple house is one of the more pragmatic homes.

the chicago architecture biennial 2017 is in town thru mid-january 2018 so when i’m in the area i revisit the installations. 2017 is the second edition of this event, the first being 2015. each iteration features over 100 participants and most are emerging with vague name/project recognition. but, upon seeing architect moon hoon’s name and latest project it nudged me to refresh my memory. the above drawing was one of many mind-bending drawings hoon presented in 2015. the simple house is his latest reality projects completed in 2017

project specs
location > jeju-si, south korea
commpletion > 2017
home area > 206.0 m² / 2,227 sq-ft
site area > 714 m² / 7,685 sq-ft
design team > kim jaekwan, kim haeree, park jeonguk, song giwon, tomasz kisilewicz structure > rc

above > my mind’s first image of uber taking to the skies

in september 2016 business insider wrote about six companies who were interested in vertical take-off jets. one was larry page who has invested into startup zee.aero

below> a trademark drawing from larry page

in november 2017 space.com posts a story of uber teaming up with nasa to develop airspace-management technologies which include’flying cars’.

below > nasa storyline photo…

below > images from uber elevate story

below >my mind’s most recent image of uber taking to the skies. feeling uber gets points for thinking large and i’ll enjoy revisiting this article in 10 years and being oh so wrong.

[ uber elevate ]

the private residence that is nested on a mezzanine of the top floor of the car park spills out to terraces; it is folded into the structure yet screened by excessive landscaping. the terraces also bridge across to the roof of the existing building. ~ herzog de meuron

robert wennett, the developer of the now infamous parking garage, 1111 lincoln road miami beach, is moving on. he’s just put up his penthouse for sale. the garage was designed in 2010 by pritzker architecture prize-winning, herzog & de meuron. his penthouse sits on an oasis on the roof of the garage.

there’s 18,799 sf outdoor, 7,479 sf indoor living space including separate guest house. raymond jungles-designed the landscape featuring indigenous plants seen in the hills of rio. rooftop offers: private pool, built-in bar & kitchen. plus private elevator, striking geometric lines, 11-foot-high ceilings, free-flowing spaces & custom designed details.

price > $ 34,000,000 a great deal of money considering what else is out there in miami beach. but then again…

note > the penthouse is listed as 1123 lincoln road.

here’s what pantone marketing spins…

enigmatic purples have long been symbolic of counterculture, unconventionality, and artistic brilliance. musical icons prince, david bowie, and jimi hendrix brought shades of ultra violet to the forefront of western pop culture as personal expressions of individuality. nuanced and full of emotion, the depth of pantone 18-3838 ultra violet symbolizes experimentation and non-conformity, spurring individuals to imagine their unique mark on the world, and push boundaries through creative outlets.

prince, bowie, and hendrix.

geez, we also like this color but ultra violet has very limited applications. not a first choice for durable goods, and more likely to be an accent and not a primary color. and maybe not a very long shelf life.

but then again, an homage to prince. bowie. and hendrix…

lucid air, an all-electric that evolved from a battery, now scalable for a broad range of applications including and charges quickly. in matters of taste, the air evokes luxury yacht or executive business jet stylishness: artful enough to remind us now tesla s is showing her age.

the interior design though really shines, less about aesthetics but spacial restraints have vanished. air is narrower, shorter, and lower than a model s, but with the interior space of a long wheelbase s class mercedes. this zero-emission car is designed for an era of luxurious limited space.

[ facts ]
concept > zero-emission luxury mobility sedan
power > all-electric lithium-ion battery cells
number of passengers > 4
drive-train > no details
0-60 > 2.5 sec
top speed > software limited 217 mph (*)
(*) maximum velocity of 235.44 miles on the 7.5-mile oval track / see video below
launch date > 2019

configuration 1 > 400-horsepower / 100 kWh battery / rear-wheel drive / range 240 miles / $60,000 usd / $2,500 usd deposit
configuration 2 > range 315 miles / no price yet
configuration 3 > 1,000-horsepower twin-motor / 130 kWh battery / all-wheel drive / range 440 miles / $130,000 usd
special launch edition option > first 255 of configuration 3 / well-optioned / $130,000 usd / $25,500 usd deposit

the obama foundation has presented a revised concept plan in response to local criticism on location, aesthetics, and function among other things.

[ revision highlights ]

overriding concept > the presidential center consists of – a tower housing a museum, a forum building, and a library that could be a small branch of the chicago public library. an athletic center with a basketball court is proposed south of aforementioned buildings. the buildings will be connected at a basement level. natural light via sunken skylights.

the museum tower > made taller, thinner, with transparent screens made from stone lettering. windows are enlarged and there’s more of them to address the monolithic feels of original concept. open to the public, the top floor is sun-lit with fews of the lake.

the library > the presidential center won’t archive presidential papers, but a digitized version of obama’s unclassified records will be available online and the physical documents to be stored in the national archives and records administration.

the forum > a 300-seat auditorium and a restaurant.

the athletic center > workout rooms and flexibility for basketball, other sports, and dances.

the parking garage > now underground in response to public criticism. garage for 450 cars.

open space > a 19.6-acre site, the center will create 5.16-acres of parkland plus planted rooftops on the buildings. the property will include gardens, a sledding hill and winding paths throughout. stony island avenue will be landscaped.

the foundation to will submit its plans to the chicago plan commission and hoping for a spring 2018 approval and a year-end groundbreaking. 2021 would be the opening date.

[ presidential library concepts unveiled ]

above > fire station no. 5, columbus, ind., susana torre/the architectural studio, 1987

what the 25 year award does is simultaneously celebrate a particular building and give us a peek into the state of architecture culture. ~ christopher hawthorne / architecture critic la times

the american institute of architects will not name a winner for their 2018 twenty-five year award. critic christopher hawthorne annoyance is palpable. presumably to ease his pain, we feel the pain also, he takes the time to create a list of worthy candidates. designapplause created this post as a repository for the list and hopefully more dialog.

