Design Bureau Issue 4 by Alarm Press

DESIGN BUREAU // Informer

CASE STUDY HOMES A modern take on iconic ’50s architecture

krysten ritter

The actress muses on film and nomadic style

flavor paper’s wild WALLPAPER ARTIST JUN KANEKO 3-D designer Kevin O’Callaghan

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MARCH/APRIL 2011 $8 USA/CAN

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denim designer chloe lonsdale

DESIGN BUREAU // Informer

Contents

INFORMER 10 11 12 13 14 15 16 17 18 20 21 22 23 24 26 27 28 30 32 35 36 38 40 42 44

Art Director Picks: Leather Pebble Mattress Woodsman Table The Whole Package: Tupelo Wine Big Heart Wine Carafe Wasara Tableware C-Bench Piano by ADDI Music as Muse: Soundscreen Design Juniper Books Bertone InDecent Beds Air3 Aquarium Coarse Toys Burn Out Chimney What's More Alive Than You Cutler & Gross Essential Utensils Concrete Soft Bathtub Chop Knife Claymate Skateboards Collaboration Fashion Decked Out The Corner Desk For Rent: Designer Homes Studio Tour: Grip Design Luminescent Design: Cliff Garten Design Icon: The French Press The Family Five: Christoph Niemann Bureau Expert: Kevin O'Callaghan Bureau Expert: Chloe Lonsdale Bureau Expert: Todd Bracher Restaurant Spotlight: Aja DESIGN THINKING

46 52 55 58 62 68 71 74

Shake the Air: Jun Kaneko and Substance Architecture Principal Perspective: Jennifer Sage Light, Place and Time: David Coleman Architecture White-Hot Design: Alvarez + Brock Design Sustainable Schools: SMP Architects and BOX Studios Design Takes Root: Thread Collective Urban Greenspaces: Terrain Steep Grade, Simple Design: Studio B Architects FEATURES

78 88 96 104 110

Wallpaper No Longer a Wallflower Massive Change for Bruce Mau Unscripted Style: Actress Krysten Ritter Elements and Principles Bureaucratics: Jan Banning PLUS

08 09 113 114

Editor's Letter Contributors Letters ALARM: 7 New Albums For Hire: Laura Allcorn

DESIGN BUREAU: The Intelligencer

DESIGN BUREAU Publisher & editor-in-chief

Chris Force

Design Bureau goes beyond print by engaging readers with The Intelligencer, a free bi-weekly e-newsletter sent to readers, delivering a dose of inspiration on everything design.

----MANAGING EDITOR

ASSOCIATE PUBLISHER

copy editor

SALES EXECUTIVE

editoriAL INTERNs

----

Kristin Lamprecht kristin@alarmpress.com Kyle Gilkeson

Ellie Fehd ellie@alarmpress.com Amy Amato

Lauren Del Campo Kathryn Freeman Rathbone

Marketing manager

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DESIGN DIRECTOR

MARKETING INTERN

Lindsey Eden Turner lindsey@alarmpress.com art director

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account managers

Cheyenne Eiswald Megan Hamlin Tarra Kieckhaefer

----contributors

Alfred Lester, Amy Anderson, Jan Banning, Lexyrose Boiardo, Michelle Britton, Tony Bryan, Lauren Del Campo, Mary Collins, Chloe Condon, Ryan Delia, Jane J. Gaspar, Jamie Hartford, Sara Jacobson, Noah Kalina, Ellen Knuti, Randy Korwin, Nicholas Krause, Brian Libby, Liz McClean, Christopher Moraff, Scott Morrow, Martha Mullholland, Beau Nelson, Sayani Ortega, Kathryn Freeman Rathbone, Natalie Roos, ZoĂŤ Ryan, Kristan Serafino, Seth Smoot, Heather Talbert, Anna Marie Tendler, Kaira Townsend, Christina Voss, Luke Williams

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assistant to the publisher

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Human resources

Greg Waechter greg@alarmpress.com

cover image

Bruce Mau shot by Jane J. Gaspar

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DESIGN BUREAU // Contents

Unscripted Style: Krysten Ritter Actress Krysten Ritter is used to traveling constantly and living out of a suitcase. Her mercurial styleâ&#x20AC;&#x201D;at times girly, at times gothâ&#x20AC;&#x201D;is just as difficult to pinpoint. Page 96

Studio B The clasically retro Case Study Houses of the 1950s served as inspiration for a modern hillside residence in Aspen, CO. Page 74

Top: Krysten Ritter, photo by Noah Kalina; Bottom: CSH #22: Stahl House by Pierre Koenig, photo by Julius Shulman.

