Industrial Design
- Thread starter softgrey
- Start date
nyc dutch design events...
http://www.dutchdesignevents.com/orangealert_events.html
http://www.dutchdesignevents.com/orangealert_events.html
I'm suscribed to Azure..isn't very good..I'm going to suscribe to surface and/or wallpaper. Wallpaper combines all my interests, although their fashion sections are ridiculous, just Gucci, Burberry, LV, and Prada..but I love their lifestyle section. I love surface because it's good a pretty good section on fashion and also deals with design and architecture.travolta said:cool...i haven't checked out any design mags recently. do you have a subscription to any? anyways you should really check out that book i posted--its kinda like the handbook for industrial design-good stuff...
also from the website:
DISH
Two pubes on a plate – what does this tell us about the work of women designers today? Perhaps girls do want to have fun but they want a lot more besides.
The cover of this book is cool, white and minimal. It consists of one picture: a white plate with two pubic hairs on it. This is a promising start. Turn the page and you are greeted with the word “Dish” written in that needlework style so favoured by prissy 19th-century middle England. This is even more promising.
Dish is a selection of recent work by 40 female industrial designers from across the globe. It may seem deeply unfashionable to produce a women-only line-up or even to dwell on inequality of the sexes at all, but the scarcity of women in design and architecture is so pronounced that desperate – even unfashionable – measures are called for.
The editor of this book, Julie Müller Stahl, proposes that this imbalance is due to the approach many women take to a career in the industry: unlike their male counterparts, their identities do not revolve around being “a designer”. They take on multiple roles, each of which retains potency and autonomy – roles such as mother, wife, designer, entrepreneur, artist and teacher. This wider identity matrix results in an approach that many manufacturers and design firms find difficult to contain and one that doesn’t fit nicely into the established economic framework.
Flipping through the designers’ short statements, I am struck by the similarity of outlook. Many of the designers want to collaborate with partners, create self-produced work (thus keeping control over the end product) and generate an emotional connection between the user and the object. They use wit, fantasy and ingenuity to produce personal and sensuous objects that can often be adapted to the needs of the user. Ayse Birsel’s Red Rocket desk, for example, is a radical rethink of the work station. Biomorphic shapes make up a space that seems to mould its way around the user’s body, giving her (it could only be a her, or a truly liberated man) a sense of comfort and control. It’s a desk for girls with attitude and a habit of putting their box of tampons in the see-through filing cabinet next to their station.
Recent years have seen a return of the decorated object and a sense of whimsy in industrial design. After 20 years of obsessive, hard-edged, “boy” design, things seem to be lightening up. This move has freed up women, in particular, to enter a world where the baroque is embraced and ornament is celebrated.
French designer Florence Doléac is an extreme example: she makes sculptural objects that are devoid of function but would make any home look like the set of a theatrical show. Danish designer Anette Hermann produces light installations that project daisies and clouds onto benches and tables, and Camilla Groth camouflages her ceramic tableware by leaking pattern from cups and saucers onto tables.
Expressing the difference between the sexes leaves the contributors, editor and designers in this book negotiating tricky ground. They have boldly decided to state a difference and risk marginalisation rather than pretend second place is really quite comfy. Dish irreverently abandons the pathetic “Go on – include me” plea of many all-female line-ups and instead seems to say, “OK, do what you damn well want but if you pass me by you won’t have such a good time.”
DISH
Two pubes on a plate – what does this tell us about the work of women designers today? Perhaps girls do want to have fun but they want a lot more besides.
The cover of this book is cool, white and minimal. It consists of one picture: a white plate with two pubic hairs on it. This is a promising start. Turn the page and you are greeted with the word “Dish” written in that needlework style so favoured by prissy 19th-century middle England. This is even more promising.
Dish is a selection of recent work by 40 female industrial designers from across the globe. It may seem deeply unfashionable to produce a women-only line-up or even to dwell on inequality of the sexes at all, but the scarcity of women in design and architecture is so pronounced that desperate – even unfashionable – measures are called for.
The editor of this book, Julie Müller Stahl, proposes that this imbalance is due to the approach many women take to a career in the industry: unlike their male counterparts, their identities do not revolve around being “a designer”. They take on multiple roles, each of which retains potency and autonomy – roles such as mother, wife, designer, entrepreneur, artist and teacher. This wider identity matrix results in an approach that many manufacturers and design firms find difficult to contain and one that doesn’t fit nicely into the established economic framework.