[ mr. hawthorne’s list ] ranked in order of their suitability for the award, best candidates first.

temporary powell library, ucla, hodgetts & fung, 1992 (dismantled 1997)
oriole park at camden yards, baltimore, hok sport, 1992
restoration of majestic (now harvey) theater, brooklyn academy of music, hardy holzman pfeiffer, 1987
hayden tract, culver city, eric owen moss, begun 1986
hollywood duplex, los angeles, koning eizenberg, 1987
temporary (now geffen) contemporary, los angeles, frank gehry, 1983;
san juan capistrano library, michael graves, 1983
at&t building, new york, philip johnson and john burgee, 1984
donald c. tillman water reclamation plant & japanese garden, los angeles, anthony lumsden/dmjm and koichi kawana, 1984
berkowitz-odgis house, martha’s vineyard, steven holl, 1988 (demolished 2014);
thompson center, chicago, helmut jahn, 1985
kate mantilini restaurant, beverly hills, morphosis, 1986
patscentre, east windsor, n.j., richard rogers and partners, 1985
moore/andersson compound, austin, texas, charles moore and arthur andersson, 1992
loyola law school, los angeles, frank gehry, 1984
clos pegase winery, calistoga, calif., michael graves, 1987;
children’s museum of houston, robert venturi and denise scott brown with jackson & ryan architects, 1992
high museum of art, atlanta, richard meier, 1983
fire station no. 5, columbus, ind., susana torre/the architectural studio, 1987
metro blue line, los angeles, 1990
goldberg bean house, los angeles, franklin d. israel, 1991
humana building, louisville, ky., michael graves, 1985
vitra design museum, weil am rhein, germany, frank gehry, 1989
centennial complex, laramie, wyo., antoine predock, 1993
599 lexington avenue tower, new york, edward larrabee barnes, 1986

lockdown cut-proof bag by travelon / home organization + storage / booth n6031

with features like safetex cut-proof strap and body material, sold brass lock and one-piece construction valuables are safe when on-the-go.

safetex material cannot be cut with knives, scissors or razor – nor can bolt cutters cut the strap. lockdown bags come in two sizes, one for essential items the other for larger iPad size items.

theft is a crime of opportunity and the travelon¨ anti-theft lockdown bag stops theft.

below> fledge – flip edge cutting board by dreamfarm / kitchen hand tools + cutlery / booth n8107

fledge is the world’s best cutting board. fledge has unique flip up edges that prevent food from falling or rolling off the sides when being transported to a pot, bowl or table for serving. both fledge and the double-sized big fledge (coming soon) have non-slip rubber feet and knife-friendly patterns on both sides, and a generous juice groove for carving on the underside. won’t warp in the dishwasher.

below> flex by joseph joseph / bath + personal care / booth n7900

the concept behind the head is appearing in a variety of products. what makes this product standout is the unique head design and elegant packaging that easily stores with its minimal footprint, even if you don’t have a utility storage room.

conventional toilet brushes hold dirt and liquid, making them messy and unhygienic to use and clean. also their bristles can distort and wear, meaning they need to be replaced regularly. flex™ is an innovative toilet brush designed to solve all these problems.

it features a flexible, d-shaped head that reaches all areas, even under the rim. it has widely spaced bristles that prevent dirt clogging, allowing liquid to drain quickly and minimising drips between cleaning and storing.

it also has durable bristles and comes with a slimline holder for neat storage.

below> ta da over the sink drying mat by jascor housewares / cleaning / booth s1217

dry your dishes right where you wash them. made with fda-approved silicone and reinforced with stainless steel rods, this simple, sturdy mat allows runoff from freshly washed items to drip directly into the sink. you can even use it to rinse and drain fruits and vegetables. roll up and put away when you’re done. that’s how to-do becomes ta-da.

below> sensor mirror compact by simplehuman / personal electrics / booth n7735

a simple concept tweak creates a must-have travel companion. tru-lux light system simulates natural sunlight, allowing you to see full color variation, so you’ll know when your makeup is color-correct and flawless. the 3x magnification gives you a hyper-clear view of every detail. sensor turns light on automatically when taken out of the sensor pouch, and turns it off when put back in. the power button lets you toggle between 650 or 300 lux dual brightness settings. a fold-out ring handle is secure and comfortable in your hand, or can be used as a stand for hands-free viewing — and it comes with an attached button strap that keeps the mirror secure inside the pouch. the mirror is rechargeable, and one charge lasts up to 1 week with typical daily usage.

below> titan – trash compactor by joseph joseph / household + home electrics / booth n7900

titan is an innovative waste solution with a patented, hygienic compaction system. this allows it to hold up to three times more than a similar-sized household bin. compacting your rubbish means you empty your bin less often and use fewer liners. titan also features an anti-tear design that won’t stretch or pinch the liner and a replaceable odour filter to neutralise any unpleasant smells.

below> cuisnart venture portable gas grill submitted by the fulham group / cook + bakeware / booth s1672

the cuisinart venture portable gas grill is not your average “tailgating” gas grill. the sleek and modern aesthetic, with store ‘n go design inspires adventure and helps couples enjoy those intimate moments. perfect for the date night picnic or small group gatherings. the wooden lid doubles as a chopping board; simply remove the cutting board from the top to prepare your meal or use it for cheese and crackers to enjoy while sipping a glass of wine. the grill grates are porcelain enameled cast iron, giving off more heat and holds heat longer than steel. a simple, complete, and compact portable grilling system.

below> jura s8 / kitchen electrics / booth L11102

below> globe watering can – jet and shower watering can by eva solo / home décor * gifts / booth8324

globe watering can allows the user to select between a jet watering or shower watering with a simple turn of the spout. practical hole in the side for easy filling. perfectly balanced for easy pouring.