DESIGN BUREAU // Contents

Flavor Paper With equal parts flamboyancy and zest, this wallpaper company brings color to its Brooklyn neighborhood one pattern at a time. Page 78

Inside the Flavor Paper lab, photo by Noah Kalina.

DESIGN BUREAU // Contents

Bruce Mau Live The man known for inspiring major design movements with his altruistic thinking branches out with a new project. Page 88

Todd Bracher He cut his teeth overseas, working for the likes of Zanotta and Tom Dixon. See what drives this up-and-coming industrial designer. Page 42

Shake the Air Ceramic artist Jun Kaneko is known for his larger-than-life sculptures that interact with the environment around them. But what happens when a public project budget doesn't allow for his artistic vision to be fully realized? Page 46

Top left: Bruce Mau, photo by Jane Gaspar; Bottom left: A signature Dango sculpture by Jun Kaneko; Bottom right: Masai storage units for Habitat by Todd Bracher

DESIGN BUREAU // Letter Informer & Contributors

LETTER FROM THE EDITOR

DESIGN BUREAU CONTRIBUTORS

“Can we generate optimism?” Bruce Mau thinks so. In fact, during his conversation with architecture and design curator Zoë Ryan, he only once speaks about an actual project. Instead, he takes design thinking to a religious level, noting that commitment to change is the first step in improvement, the first step in moving forward. Mau is not just a thinker. His credentials certainly prove that he is a doer. His work is important and relevant in its own right, but it’s his unbridled enthusiasm and belief in change that rallied our office’s support in putting him on the cover of Design Bureau. But how does one photograph the act of thinking? How do you document a business that creates optimism? You put your optimistic thinker on a trampoline. You can read the story on page 88. During the making of this issue, I had the pleasure of spending the day with artist Jun Kaneko in Omaha, Nebraska, where he keeps a stunning ceramic studio. The spaces themselves are works of design brilliance—simple, efficient, unique, decadently spacious, and full of natural light. He is an artist I’ve followed diligently my entire career, someone who has successfully strolled through so many complicated and muddied boundaries. His vision of art, design, and work ethic are inspirational. (He casually mentioned over dinner that he works 10-hour days 7 days a week, has not been on vacation in more than 20 years, and to save time, he does not attend his own exhibition openings.)

Zoë Ryan is the Neville Bryan Curator of Design and the acting John H. Bryan Curatorial Chair of Architecture and Design at the Art Institute of Chicago, where she is building the museum’s first collection of contemporary design. Ryan is regularly called upon as a lecturer, critic and juror, and her writing on architecture and design has been published internationally. Her most recent exhibition is “Hyperlinks: Architecture and Design.” www.artic.edu

Christopher Moraff is a writer and photographer whose work covers a variety of topics ranging from art to politics. His reportage has appeared in a number of national publications, as has his photography, which has been exhibited around his home town of Philadelphia. www.christophermoraff.com

Noah Kalina lives and works in Brooklyn, NY. For this issue of Design Bureau, Noah photographed Krysten Ritter and Flavor Paper. www.noahkalina.com

Christina Voss is a writer and editor based in Brooklyn, NY. She runs the online magazine FilthyGorgeousThings and writes about sexuality, art, design and culture. www.filthygorgeousthings.com

Through commitment and love for clay, he has helped bring awareness and appreciation for the medium in a unique way: if you don’t like something, change it, create it, do it yourself. You can read his story on page 46. In the issue’s The Family Five column, illustrator Christoph Niemann (page 36) says, “Preaching to the converted is terribly boring.” I could not disagree more. Many of you may already sing Mau’s praises and follow trailblazing artists like Kaneko. But bringing you their stories, passion, and energy is far from boring. We all not only work in a complicated environment full of modern struggle, but we’re surrounded by naysayers, doubters, and bean counters that only calculate value in one way. So when we’re fortunate to find and celebrate like-minded and inspirational creators, we find it far from boring—and we hope you do too. — Chris Force Editor-in-Chief