Flipping through the designers’ short statements, I am struck by the similarity of outlook. Many of the designers want to collaborate with partners, create self-produced work (thus keeping control over the end product) and generate an emotional connection between the user and the object. They use wit, fantasy and ingenuity to produce personal and sensuous objects that can often be adapted to the needs of the user. Ayse Birsel’s Red Rocket desk, for example, is a radical rethink of the work station. Biomorphic shapes make up a space that seems to mould its way around the user’s body, giving her (it could only be a her, or a truly liberated man) a sense of comfort and control. It’s a desk for girls with attitude and a habit of putting their box of tampons in the see-through filing cabinet next to their station.
Recent years have seen a return of the decorated object and a sense of whimsy in industrial design. After 20 years of obsessive, hard-edged, “boy” design, things seem to be lightening up. This move has freed up women, in particular, to enter a world where the baroque is embraced and ornament is celebrated.
French designer Florence Doléac is an extreme example: she makes sculptural objects that are devoid of function but would make any home look like the set of a theatrical show. Danish designer Anette Hermann produces light installations that project daisies and clouds onto benches and tables, and Camilla Groth camouflages her ceramic tableware by leaking pattern from cups and saucers onto tables.
Expressing the difference between the sexes leaves the contributors, editor and designers in this book negotiating tricky ground. They have boldly decided to state a difference and risk marginalisation rather than pretend second place is really quite comfy. Dish irreverently abandons the pathetic “Go on – include me” plea of many all-female line-ups and instead seems to say, “OK, do what you damn well want but if you pass me by you won’t have such a good time.”
a very good article about dutch design
http://www.moma.org/exhibitions/1996/dutch_design/fulltext.html
"When compared with the larger picture of design in the Netherlands, this selection of objects appears isolated. Only some Dutch architecture is so subtle and understated. Dutch fashion is often aggressively iconoclastic and has embraced the deconstruction of traditional aesthetics that has been celebrated by Japanese designer Rei Kawakubo of Comme des Garçons"
http://www.moma.org/exhibitions/1996/dutch_design/fulltext.html
"When compared with the larger picture of design in the Netherlands, this selection of objects appears isolated. Only some Dutch architecture is so subtle and understated. Dutch fashion is often aggressively iconoclastic and has embraced the deconstruction of traditional aesthetics that has been celebrated by Japanese designer Rei Kawakubo of Comme des Garçons"
Last edited by a moderator:
MARTI GUIXE 6 / Do Frame
Adhesive tape with golden frame pattern, enabling you to rapidly set up a personal museum.
Edited by do, presented in the exhibit do + droog design = do create, 2000
This product is stored in the museum collection of Centraal Museum Utrecht
www.guixe.com
Adhesive tape with motorway pattern. The basis for a game that allows you to learn abstract concepts related to politics, territory, public relations and lobbying. 10 x h11 cm
Black colour lamp that allows you to draw or scratch to liberate areas where the light can shine through.
This product is stored in the museum collection of Centraal Museum Utrecht
32 x 32 x h8 cm
very cool paullw-nice to see a member's work for a change!
what do you envision the chair to be made of..some sort of plastic-polypropylene?..and the red padding is cushions? i like how it has multiple functions and the overall shape is very stripped down and simple. however, it seems a little precarious? it might benefit from arms.
do you have any more work?
what do you envision the chair to be made of..some sort of plastic-polypropylene?..and the red padding is cushions? i like how it has multiple functions and the overall shape is very stripped down and simple. however, it seems a little precarious? it might benefit from arms.
do you have any more work?
Thanks, its meant to be a line bent acrylic, with in-mould coated polyurethane foam cushions, which are the red bits. They clip on to poypropylene bases which in turn clip into grooves in the body.
The idea is to reduce the number of parts from a normal reclining chair, at around 200, to just 9. It only uses 3 materials, all of which are recyclable, and can be easily separated, as there are no adhesives, and no tools necessary.
It may need arms, but the chair is quite wide, 600mm across, the widest that can fit through standard door frames. The cushions are also radiused, to try and centre the users weight.
Its actually my final Design A-Level project, I also have an internet cafe type kiosk, designed for airport and train terminals, I can try and find some CAD work from that.
The idea is to reduce the number of parts from a normal reclining chair, at around 200, to just 9. It only uses 3 materials, all of which are recyclable, and can be easily separated, as there are no adhesives, and no tools necessary.
It may need arms, but the chair is quite wide, 600mm across, the widest that can fit through standard door frames. The cushions are also radiused, to try and centre the users weight.
Its actually my final Design A-Level project, I also have an internet cafe type kiosk, designed for airport and train terminals, I can try and find some CAD work from that.