below> messy mutts travel water bottle and bowl by jascor / pets/ booth s1217

perfect for your thirsty mutt on the go! just fold up the silicone bowl and press the quick release button. unused water drains back into the 700ml or 24 oz stainless steel bottle after use and the bowl folds back over the bottle for easy portability.

care > disassemble and hand wash with warm water and mild soap or place in dishwasher. hand wash recommended. do not microwave. silicone bowl can be removed from cap. bpa and pvc free.

below> cubit by plott / smart home products / booth L14000

cubit is the first tool that can bring your dimensional data to your smart device and also extract it back into the real world after you have manipulated it. this means that after you measure your space and arrange it to your liking in the app, cubit will then guide you to make your design a reality bringing your project to life.​ editor’s and gia judge note: with regard to category strength the smart home products category contained quite a few exceptional products and a shame we couldn’t have had a tie amongst two or three products.

below> thawthat! deluxe by that! inventions / kitchenware / booth n8303

thawthat! deluxe defrosts meat right on the countertop without any external heat or power source for a gentle, even thaw in less than half the time of traditional countertop thawing.

features >
dissipates cold and draws ambient warmth to the surface / eco-friendly / rugged anodized aluminum, abs, polypropylene construction / cleaner than soaking and gentler than microwaving / faster (up to 2.5x) than traditional countertop thawing / concave surface directs melted liquid / green – no wires or batteries required / hand wash recommended

/////////
below> collida by promeco / tabletop / booth s3277

promeco has created tempcontrol® technology which keeps dinnerware warm or cold for more than 30 minutes.

this technology is presented via the calido onyx black dinner plate by sanodegusto, offering the perfect backdrop for a culinary tour de force. the anti-scratch structure ensures multiple use without devaluing the design. moreover, the integrated revolutionary tempcontrol® technology makes sure any dish stays warm for at least 30 minutes. sanodegusto is a division of promeco.

[ gia global innovation awards – product design ] the iha innovation awards have honored the best in product design at the international home + housewares show for the past four years. the award’s name and tagline have now changed to the iha global innovation awards (gia), honoring product design excellence.

all products entered into the new product showcase will have a chance at winning. innovative products will be judged by a panel of experts that includes designers, retailers and news media.

product finalists selected by the judges were announced prior to the show and will be featured in each buyers club and at the iha global innovation awards display in the lakeside center lobby.

editor’s note: ron kovach has been a judge since inception of this award.

above > expo chicago 2017 featuring work by lara schnitger (anton kern) as part of in/situ chronopolitics / curated by florence derieux

In the art world, DesignApplause attempts an objects-only mindset that could include a sculpture, or a photograph or painting of an airstream trailer for example. However, typically the art conversations becomes limited to works by designers showing in design galleries. For Expo 2013, for the first time, we put this question to the dealers we talked to: are there any architecture or design trained artists in your booth today? 2018 is our fourth iteration of this theme.

above > untitled 1945 / richard koppe / richard norton gallery / chicago / booth 275

born in st. paul, minnesota, richard koppe studied at the st. paul school of art with artists cameron booth, leroy turner and nicolai cikovsky. in 1937, koppe moved to chicago and continued his studies at the institute of design (id) with the noted bauhaus masters laszlo moholy-nagy, gyorgy kepes and alexander archipenko. he became an instructor at the institute of design in 1946 and remained an associate professor at the id until 1963. robert koppe was moholy-nagy‘s first design student.

the new bauhaus was founded in chicago in 1937 by the renowned professor, photographer and artist, laszlo moholy-nagy. the new bauhaus stems from the german bauhaus, a pioneering school of art and design that operated from 1919-1933. the theories and teachings of the bauhaus, which emphasized a synthesis of numerous artistic disciplines, was most influential in championing modernist twentieth century design, fine art and architecture. after adolph hitler closed the german school in 1933, many of the bauhaus teachers, namely through the efforts of moholy-nagy, emmigrated to america to establish and work with the new bauhaus in chicago. industrialist walter paepke, chairman of the container corporation of america, was an early financial backer of the school, which was originally located in the old marshall field mansion on chicago’s prarie avenue. in 1944, the school was retitled the instiute of design (id) and today resides on the campus of the illinois institute of technology. (iit) the school became the first institution in the united states to offer a phd in design. much of moholy-nagy’s curriculum and ideas were outlined in his extensive 1947 book, “vision in motion”. many important prefessors and designers have taught or studied at the new bauhaus/id. these include such artists as serge chermayeff, ivan cherymayeff, alexander archipenko, buckminster fuller, gyorgy kepes, richard koppe, nathan lerner, harry callahan, robert bruce tague, john cage and werner drewes, among others. much of the influence on today’s american modern art, design and architecture may be attributed to the teachings of the chicago new bauhaus.

a serendipitous moment via moholy-nagy chicago design archive and designer steve liska.

above > museum quality #bentply preview of nyc show re moma’s mid-century design exhibitions period works by #isokon #eames and #noguchi / r & company / new york city / booth 131

above > rothko chapel 2018 / gregory scott / catherine edelman gallery / chicago / booth 167

gregory scott was born in ann arbor, michigan in 1957 and received his bachelor degree from the institute of design at iit in chicago in 1979. scott has always blurred the lines between painting and photography, incorporating paintings he did of himself, or his body, back into his photographs. the resulting images were both humorous and odd, challenging the viewer’s perception of photographic truth. then, at the age of 49, scott decided to go to graduate school to strengthen his knowledge of art history and video making. having successfully merged his love of painting and photographs, his interest turned to video and its ability to move and manipulate still images.