DESIGN BUREAU // Informer

LETTERS TO DESIGN BUREAU March/April 2011

Jeanne GanG

The Chicago architect’s material inspiration

RichaRd avedon Fashion photography at the MFA

Alice RAwsthoRn, cRitic steven helleR, AuthoR Ruthie DAvis, shoe DesigneR MÁze: sÁMi PeoPle of noRwAy

For hire: michael savona

“I tend to agree with critic Alice Rawsthorn's annoyance that the general public's perception of design is ‘dominated by a handful of badly designed, over-priced pieces of furniture.’ There's so much to discuss within the world of design, and yet, much of your magazine features pricey home furnishings. So which is it going to be? Inspiring design...or expensive design? ” Dave Brooks , via email Editor's Note: Inspiring design and expensive design are not mutually exclusive. Take the C-Bench on page 14; the laborinstensive construction of this sinewy seat will run you $34,000. On the other end of the spectrum, the Faber-Castell 9000 2H pencil (page 22) rings in at just $1.07. Both products are examples of fine design and both either have or help to foster an inspiring story, proving we don't have to pick just one angle to cover. With Design Bureau, we aim to cover a wide array of design topics within a variety of fields and price points. Feel like we're slacking on covering something? Found something you think would be perfect in print? Let us know! We always love hearing from our readers. Email us at Letters@wearedesignbureau.com. We may even throw you a gift of free subscription for engaging in dialogue with us.

correction: A photography credit for Samantha Hunter was mistakenly left out of the January/February issue. Hunter photographed the Design Bureau Launch Party on page 129 of that issue. More of her work is available online at www.samanthasight.com.

Have a question or comment? We want to hear from you. Give us a shout at letters@wearedesignbureau.com.

tHe comedian on designing His Hollywood Home

ADAM CAROLLA

1 2

four italians, four cameras, one PHotoJournal

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Inspiring Design... Or expensive design?

INSTANT ANALOG

Editor's Note: Thank you so much, Shirley, for your note. We are happy to hear you are interested in our very first “For Hire” student's work. As a recent graduate, I'm sure Michael is very pleased to know that you are interested in purchasing his pieces. It's wonderful to hear from a reader interested in bright, young design talent, and particularly nice to hear that Design Bureau has made its mark in Hong Kong.

NOVEMBER/DECEMBER 2010 $8 USA/CAN

“The product Goose cones from Michael Savona looks amazing, and makes us aware of the beauty in the small things that surround us. In Hong Kong, there are no regulations to control the traffic cones used for internal purpose. So, I just wanted to know if there was any way we could buy his products, which will be placed at one of the historical developments and cultural landmark in Hong Kong.” Shirley SY Lam , via email

Sound bytes The Giant Sea Squid

“Kudos to writer Amalie Drury. Her article on ‘The Giant Sea Squid’ had special relevance to me. Yes, I am ‘Squid Mom’—Todd Freeman is my son. I loved the conversational style and the information was entertaining as well as spot on scientifically.” Denise Freeman, via mail

FLATStOCK

“Rad! An amazing interview about the Flatstock Vol 1 book by @DesignBureauMag w/ our BFF from @Soundscreendsgn” Flatstock, via Twitter Elephant seating - Ben Ryuki Miyagi

“Publication of my work at Design Bureau has led to an invitation to a group exhibition of Elephant Seating in New York scheduled this month. For your information, they are run by www.shft.com. Thank you very much.” Ben Ryuki Miyagi , via email

DESIGN BUREAU // Informer

art director picks: Leather Design Bureau's Bojan Radojcic selects accessories in a mix of shapes and hides

SUPER leather sunglasses black cow hide, $324, www.oaknyc.com

The classic material, popularized by perennial style basics, has become a second skin for everyone from fashionistas to farmers. It’s not surprising, then, that leather’s durability and graceful aging has translated to a broad spectrum of products. Items once constructed solely with plastics, rubbers and metals—mouse pads, jump ropes and sunglasses—are now cut, wrapped and bound in leather. And though the price point is higher, leather has the power to turn disposable items into heirlooms. a Styling by Martha Mullholland

