prada 24-hour pop-up museum

designed by italian artist francesco vezzoli with AMO (the think tank of dutch architect rem koolhaas’s OMA studio), the prada ’24 h museum’ opens tonight in paris’s historic palais d’iéna, now the seat of paris’s economic, social and environmental council. the gallery space exists for only twenty-four hours– first as a private party, then at 11pm CET as a discotheque viewable online at the ‘24 h museum‘ website, and then finally as an exhibition open to the public and school tours during the day of january 25th.

the installation is divided into three sections, each modeled after a particular type of museum space: historic, contemporary, and ‘forgotten’, all offering tribute to femininity through five-meter high, neoclassical sculptures that reference contemporary celebrities– ‘disco sculptures’ as he calls them. the classical space is framed by the curving stairway of the palace; the experimental area set in a cage surrounding the main hall, illuminated by pink neon; and the third, the ‘storage or salon de refusés’, modeled after abandoned museums and warehouses. in this way, the installation becomes a meta-museum, examining the ways in which art is presented and consumed. the ’24 h museum’ party is also reported to include amongs its events a twitter conversation between vezzoli and an unnamed celebrity.

noting the importance of context when discussing cultural concerns, vezzoli reflects: ‘artists and critics see museums as a jewel case where the mementos of our epoch should be preserved, but if you said ‘MoMA’ to the president of barclays bank, [he would] say, ‘that’s a venue for rent for ,000 if you want to hold an event.

Craig & Karl

 

These guys are great, but I sense they’re both very much graphic designers. What we really need are collaborators where one is a gd, and the other from another discipline.
 

This logo illustrates collaboration between two people really nicely.
Craig and Karl are co-founders of the Australian design collective Rinzen.
craig & karl
 

craig redman and karl maier live on opposite sides of the world but collaborate daily to create bold work that is filled with simple messages executed in a thoughtful and often humorous way. they specialize in illustration, installation, typography, as well as character, editorial and pattern design.

craig & karl have exhibited across the world, most notably at the musée de la publicité, louvre. they have worked on projects for clients like lvmh, google, nike, apple, vogue, microsoft, converse, MTV and the new york times.

craig is the creator of the blog darcel disappoints, often working in collaboration with iconic parisian store colette and in 2010 he opened a solo exhibition there, titled ‘and a miserable day to you too’.

the objective of the project was to breathe new life into the space which, having been rendered in concrete with little inlet of natural light, felt quite dark and heavy. working closely with the owners, who possess a keen design sensibility, it was decided that the mural would cover all surfaces in a blanket of bright color. there was also a request that the larger wall surfaces be left blank with an eye towards potentially introducing additional, individually commissioned works at a future date. nevertheless it was vital that the installation feel and function as a complete work in its own right. the resulting design is a dynamic mix of overlapping geometric forms that mirror
and respond to the angularity of the architecture. the whole piece is tied together by a winding, ribbon-style device which, acting as a central axis, leads in from the driveway, through the space and out to the garden beyond
.’ – craig & karl

An immersive mural for a private residence car park in Sydney, Australia. Mural installation by Edward Woodley. Photo: Katherine Lu.


A mural for Bikes 4 Humanity, an organization that collects pre-loved bikes for donation to communities in Africa. The mural was commissioned by Lend Lease for a collection depot they set up at the Barangaroo site in Sydney. It was also painted in large part by Lend Lease employees. This project was facilitated by Gallery A.S.


Sculpture of film director Michelangelo Antonioni, installed in the Castle Estense Ferrara, the city of Antonioni’s birth. Thanks to Slam Jam for making it possible.

Reworking an image from Singaporean gallery Vue Privée’s collection of 19th century Japanese photography for their ‘Technicolour Japan’ exhibition.