above > local 1 chicago 55 west van buren 2008 / david hartt / corbett vs dempsey / chicago / booth 211

graphic design trained david hartt currently is an assistant professor, department of fine arts, school of design, university of pennsylvania

above > www14 2017 / canan tolon / anglim gilbert gallery / san francisco / booth 247

canan tolon, who trained as a designer and architect, explores visualizations of space via illusionistic imagery and constructions. tolon is known for her seemingly abstract paintings with geometric motifs and limited color palettes; over time, however, the rhythmic forms in her compositions begin to come into focus as series of overlain architectural structures and landscapes. these compositions are really tolon’s experiments in visual familiarity, examining the eye’s ability to piece together depictions of space from apparent abstraction. she is also known for large-scale installations with recurring use of dirt, grass, mirrors, and architectural constructions; these reference themes of colonization, urban growth, and land ownership.

above > tecate 2015 / peter alexander / peter blake gallery / laguna beach / booth 261

after initially working as an architect peter alexander rose to prominence in the 1960s with translucent resin sculptures. working with a southern california sensibility, los angeles-based artist peter alexander is most commonly associated with the light and space movement. his primary means of working today is in sculptural forms made of polyester resin reminiscent of his earliest work from 1965-1972. he has also produced paintings, including a series that depicts luminous aerial views of the city lights stretching across the los angeles basin. he also was commissioned to paint a large mural for the walt disney concert hall in los angeles.

above > the conservation center: the laboratory / studiogang / the conservation center / chicago / booth 166

the conservation center: the laboratory by studiogang designers re-imagined in a 19th century warehouse highlighting pre-existing elements such as original finishes and grand arched windows. the conservation center is the largest and most comprehensive private art conservation laboratory in the country. with over 33 years of experience, the center is a leader in the field of art preservation, evolving new treatments and methods to adapt to the rapidly-changing art world.

above > john m armleder / galeria javier lopez & fer frances / madrid / booth 344

swiss artist, john m armleder is internationally recognized for his versatile work that lies in between art and life. his art shows a clear vision of xxth century art history, and he specifically addresses the dilemma of object-ness. from 1979 onwards, armleder began to exhibit his so-called “fs,” furniture sculpture. these pieces comprise the pairing of daily objects with paintings. the artist does this either by integration, in which case the object becomes the canvas, or by placement side by side, where the object becomes like any other element of the pictorial composition. [ full bio ]

back story to this post > apologies, i was told that armleder studied architecture which led him to conceive and juxtapose flat art and 3-dimensional art, i.e., creating the space, an environment, criteria many architects are drawn to. however, research suggests armleder works, which do evoke design and architectural comparisons, is self-taught. he himself believes that art is in the eyes of the beholder. nonetheless, he’s included in this post.

asked how he would define himself and his art armleder said, “obviously i believe that i’m a visual artist, i’ve been interested in painting and doing three dimensional objects since i was a kid. one always believes that the artist knows more, or understands the work he is doing better than the onlooker, or the people who take care of the work, and i think it’s not true. the artist has a very restrictive understanding of his own work because he’s so close to it, and he remembers the moments when he was making it, and the anecdotes, which are just episodes. it’s not at all a universal understanding. i think the art should work on its own, the people who look at the works invent the works again, and the artist is just a side effect. so it’s very difficult for me to say this or that, and i don’t think it’s really my style to try to control the understanding or the focus of the work and say that it’s about this rather than about that. so what binds it all together? it’s obviously time, space—areas. and all that would be wiped out by new time, new spaces.

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note: there were seven galleries who did not hang work at expo chicago, works of their artists who have backgrounds in architecture and design. we plan on adding this work to this post as it comes in.
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expo chicago (september 27-30, 2018), the international exposition of contemporary & modern art, has established the city of chicago as a preeminent art fair destination. opening the fall art season every september, expo chicago takes place at historic navy pier whose vast vaulted architecture hosts leading international art galleries alongside one of the highest quality platforms for global contemporary art and culture. dedicated to rigorous and challenging programming, expo chicago initiates strategic international partnerships, built alongside strong institutional relationships with major local museums and organizations to open parallel exhibitions and events. the 2018 edition of expo chicago will align with art design chicago, an initiative of the terra foundation for american art, to present various programs and events throughout expo art week (september 24–30, 2018) including panel discussions, performances, and activations across the city.

the seventh edition features art from over 3,000 artists represented by 135 international galleries, 27 countries, and 63 cities. Admission includes a dynamic roster of on-site programming, including panel discussions, site-specific installations, film and new media works, and special exhibitions by renowned institutions.

in 2018, ford gifts us with a special edition mustang commemorating the 50th anniversary of the film bullitt starring steve mcqueen and an iconic 1968 dark highland green mustang fastback. the new special version is a superbly tweaked premium gt model mustang.

with movies in mind, we agree there are certain movies best seen via imax. i’d love to see the following clip then test drive this car.

the special edition bullitt is conceived to capture what the movie audience experienced from arguably the best cinema car chase – full=screen mode and volume up please…

bullitt is old school – v-8, front engine, rear-wheel drive, manual transmission sports car / but curated with today’s tech – improved engine air-flow, tricked out 6-speed manual transmission with rev matching, and customizable lcd instrumentation. and there’s the price difference of bullitt and a performance packaged gt. it’s made clear if you yearn to flirt with red-lining the bullitt the extra cost is worth it.

it’s also worth mentioning DesignApplause in 2018 made a point to shout only eco-minded, electric or hybrid, efforts. bullitt represents an exception to that mindset. bullitt also re-inspires another always fun talking point – that of the varooomm variety – under-the-hood or muffler pipe melodies versus today’s all-electric stealth.

below’s gallery features highlights and at the end we have a treat – a photo of mcqueen and a friend, found on our 2016 los angeles to san fransicso drive along the pacific coast highway in a rental white mustang convertible, of course.

model: ford premium gt mustang
price: starting at $39,355
engine: 5.0-litre v8
power: 460bhp – performance package
transmission: six-speed manual, rear-wheel drive / or 10-speed selectshift® automatic
top end: 158mph
on sale: now

above/below > white falcon / ian barry / 2013 / unique

how can one-off machines compare to production models beloved by the masses? can we draw any conclusions looking at a few very exceptional motorcycles ? and if you’re more comfortable comparing another category of objects go ahead, the rules apply to anything:

[ the production objects ]
production motorcycles can be judged somewhat objectively: by their performance, innovation, their pedigree, their impact on the larger motorcycle world.

above> vincent black shadow / built 1948 – 55 / hunter s. thompson once remarked that “if you rode the black shadow at top speed for any length of time, you would almost certainly die.” the 50-degree v-twin was completely baked in black enamel and produced enough grunt to carry riders to 125 mph in an era where the 100 mph benchmark was barely attainable. the vincent employed extensive amounts of aluminum throughout, and its motor hung from the cross-bar, acting as a stressed member. this kept weight down to 450 pounds, which meant the vincent black shadow would balance a see-saw with contemporary 500cc singles. innovative front forks, a four-speed transmission and finned brakes at both front and rear rounded out a package widely regarded as the world’s first superbike.

above > harley-davidson xr750 street tracker / built 1970 – 79 / essentially a parts-bin special slapped together to meet changing ama dirt-track rules, the xr750 is an example of the whole being greater than the sum of its parts. after years of domination, harley’s racing department were forced to completely rethink their efforts for the 1970 season. so in under a year they did — and in doing so created the winningest race bike in the history of the ama. thankfully, homologation rules stipulated that 200 race-ready road-goers be made available to the public; a legend was born. evel knievel began jumping the xr-750 at the height of his career between december 1970 and october 1976 (although a failed practice jump was made in january 1977 and captured on film). prior to the failed practice jump, knievel jumped either cars or trucks (or a combination of the two) on the xr-750.

above> ducati desmosedici rr / built 2007 – 08 / only 1,500 models of this street-legal version of ducati’s 2006 motogp entrant were produced. the all-new 200 hp, 90-degree “double-l twin” v-4 engine would scream through its vertical exits in the rear tail all the way to its 10,500 rpm redline and 194 mph top speed. componentry was top notch all around with ohlins, brembo and marchesini put to the task of keeping riders alive and justifying the $72,500 sticker price. the desmosedici rr is often regarded as the ultimate ducati experience, a mechanically and aesthetically faithful reproduction of a genuine motogp racer — it even came with sponsorship stickers, were you so inclined.

[ the custom objects ]
custom motorcycles, as they divert toward art, demand a more subjective judgment: the celebrity of the artist, a track record of recognized style and quality, and in the artworld’s subjective judgment, the black and white of the price of the art for confirmation.

above> white falcon / built in 2013 / acrylic, 7075 + 6061 aluminum, brass, cloth, chromally, copper, enamel, epoxy, glass, light-emitting diodes, leather, magnesium, nickel, pyrex, rubber, silver, springs, stainless mesh, stainless steel, steel, titanium, 1967 works ‘squish head’ velocette venom thruxton engine, gp carburetors, avon venom tires, 21″ wm1 avon, 19″ wm2 borrani, archimedes mount / 33 x 30 x 73 inches – sold for a rumored $750,000 at the kohn gallery in los angeles.

below> bsa 500 black / hazen motorworks

“every bike that I create is 1 of 1, made by my own 2 hands here in my workshop, each bike is unique and never replicated. i push myself to make something new with every project and build the most interesting designs that i can think of in the most elegant way possible.” ~ max hazen

below > captain america / built c 1967 – 68 / arguably the most famous iconic custom bike because of the 1969 movie, easy rider. called “captain america” and before it was customized it was a 1952 harley-davidson hydra-glide police bike built by two chopper builders, cliff vaughs and ben hardy. the bike kept its original h-d panhead engine. two captain america bikes were made but before the movie aired one was stolen and parted and the other bike was crashed in the last scene of the movie.
[ npr backstory ] [ captain america sells for $ 1.3 million ]

[ 51 most iconic motorcycles of all time ] [ art demystified: what determines an artwork’s value ? ] –

above > the foster epstein moreno jv proposal

the city of chicago recently announced a $8.5 billion renovation of o’hare international airport including a new terminal that will be the centerpiece of the largest expansion in o’hare’s history.

to jump-start this vision, twelve global architectural firms were asked to submit proposals including danish architect bjarke ingels, studio fuksas of italy, chicago firms, gensler, hok, perkins + will, and chicago architect helmut jahn, who designed the stunning terminal 1 which opened in 1986.

a shortlist of five firms are highlighted below. two design contracts will be awarded: the winning team will design the global terminal and concourse. the second-place finisher is expected to design the satellite concourses. the eight-year project, made possible by the end of a 35-year lease with the airlines, would be paid for with future airline fees, and therefore would not require taxpayer dollars.

[ design objectives ]
> expand terminal and gate space
> replace aged infrastructure with state-of-the art systems
> introduce new technology and security innovations
> integrate domestic and international to create a seamless passenger experience
> enhance the passenger experience
> incorporate sustainability and enhanced accessibility features
> reflect the legacy of chicago’s innovation, architecture, and it’s diversity

[ scope of work ]
> increasing the airport’s overall footprint from 5.5 to 8.9 million sq ft.
> tearing down 55-year-old terminal 2 and creating a new global terminal
> adding 25% gate capacity at existing gates to accommodate larger aircraft
> increasing gate count from 185 to 235
> adding two new remote satellite concourses
> adding a tunnel to a new parking facility foreshadowing a future new terminal
> renovating terminals 1,3, and 5

while affirming the 14 project design objectives and scope of work expectations DesignApplause considers the heart of this project is replacing a 55-year-old terminal with a cutting-edge architectural solution that’s categorically a part of every world’s-best discussion.

[ uniquely different ] two concepts stand out: studio ord features ample neighborhoods and greenspace not seen elsewhere in terminals. foster epstein moreno jv boasts a world-first column-less concept under an extraordinary shell with a span of 550 feet.

[ wow factor ] one concept dominates: foster epstein moreno jv a space that pushes the limits of technology and truly lifts the spirits.