Natalia Brilli Little Nolex, black lambskin, $278, www.robinrichman.com Natalia Brilli Bird Skull necklace, white lambskin, $265, www.robinrichman.com Natalia Brilli Voodoo necklace, white lambskin, $430, www.robinrichman.com

Leather mouse pad, black ox hide, $120, www.mjolk.com

Everlast leather weighted jump rope, genuine leather, $15, www.everlast.com

DESIGN BUREAU // Informer

PEBBLE MATTRESS BY NOOK Engineering a good night's rest Exhibiting design prowess and cutting edge mattress technology, the Pebble Mattress is a smart solution for babies facing restless nights. The bed, which comes in a variety of bright neon colors, features a layer of air and a pebbled surface to promote circulation and allow oxygen to flow freely throughout its interior. Plus, all-natural and organic materials abound: eucalyptus fibers wick away moisture, a hypoallergenic latex core provides support, and a patented nano-layer prevents liquids from soaking into its fibers. a

woodsman table BY Chris Duffy Bringing fiction to the kitchen The Woodsman Table is based on the tale of Little Red Riding Hood, or, as Chris Duffy's London-based design collective, Brothers Grimm, calls it, Little Red Cap. Each project designed by the Brothers Grimm is based, as you might have guessed, on a classic Brothers Grimm fairytale. However, its high-grade material choice and solid construction ensure The Woodsman Table (available in dining, coffee and console varieties) steers clear of kitsch. The tools-of-destruction turned anchors-ofsupport are a playful element in themselves; add in the fairytale, and you have a serious conversation piece. a Pebble Mattress by Nook, $550, www.nooksleep.com; Woodsman Table by Brothers Grimm, ÂŁ495-695, www.duffylondon.com

DESIGN BUREAU // Informer

THE WHOLE PACKAGE: TUPELO WINE A flood and an Elvis impersonator inspired the label of this Australian wine Winemaker Wayne Anderson explains how these seemingly unconnected things served as the inspiration for his Cabernet Savignon Tupelo, named after a line from a song by Nick Cave and the Bad Seeds. “The song is about the tornado and floods that struck the town of Tupelo, MS, in 1936, killing over 200 people,” says Anderson. “It is full of wonderful, dark, chaotic imagery [and] it reminded me of the current state of the Australian wine industry— flooded and tumultuous.”

“When you are selling a wine, you are not just selling the wine, you are also selling your story.” —wayne anderson, owner, tupelo wine

A young child by the name of Elvis Presley survived that infamous 1936 flood, and since Anderson had already fallen in love with the name of Presley’s hometown, it seemed only fitting that the icon should be on the bottle’s label. “I've never liked using wine imagery on wine labels—vineyard scenes, barrels, grape vines, leaves—[they] are all a bit too obvious for me,” he says. “When you are selling a wine, you are not just selling the wine, you are also selling your story.” Anderson turned to Dom Roberts of Mash design studio in Australia to create a unique label. “I was after an original, striking label that didn't look too much like a conventional wine label. I also didn't want a ‘retro’ inspired design, something I'd done before and which has since become quite commonplace,” he says. He relayed the story about the song and the flood to Roberts, who came up with the idea of doing a photo shoot that picked up on the imagery from the song. “Dom came back with the idea of photographing an Elvis impersonator underwater, falling backwards. As it was going to be quite a timeconsuming shoot, I kind of had to sign off on it before seeing the finished product,” he says. “But the idea sounded crazy and was quite appealing to me.” The risk paid off and Anderson loved the image of the soggy Elvis impersonator in full costume. “Obviously, having a good wine in the bottle is important, but having an interesting story to go with it makes people want to try it in the first place. This label says more about me and my personality than the wine itself. ” a Tupelo wine, $25-40, www.tupelovintners.com.au

Client: Tupelo Wine Firm: Mash— Adelaide, Australia Method: A black-andwhite photograph of a fully submerged Elvis impersonator