An exhibition of the two, titled Pick Me Up, of works done over email, Monster Children gallery, 20 Burton Street, Darlinghurst, New South Wales, June/July 2010.  “The show is the result of a year-long visual conversation between the two of us,” explains Maier. “Weekly, we traded artwork via email that served as both an update on each other’s lives and a commentary on the different, yet similar, worlds around us. The 14 resulting works are rife with double entendres, often including plays on words or forms, and the pieces provide a happy disjuncture between what is meant and what is perceived.” Quote from this site.

Electroland

collaboration beween Camron Mcnall and Damon Seeley

Create interactive environments which use layers of technology to intelligently register the movement of pedestrians through public spaces.

At the time of posting couldn’t get their website to work – http://electroland.net/

=======Added by Zvez========
Electroland is a team that creates objects, interactive experiences and large-scale public art projects. Damon Seeley co-founded Electroland in 2002. He holds a degree in Design and Media Arts from UCLA, and has fulfilled various roles as an art director, interaction designer, technical director and project manager for design and media-arts projects. Cameron McNall is an Architect and Artist. He received a Master of Architecture from the Harvard University Graduate School of Design in 1985 and a Bachelor of Arts degree in Design from UCLA in 1978. He co-founded the design collaborative Electroland in 2002.


Drive By. A 73 meter electronic display that tracks passing cars and alternates between two modes: alphanumeric letters that read out famous lines from Hollywood films and abstract letterforms that follow cars as they pass by. Completed 2007


Author Wall. Interactive touchscreen interface, Guadalajara Book Fair, 2009. Visitors manipulate a floating cloud of 200 author names, projected on a 30-meter wall. This is a great example of gd-driven interdisciplinarity.

 
R-G-B ant SCI-Arc, 2001. Three month installation.
Colored lights fill 81 windows, extending over 180 meters at SCI-Arc. Light animations are commanded by cell phone keypad combinations. Anyone could call in and control part of the animation. This project questioned private interaction and control of public spaces.

Colllege Faces. Gateway Community College, New Haven, Connecticut. Year??
The faces of all students, faculty and administators, projected huge, in slow motion. Builds a sense of community, stands in contrast to the “pseudo-tudor” architecture of nearby Yale college. Individual faces can be accessed via smartphone or website.  Another

notes from triennial

DESIGN CULTURE NOW, national design triennial

accelerated change

A designer is an emerging synthesis of artist, inventor, mechanic, objective economist, and evolutionary strategist.” R. Buckminster Fuller

“The US, like other nations of the world, faces many social, economic, and environmental problems. As people trained to bridge the gam between technology, science, art , and the humanities, designers are in a unique poison to be a powerful force for positive change.” Diane Pilgrim

“In collage, discrete elements remain visually distinct. The juxtaposition and overlap of individual parts spur fresh insight. Mutations fuse discrete elements into new entities. In the process of becoming something else forms meld to assume identities that bear few traces of their constituent parts. Mutations are a gens of change; their transformations suggest latent possibilities.” Donald Albrecht

“Enormous opportunities for the design profession are being driven by the possibility  to meaningfully combine features, objects, materials, technologies, and ideas previously considered to be separate. THere are more unions of content and commerce than at any other point in history…As combinatory thing becomes the new norm, design –an intrinsically hybrid practice merging the conflicting needs of art, business, and engineering–will be on tis way toward total infiltration of human environments.” Steven Skov Holt

“A designer is an emerging synthesis of artist, inventor, mechanic, objective economist, and evolutionary strategist.” R. Buckminster Fuller

“Biomimicry, a term often used in conjunction with design, represents a form of reverse engineering, with designers studying and copying the appearance and forms of natural organisms in offer to reproduce various processes and functions. The Nike Free Shoe, for example resulted when a group o Nike designers spent time exploring the physiognomy of the human food and sketching and studying the natural movements of animals.” Barbara J. Bloemink

 

DESIGN LIFE NOW, national design triennial

Pixar? pg 012

robots? 016

Seattle Central Library pg 022

music industry- mash up music, Girl Talk

Chapter — Method_003

The only new section is UNDER the dashed rule, titled “That Can’t Be Done. Can It?”