[ pro vs con ] what stands out…only one concept with zero con: foster epstein moreno jv.

[ shortlisted firms ]

above > the fentress-exp-brook-garza joint venture’s globally-minded terminal design for chicago provides an elegant, spacious, and sustainable gateway to connect chicagoans and the world with speed and efficiency. soaring spaces sparkle with sunlight and lift the human spirit. daylight and spatial composition guide passengers intuitively and purposefully. the latest technological advances shape a smart, seamless, comfortable, and unencumbered experience. from arrival to departure, every element of the new terminal is crafted to elevate the passenger, making their journey inspiring, engaging, stirring, and fun. our vision is to return the romance of air travel to all who pass through chicago’s o’hare.

above > foster epstein moreno jv / a joint venture led by foster + partners and chicago-based firms epstein and moreno. our design is based upon a sequence of memorable and distinctive spaces that create a gateway to chicago with architecture that is open, transparent, inclusive, welcoming and functional, in turn resolving the sophisticated security, airport and airline requirements in a way that meets the needs of both employees and passengers. three arches frame the landside of the building, merging into a grand single arch on the airside, thus dissolving the barrier between inside and out and allowing the spectacle of the airfield to be visible to all who pass through the gateway, and recapturing the romance associated with air travel.

above > studio ord / chicago is a city defined by motion; confluence – of our river, of trail networks, of railroads – has shaped our most vibrant civic spaces. studio ord’s elegant and efficient design for the o’hare global terminal and global concourse unifies the airport’s campus by converging seamless lines of motion across three terminals around a spectacular central oculus. this confluence becomes orchard field – a vibrant neighborhood that combines abundant green spaces with distinctive landmarks, bespoke retail pavilions, and diverse activity zones. richly layered and easily navigable, it captures the unique character of chicago and redefines o’hare as a 21st century international destination.

above > som / we have delivered global excellence in this great city, shaping chicago’s skyline, neighborhoods and public realm for more than 80 years. it’s said that our chicago buildings turn “pragmatism into poetry.”

our elegantly undulating o’hare global terminal aims to be the world’s best, through optimal functional planning, great design, and keen practicality – all quintessential chicago qualities.

we infuse the muscular heritage of chicago architecture and engineering with many lessons from the natural environment, to increase human comfort, save energy and define a distinctive sense of place. this can be chicago’s next great building and our new gateway to the world.

above > santiago calatrava, llc / o’hare’s global terminal by santiago calatrava is a masterwork of modern terminal architecture. with a glass façade and dramatic shell-like roof soaring over the approach road, the building unifies the terminal complex while establishing itself as its centerpiece.

inside, vaulted, light-filled spaces celebrate both the grandeur and simplicity of bygone travel as customers move easily to and from gate areas enlivened by chicago-focused concessions in an airy, park-like setting.

convenient links to adjacent terminals, satellite concourses, and public transit support a future vision plan that transforms the area opposite the terminal into a vibrant hotel, retail and business complex.

somewhat unusual is the jury is not being disclosed, not even to the architects. please stay tuned.

the notre-dame fire, horrific, but the human spirit by design, brings people closer together.

“utterly heartbroken.” ~ britain’s queen elizabeth and her son and heir prince charles said expressing deep sadness. The fire is a “catastrophe for France, for Spain and for Europe,”

spanish prime minister pedro sánchez tweeted the fire is a “catastrophe for france, for spain and for europe,” adding that the flames are destroying “850 years of history, architecture, painting and sculpture.”

german chancellor angela merkel offered her country’s help to rebuild a part of “our common european heritage”.

“notre-dame will always remain – and we have seen this in these hours – a place where believers and non-believers can come together in the most dramatic moments of french history.” ~ pope francis.

french president emmanuel macron told reporters near the scene that he will seek international help, including from the “greatest talents” in the world, to rebuild notre dame.

the notre-dame fire reminds us of the frailty of our architectural treasures. “we are used to thinking about them as eternal simply because they have been there for centuries, or a thousand years, but the reality is they are very fragile.” paolo violini, a restoration specialist for vatican museums, who added that the pace of the fire’s spread had been stunning.

as the embers cool, the world joins hands to restore an extraordinary diva.

above> known to many as ‘the forest’ the entire roof structure was suspended, never touching the vaulted stone ceilings.

it hasn’t taken very long to grasp that the wooden-frame roof is literally history.

the roof will never be fully restored to its former self nor is there a need. yet how many of the 13 million annual visitors have even perceived the oak beams and carpentry? DesignApplause reflects on a bit of the history and the genius.

[ the roof ]

the roof that was destroyed was the original made up of 1,300 oak trees – a number of 5,000 is often alleged. the oak trees to reach gothic height for this project were nearly 400 years old by the time they were cut. each beam supporting the 100+ yards of roof came from an individual tree. the roof was also known as ‘the forest’.

the wooden roof’s entire wooden frame sat on the stone walls, suspended over and never touching the vaulted stone ceilings. the beams were spliced together into one piece to achieve this span. the structure was impressively heavy made up of 500 tons of wood. the exterior surfaces were clad with 250 tons of lead.

though there are many revival ideas what happens next is difficult to assess. while we wait, DesignApplause ventures into eliminating restoration and winnowing options to replication — possibly via new technology — and inspiration. and if history sets precedent – the original concept has been altered each time during needed renovation – we predict inspiration will guide the way.

[ the frame / la charpente ]

editor’s note: this post will be adding commentary on the spire, the architect, and master carpenter. please stay tuned.

above > shelves ‘dune’ / zaha hadid / david gill gallery (london) – booth 105 / 2007

what is the difference between art and design? i think it comes down to function. design can have many functions, whereas art has one single function. the function of art.

the question of what’s the difference between art and design often comes up at art expositions, perfect launchpads for such a confabulation. in this instance, DesignApplause submits that architecture, design, and engineering are one and the same.