DESIGN BUREAU // Informer

Big Heart Wine carafe

WASARA TABLEWARE

A decanter that gives new meaning to blood-alcohol content

Serving up sustainable sophistication

Until its heart-like arteries fill with a rich red wine, the visual impact of this limited-edition Grand Coeur carafe cannot be fully realized. The organic design was inspired by Rodin’s “The Gates of Hell,” which is, according to Etienne Meneau, the French designer of the vessel, simultaneously “a door and…not a door.” He continues, “If I add an object to the world, it must be more than functional. It must be strange, it must have something more when it is used and when it is not used.” Meneau works with a glassblower in Bordeaux to create the carafes, which are made from welded borosilicate glass tubes. “The carafe is functional— you can aerate and pour wine [into] them—but they are overall sculptures, complete only when they are filled with wine and used to pour,” Meneau says. a

Disposable tableware is perfect in a pinch; it permits entertaining without the hassle of a post-party cleanup. Traditionally, however, such convenience has come at the cost of the environment, as one-use paper, plastic and styrofoam plates are far from sustainable. Enter WASARA, a new line of tableware that not only looks more refined than its counterparts, but is also fully compostable and biodegradable. WASARA tableware comes in a variety of fluid, Japanese-inspired designs, from plates and bowls to platters and cups—each made from non-tree materials like sugar cane fiber, bamboo and reed pulp. a

Grand Coeur/Big Heart carafe, €2,500, www.grandcoeurbigheart.blogspot.com; WASARA tableware, packs of 6, 8 or 12 from $9, www.branchhome.com

DESIGN BUREAU // Informer

C-BENCH by peter donders Sit in style on the strength of sinew Belgian designer Peter Donders relied upon 15 years of experience as a furniture designer (along with cutting-edge 3D software) to construct the C-Bench, his seat sculpture that uses more than 1,000 feet of circuitous carbon fiber. The light yet sturdy material is most commonly known for its use in Formula One racecars and spaceships. To create the airy bench, Donders winds carbon fiber around a foam mold using a computer-calculated geodesic path. The mold is then removed in small bits and pieces until just the bench remains. “I love organic shapes, and in combination with the strength of material, it gives a totally new dimension to a see-through volume.” Despite its light, minimalist look, it is strong enough to support the weight of a regular person. “What started out as an experiment—playing around with the limits of technology, manufacturing and materials, and bouncing up against what might still just be possible—we ended up with the C-Bench,” says Donders. But strike now if interested— Donders is only producing 10 of these fibrous benches. a

PIANO By Addi Piano, a street-friendly bike rack and bench designed by Swedish company ADDI, features a hollow, geometric skeleton with slots on its sides and top to accommodate bicycle wheels. The multi-use bench takes its form and moniker from the linear, lyrical design of an ivory keyboard. For extra meta-points, use the bench in conjunction with a piano. a

C-Bench, $34,000, www.store.carbonfibergear.com; Piano, price upon request, www.addi.se

DESIGN BUREAU // Informer

MUSIC AS MUSE: soundscreen DESIGN Rep your favorite bands with apparel and bags designed by true fans

year in design: 1977 Design Bureau's examination of design history begins with the late '70s, known for its advances in flight, computer technology and disco attire.

·· Ray and Charles Eames re-release Powers of Ten, their seminal creative film that explores the scale of the universe at 10x through breathtaking zoom-in and -out techniques. ·· George Lucas debuts Star Wars, launching a film studio empire that has pioneered cutting-edge graphic design and animation techniques ever since.

Slow and Steady Wins the Race for TV on the Radio Patent Pending for HEALTH

Hisham Bharoocha for Pantha Du Prince

·· Steve Jobs and Steve Wozniak officially incorporate Apple Computer in Cupertino, CA.

Fresh from Soundscreen Design studio—a Brooklyn-based company known for creating cool music merchandise—comes a new collection of band-related swag created by graphic designers. The musically-inclined creative collective asked five designers to come up with graphics for two bands of their choice. Designers like Rob Carmichael, Hisham Bharoocha and Samantha Pleet all produced unique graphics for their choice band, including Animal Collective, TV on the Radio and HEALTH, among others.

·· Representing a massive leap forward in aeronautical engineering and design, the Concorde begins flying between New York City and Paris, cutting travel time to three and a half hours.