INTERDISCIPLINARY METHOD

We live in a compartmentalized mind frame. Home is different from office, fun is separated from work, science lives apart from art. We’ve been trained to specialize in one thing and call that our profession, pushing our other interests down to lesser importance. Many of us, however, have several seemingly unrelated passions simmering within us, waiting to be manifested with the right method.

Interdisciplinary thinking turns compartmentalization on its head by encouraging the coming together of disparate interests. As designers, we are schooled to develop techniques and apply them to content in order to make form. What if techniques and content stem from radically different fields? In her map painting series, designer Paula Scher, partner in the eminent studio, Pentagram, combined her passion for lettering, maps and painting to create a series cross-disciplinary works. Similarly, designer Andrew Byrom merged his love of typography and furniture to create typographic furniture, while the ceramicist Stephanie Dearmond cast letterforms in porcelain to make new and unexpected form. These are but a few examples of what can happen when we choose to combine our interests instead of segregating them.

Passions are fluid. They change shape and intensity. Introduce yourself to a new subject matter. Prod into a new discipline in order to give yourself a new perspective. Conversations fuel passions and can lead to new ways of thinking. This is precisely why designer James Victore holds The Dinner Series, an annual week-long workshop where each day culminates in a lavish dinner party, meant to stimulate creative conversation. (Get Victore quote here).

Give another example of stimulating conversation here. 

Conversations can lead to striking collaborations between experts from different fields. Longtime collaborators  Michael Amzalag and Mathias Augustyniak of MM/Paris and photographers Inez van Lamsweerde and Vinoodh Matadin have produced hybrid photo/text works. (Show alphabet here). Likewise, designer Stephen Farrell has worked closely with writer Steve Tomasula to publish novels that bestow equal value on the design and the text. (Need example of designer working with a no-artistic collaborator). 

Add a paragraph on working with community — larger, social issues

How does this work get done? In this chapter, we give you some leads. We attempt here to break down the method of interdsiciplinary design into useful tools—charts and diagrams, tips on inter-personal relations, and tips for testing the work as you go along.

=====================
That Can’t Be Done. Can It?
Most of us have pulled the cord to flip venetian blinds open or closed hundreds of times, without giving it a second thought. But to designer Andrew Byrom, this commonplace instance led to a burst of inspiration, as he envisioned letterforms made of blinds, switching from bold to regular to light with the pull of the cord. This notion has led him to build a series of letters out of venetian blinds, and further, to draw a striking flat typeface based on the idea of the window blind. (show images)

Byrom thinks in an unrestricted way, seeing the magical in the mundane by asking “what if?” His thoughts move fluidly from paper to screen, to metal work, kite construction and neon signage. In doing so, he constantly subverts existing parameters and pushes his way into other disciplines to nourish his creative needs. Byrom’s thinking is effective only because it is backed up by his eagerness to learn, to renounce the comfort of his mastery to for the thorny work of the beginner, failing again and again until a new skill has been learned.

Fluid thinking allows us to see old things in a new way. Find inspiration and possibilities by combining existing knowledge in unexpected ways. Apply an old process to a new material, or inversely, a new process to a well-known material. And when you move from thinking to making, expect obstacles and find ways to overcome them. Experts will insist that it cannot be done, but if you trust your idea and show both your passion and persistence, they may eventually move over to your side and share skills with you. When the level of investment is high, interdisciplinary work comes alive.

 

Type Fluid

Amazing studio of brothers Ali and Hussain Almossawi. Ali is a computer scientist, and Hussain a graphic designer. Here’s a great example of design collaborating with computer science and 3d modelling.
here’s the link to all the letters:
http://www.skyrill.com/blog/2011/07/03/type-fluid-complete-set/ 

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from Designboom:
designed by hussain almossawi of bahraini studio skyrill design, ‘fluid type’ is conceptualized as a dynamic typeface, in which each character in addition to being usable as a static letter has its own exploding animation.