> “what is the difference between art and design? as it applies to graphic design, i will say that the difference between art and design or artist and designers, is expression vs communication. … expression is about the artist and their view, design is about the audience and viewer. expression can be abstract and intangible but design has to be clear for the most part.” ~ anonymous

> “when one attempts to define art, there will be an artist to prove it wrong. ‘art is beautiful’ art becomes ugly. ‘art is emotional’ art becomes emotionless. ‘art is form’ art becomes idea. that’s the problem, art will always shatter definitions.

having said that, i will ignore my own advice and take a crack. i think it comes down to function. design can have many functions, whereas art has one single function. the function of art. digging deeper, the art concept can be portrayed in many different ways. the function of art isn’t singular, its endless.

so design is applied art? or maybe an eames chair is a design object when you’re trying to sell it or sit in it, and an art object when you’re observing it, etc. ~ anonymous

DesignApplause asked galleries if their artists in this show pursued any architectural or design studies in their background. 25 of 39 (64%) galleries point out the following:

physichromie no. 2406 / carlos cruz-diez / ascaso gallery (miami, caracas) – booth 442 / 2002

carlos (1923 – 2019) was an artist and designer.

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cadeira tripe de ferro / lina bo bardi / bergamin & gomide (sao paulo) – booth 311 / 1948-89

pmr chase longue / mendes da rocha / bergamin & gomide (sao paulo) – booth 311 / 1985

patrona alta / oscar niemeyer / bergamin & gomide (sao paulo) – booth 311 / 1971

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above > a fake history of humanity / octavio abúndez / galeria curro (guadadalajara) – booth 101 / 2019

galeria curro‘s proposal deals with knowledge and its representation and reception throughout the history of art and science. octavio abúndez’s new painting project a fake history of humanity offers alternative versions of history to our post-truth era, while deconstructing and creating a tribute relationship with the richter’s color charts. octavia is an architect.

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above > holiday greetings / herbert bayer / stephen daiter gallery (chicago) – booth 143 / 1941

above > the measure of man: a study in perspective / herbert bayer / stephen daiter gallery (chicago) – booth 143 / 1940

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above > coffee table ‘megalith in motion’ / david libeskind / david gill gallery (london) – booth 105 / 2018

above > shelves ‘dune’ / zaha hadid / david gill gallery (london) – booth 105 / 2007

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above > highway with mountain / theaster gates / richard gray gallery (chicago) – booth 139 / 2019

theaster gates is a chicago social practice installation artist, designer with a b.s degree in urban planning and ceramics.

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above > we hold these truths / bob faust / kavi gupta (chicago) – booth 121 / 2019

bob faust is a chicago graphic designer.

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above > chair ‘abrigo’ / mameluca studio (rio de janeiro, miami, new york) – booth 440 / mercado moderno / 2019

above > cafofo / mameluca studio (rio de janeiro, miami, new york) – booth 440 / mercado moderno / 2015

gallery mercado moderno is based in rio de janeiro, miami and new york. founded in 2001 by alberto vicente and marcelo vasconcellos, mercado moderno is a gallery dedicated to brazilian design from the 1950s to 80s and contemporary design-art.

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above > untitled / richard koppe (1916-1973) / richard norton gallery (chicago) – booth 275 / 1951

above > postcard of chicago restaurant well of the sea

richard was the first design student for lazlo moholy-nagy at the new bauhaus chicago. he later turned to painting and some interior design where he created murals and chandeliers for a famous chicago restaurant well of the sea.

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above > various paintings / danielle tegeder / carrie secrist gallery (chicago) – booth 137 / 2017

dannielle is chicago artist integrating languages of architecture, planning and design, and urban construction. inspired by her father who was a pipe fitter in commercial architecture.

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[ expo chicago 2019: expression vs communication look #2 ]

above > designer george douglas

each year millions of americans face the reality of living with a mental illness. during may, DesignApplause and the rest of the country are raising awareness of mental health. each year we fight stigma, provide support, educate the public and advocate for policies that support people with mental illness and their families.

[ resources ]
us mental health awareness week 2020
mental health america
nami / national alliance on mental illness / why care?
national institute of mental health

[ visual inspiration ]

above > designer grace bates

above > designer anoushka agarwal / i created a series of poster targeting mental health. i kept the colour theme red, black and white to show the seriousness and potential danger of lack of mental well being. this series shows the suicide aspect of mental ill-being. the posters come with supplementary information to make the message more clear. in all of the posters, i have provided the details of office of counselling and awareness at polyu, hong kong instead of some external counselling service keeping in mind the target audience, the university students and also the ease with which they can be contacted.
this project is also based on project semi-colon. an author uses a semicolon instead of a full stop when he doesn’t want to end his sentence. so the project was based on not giving up hope and making things better instead of resorting to suicide. the noose and the comma are a reflection of the project.

above > idaho federation of families for children’s mental health

above > designer john barton / sometimes a poster is designed to target just a section of the population, who may have trouble expressing their emotions; for example males. barton, a uk graphic designer created this poster for leeds met students’ union, to encourage males to go to counseling / ivline

above/ below > designer patrizia tresca / focusing on the depression and dyslexia, these posters aim to create awareness and engage the viewer with their personal messages.

above > designer george douglas / the links between creativity and depression and how the design industry can tackle mental health via eye on design

above > designer angela nardiello – angelphis 13 / this 11×14 print is created from an original hand-drawn sketch. it communicates enduring the healing process of manipulation/mental abuse. victims of other situations including depression and other disorders, current human rights abuse situations, and more can also relate to this sketch.

the whole point of fashion is to make fashionable clothes available to everyone ~ mary quant 1966

dame mary quant defined the young, playful look of the 1960s, becoming britain’s best-known designer, a fashion icon, and a powerful role model for working women. harnessing an explosion in shopping and the media – in photography, graphics, journalism and advertising – she helped shape a forward-looking, innovative identity for post-war britain.

above > 1944 sketchbook by mary quant
made when quant was just 14, this sketchbook shows her early interest in drawing figures, here in the nostalgic style of mabel lucie atwell. in her 1966 autobiography, she recalled admiring a childhood friend’s short black skirt and tap shoes worn for dance lessons – the sort of clothes which later inspired her designs for the miniskirt.

above> courtesy of victoria and albert museum collection

quant was a self-taught designer, attending evening classes on cutting and adjusting mass-market printed patterns to achieve the looks she was after. once technically proficient, she initiated a hand-to-mouth production cycle: the day’s sales at bazaar paid for the cloth that was then made up overnight into new stock for the following day. the look was fresh and competitively priced.