“It’s a complicated gesture to wear a band shirt,” Carmichael says. “I wanted to make it more of a stylistic gesture rather than a bold declaration.” Carmichael cites a creative kinship as the reason why he chose the bands he did. “Both bands play with traditional pop songwriting structures, and, creatively, when people are pushing at the edges, it’s appealing.” Printed on highquality American Apparel garments, the designs are the fashionable convergence of fandom and aesthetic awareness, allowing the wearer to show support without sacrificing style. a

·· Saturday Night Fever makes its big-screen debut in the same year that Studio 54 opens its doors at 254 W. 54th Street in New York City, advancing the popularity of white polyester three piece suits.

JUNIPER BOOKS Interior design gets a scholarly spin with made-to-order book bindings Founder and designer Thatcher Wine has created a variety of customized coverings with vellum, antique leather and patterned fabrics that form a striking and cohesive visual aesthetic on the bookshelf. “I’m 100 percent supportive of repurposing books into sculpture or art,” Wine says. The book bindings have been spotted in such highend restaurants as XIV Restaurant in West Hollywood and W Hotels worldwide. a Soundscreen 2010 Collection, $20-40, www.soundscreendesign.com; Juniper Books, price upon request. www.juniperbooks.com

DESIGN BUREAU // Informer

Bertone's daring designs The design firm known for the Stratos 0 relies on young creative talent Carriage wheelmaker Giovanni Bertone founded his namesake automobile prototype design firm in 1912. Although he lacked any formal design education, Bertone established the company because he saw a need for revolutionary car design that pushed beyond the standardization endemic to the Ford assembly line. To this day, the company specializes in prototyping vehicles for high-performance car manufacturers. Its designers are behind the sleek lines and intrepid technology found in Lamborghini’s radical Miura, the revolutionary Alfa Romeo Carabo and Robinson’s personal inspiration, the Lancia Stratos 0. “Bertone has always hired young talent who have developed into auto design giants,” says creative director Michael Robinson. “They continuously inject the company with innovation.” Without fostering imagination, some of Bertone’s most bold design moves would have never been envisioned, including the Miura’s rear-mounted engine and the Carabo’s forward-hinged wing doors. a Top to bottom: Lamborghini Miura, Lancia Stratos O, Alfa Romeo Carabo

“If you break the rules once, you can all your life. It’s the only way to success, and that’s the way we do it.” - Michael Robinson, Bertone

DESIGN BUREAU // Informer

INDECENT BEDS A headboard that will turn heads

Furniture design company Gallery of Wonderful has created a visually stimulating bed that certainly lives up to its name. The kinky boudoir design comes in three versions, each one featuring a photograph of a sexy, nude female subject. The image is then airbrushed and hand-stitched into the padded headboard using small, individually colored panels. From up close, the image doesn’t

seem to resemble much, but from further away, it offers a scandalous view. For a more personal touch, owners can choose to be the subjects of their own bed’s erotic images, complete with a professional (and sultry) photo shoot. Each bed frame is handmade using oak and finished with a high-gloss paint. a

AIR 3 AQUARIUM Why shouldn't fish enjoy the luxury of daring architecture, too? The Air3 aquarium by French design company USIN-e creates a dramatic sense of movement and tension with its gravity-defying design, which juts precariously upward with the support of a thin metal stand. And for the pragmatist, the Air3's cylindrical shape lends itself to easy filling, cleaning and transportation. a

“It's great to feel light for a man of my stature and station.”

—Bruce Mau, while

jumping on his family's trampoline at his Winnetka, IL home.

Check out our story on the graphic design legend on p. 88

InDecent bed, £9,000, www.galleryofwonderful.com; Air3 Aquarium, price upon request, www.usin-e.fr