 

the three-dimensional letters were first created in 3D max and then filled with virtual fluid in the realflow fluid dynamics simulator. while the character was filling, almossawi adjusted the gravity and pressure level. afterwards, he released the original shape holding the fluid, allowing the letter to explode and splash around. once almossawi achieved a look he liked for each animation, he adjusted the letter mesh and imported it back to 3D max to shade and render.

almossawi elaborates:
each letter required its own process based on what it looked like, [including] a lot of trial and error, sometimes using more that one emitter, at different directions and speeds, and experimenting with how they would collide with each other.

Here’s a videoclip showing the fluidity of the letter S, in motion!

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M/M Paris Interview

From a published interview with M/M Paris (Michael Amzalag and Mathias Augustyniak) (Design and Art, Alex Coles editor, Whitechapel and MIT, 2007):

Mathias Augustyniak: “…the more you are a specialist in your field, the closer you get to the essence of things. Only then can you start to have a possible relationship with another field — and this is where things start to become interesting. Being specialists gives us a point of entry — a keyhole through which we can look onto the world. It is in this spirit of specialism that we meet and work with artists.” (188)

On their collaboration with artists Huyghe, Parreno, Gillick: “As graphic design is situated at the crossroads between many different activities it seemed the perfect place from which to establish this kind of fulfilling exchange with practitioners from other disciplines.” (190)

Augustyniak: “From one field to another, there should be respect.” (190)

Augustyniak: “We are interested in dialogue between specialists” (191)

On p. 191, Augustyniak describes a collaboration they did with artists Pierre Huyghe, Phillipe Parreno and Dominique Gonzalez-Foerster for the Venice Biennale 1999. Each of the three artists was given a room, but when the artists decided to band together and project a single film in one room, the other two rooms were left empty to the dismay of the curators. M/M jumped in and created title sequences as paintings on the walls in the flanking two rooms, so the public would have a pre- and post-viewing experience, while seeing the film in the middle. This is such a nice and concrete explanation of the collaborative process. Designers are concrete, we speak in terms of things and actions!

Designers seem to constantly worry about whether they are equal to artists, or simply their “butlers,” as M/M say. They argue that true interdisciplinarity can only happen when designers are elevated to become equals, and not subordinates. That’s another theme of the profession, moving from service to autonomy.

Bio Art

Eduardo Kac

http://en.wikipedia.org/wiki/Eduardo_Kac

“Kac considers himself a “transgenic artist,” or “bio artist”, using biotechnology and genetics to create provocative works that concomitantly explore scientific techniques and critique them. Kac’s first transgenic artwork, titled “Genesis”‘ involved him taking a quote from the Bible(Genesis 1:26 – “And God said, Let us make man in our image, after our likeness: and let them have dominion over the fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth, and over every creeping thing that creepeth upon the earth”), transferring it intoMorse code, and finally, translating that Morse code (by a conversion principle specially developed by the artist for this work) into the base pairs of genetics.”

“In what is probably his most famous work, Alba, Kac commissioned a French laboratory to create a green-fluorescent rabbit; a rabbit implanted with a Green Fluorescent Protein (GFP)gene from a type of jellyfish. Under a specific blue light, the rabbit fluoresces green. ”

>>>Interdisciplinary work is not without controversy

I Hate Perfume

Interesting fusion of science and art- a perfumer who makes scents such as soaked earth, burnt wood, old leather, North Atlantic…

http://www.cbihateperfume.com/

“When I was a child, I wanted to be an artist or perhaps a scientist. Instead I am a perfumer – this is perhaps a bit of both. I’ve been described as one of the most innovative perfumers of the 21st Century. I’ve won awards, my work is in museums and countless people in all civilized parts of the globe enjoy the unique scents I create. Much to my surprise, at least in a small way I have changed how people think of perfume: what it is & how it’s used. “

Bjork

worth visiting her site to listen to her narrate her ideas behind her most recent album- nature, music, technology- listen, learn, create

http://bjork.com/