1960-64 victorian-modern
quant combines victorian nineteenth century fashion with a fruitful source of inspiration often resulting in surprising styles which helped to get publicity for the mary quant brand.

above – below > early 60s – death of the debutante
snobbery has gone out of fashion / fashion editors endorse bazaar with its distinctive designs, witty window displays and jazzy fashion shows. quant’s shop becomes a destination for professional women seeking streamlined, modern fashion. buying a new dress is a new rite of passage for london’s fashionable elite, as aristocratic customs such as ‘deb of the year’ and court presentations become outdated.

above > 1960-64 – english eccentrics
like a good dancer, she accommodates her steps to the changing rhythms of fashion / quant brings an entertaining slant to fashion. repurposing victorian frills and childrenswear, she play with color and silhouettes. inspired by serviceable cottons and dependable woolens and tweads, she works directly with weavers and manufacturers in wales, wittshire, and yorkshire. at the same time she revives the boyish look of the 1920s flapper. he bewigged, gawky mannequins strike unusual poses in bazaar’s window displays, alongside props such as live goldfish, stuffed birds or dead lobsters. passerby stop to stare.

above > 1963-65 the ginger group
quant clothes at budget prices to buy a piece at a time / quant strides into new territory with her ginger group collection. the name is a political term for a pressure group, derived from the use of ginger as a verb to pep things up. the first ginger group collection is based on the american sportswear principle of interchangeable separates. with a new graphic identiy and a lower price point, the range provides countless mix-and-match possibilities combined wit the cachet of quant.

above > 1963 – 65 the wet collection
bewitched…with this super shiny man-made stuff and its shrieking colors…its gleaming liquorice black, white and ginger / quant launches her wet collection in april 1963 at the hotel de crillon, paris. the collection features a relatively new material called polyvinyl chloride (pvc), a shiny plastic-coated cotton which reflects increasing fascination and modernity. because of mass-production delays of sealing pvc seams the collection takes two years to launch on the high street.

above > 1966-75 style evolution
switching to the sounds of the seventies / having created the minimal look which defined the 1960s, quant’s style becomes eclectic and retrospective amid the economic and political uncertainties of the 1970s. still combining victorian details with bright colors and a clean modern finish.

above > 1965-75 liberated fashion
i didn’t have time to wait for women’s lib / in this time of growing activism and struggle for equal rights, quant has a visionary take on the role of women. her assertive, liberating minidresses express the changes of post-war-briton, giving women an independent style of their own. she credit’s her king’s road customers as her inspiration and the ones leading the feminist rebellion. in 1967, she describes the young as, ‘prototypes’ of a whole new race of women…it’s their questioning attitude that make them important and different.

above > 1966-73 girls will be boys
i didn’t want to grow up, perhaps that’s something to do with it / from 1966, tomboyish models like the teenaged twiggy promote the minidress-look in typical quant style: knock kneed in gawkish poses, often sporting cropped hair and resisting the constraints of adult stereotypes. these often provocative styles reflect increasingly relaxed attitudes in society towards sexuality in all its forms, reinforced legally by the decriminalization of homosexuality in 1967.

above > quant and vidal sassoon 1964

above > 1965-67 underwear
foundation garments needn’t be surgical. get a birthday suit and be your own sweet self (minus six pounds) / the silhouette of quant’s dresses requires a new kind of underwear or ‘foundation garment’. magazines aimed at adventurous young women feature ‘q-form’ worn by models in dynamic poses. the images promote unrestricted movement and the new ideal for a lithe, childlike physique. later these are replaced by quant’s simple ‘booby traps’ and knickers.

above > 1965-67 alligator rainwear
since when did the raincoat go wild? since mary quant designed for alligator / quant’s fascination with shiny, waterproof pvc is realized with her collaboration with alligator rainwear. alligator’s manufacturing expertise resolves the wet collection issues, allowing a new bright range of colors, capes, zips and contrasting collars.

above >1965-67 the jersey dress
i want free-flowing, feminine lines that compliment a women’s shape…i want relaxed clothes, suited to the actions of normal life / quant discovers a new type of wool jersey that’s heat-bonded to an acetate backing and available in the brightest, deepest colors. previously used in underwear and for rugby or football kit, jersey’s smooth, fluid qualities are perfect for quant’s signature sportry minidresses. worn with matching berets, tights and shoes giving a total top-to-toe block of color.

1962-66 the miniskirt
the shock of the knee / quant’s knee-skimming outfits are first noticed by the media in 1960. an emerging street style, shorter skirts develop in tandem with teenage dance crazes. quant’s designs, often based on practical schoolgirl pinafores, adapt the look for grown-ups with hemlines gradually rising to well above the knee. although exclusive paris couturier andré courreges achieves international publicity for the higher hemlines in 1964, quant, the female celebrity designer, becomes recognized as inventor and ambassador for the style. the miniskirt becomes an accepted part of fashion as well as an international symbol of london’s youthful look and of women’s liberation.

above > crêpe dress with frilled collar and cuffs by mary quant for ginger group, modeled by patti boyd with the rolling stones. photograph by john french, 1960s, london. museum no. ct64253. © victoria and albert museum, london

the above feature created from the victoria and albert museum‘s installation mary quant, open thru 16 february 2020