DESIGN BUREAU // Informer

TOYS BY DESIGN: Coarse Toys A misleading moniker for these sleek sculptures Coarse Toys exists where Hamburg and Hong Kong intersect. By fusing the cute, animated side of Asia with the earnest, precise aesthetic of Germany, Coarse reflects a hybrid culture full of energy and possibility. Collectors from around the world covet Coarse’s Noop and Paw character sculptures, which are impeccably rendered in vinyl and fiberglass. Designer Mark Landwehr, who started Coarse in 2003 and was later joined by Sven Waschk in 2007, believes in a physical object’s ability to inspire engagement. “At a certain point you become emotionally connected to a new piece of work, and the interaction leads you through the process of creation,” says Landwehr. “Our message is a concise and concentrated representation of life and death, in all of its miseries and brilliance.” The name Coarse is in stark contrast to the smooth, flawless finishes that give the toys a venerable reputation. “Figural sculptures can be experienced on different levels,” says Landwehr. “On the one hand, they are a pure shape containing lines, edges and surfaces, but at the same time, they have personality, emotions, a story and feelings.” It has been a good year for the emerging company, with a major exhibition in Tokyo and an exciting collaboration with illustrator Ashley Wood in the pipeline. Fans of Coarse Toys can expect the collection to continue unfolding in complex ways. “Art needs depth,” says Landwehr. “Otherwise, it is trivial and dead.” a Jeremy Brautman is a Bay Area-based toy maven and freelance writer whose commentary on pop culture can be found at www.jeremyriad.com

Coarse is also renowned for its elegant packaging, which Landwehr and Waschk feel is important in setting the tone of the piece. Landwehr explains: “We could never clamp a character that has a story, emotions and a history between two blister shells.” Coarse Toys, prices vary per release, www.coarselife.com

DESIGN BUREAU // Informer

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DESIGN BUREAU // Informer

BURN OUT CHIMNEY This portable fire pit keeps a low profile while also keeping you warm Described by its designer Cedric Ragot as “an object that breaks with the classical codes of the chimney,” the Burn Out Chimney’s minimalist design makes it a centerpiece, with or without its ethanol flame. Standing just over two feet high, an opened steel enclosure rises out of a wooden base, capturing the color and movement of flames in its glossy reflection. a

DESIGN DICTION DB selects its favorite industry buzzword, perfect for dropping during your next museum mixer.

Swerve (v.): Drastically re-routing a classic design or theory in order to justify new work. Often, the original design is referenced through sketches, models, forms or texts.

WHAT'S MORE ALIVE THAN YOU Winning ideas are brought to life through this inspired Italian company What’s More Alive Than You leaves the design of its products up to the public. Founder Mario Innocente started the brand based on his dream to “see the birth of a fashion with ideas from all over the world.” Individuals from around the globe are invited to respond to a creative call three times a year with original ideas and designs for products ranging from high-end shoes to handbags

Clockwise from left: Pebble Bag by Tomas Trenchard; Gyoza Twist shoes by Premrudee Leehacharoenkul; The Charlotte Shoes by Victoria Louise Geaney; Up Shoes by Claudia Civilleri

When to use it: Casual conversations in which you want to sound like an academic. How to use it: “Mid-century furniture is so hot. It’s incredible how many contemporary designers swerve iconic pieces.”

Burn Out Chimney, price upon request, www.brisach.com; What’s More Alive Than You, from €295, wmaty.com

and jewelry. A selection committee consisting of design supervisors, pattern makers and product development managers select the winning submissions from thousands of mail entries, and turn the chosen designs into one-of-a-kind pieces with the help of partnering manufacturing companies. Each piece is produced with the guidance of its original designer and becomes a part of a WMATY signature collection. a

DESIGN BUREAU // Informer

cutler & groSS Technicolored Spectacles Cutler and Gross’ latest eyewear collection embodies the “Our ideal customer is a person who loves fashion and is vivid color palette and decadent fashion details found in willing to try something new.” The fun frames, which Tamara de Lempicka’s lively Art Deco paintings. “Bold feature retro lens shapes and offbeat color names like waand directional shapes, well-fitting frames and delicious- termelon, humble potato and ink, speak to those looking to looking colors are the most important elements of Cutler make a bold statement of style. a and Gross glasses,” says creative director Monica Chong. Styling by Martha Mullholland

Cutler and Gross glasses, www.cutlerandgross.com Concrete Soft, price upon $275-550, request, www.glassidromassaggio.it

DESIGN BUREAU // Informer

ESSENTIAL UTENSILS Nothing captures a flash of inspiration more efficiently and reliably than the trusty toolkit of pen and paper Accordingly, it’s common to see designers, writers and just about everyone else toting a notebook and writing device in bag or pocket. And while nobody really needs more than a No. 2 and a wad of college-ruled, clutching a sophisticated Bulgari pen and scrawling in a welldesigned tablet can be truly sublime. Here are a few options that run the gamut from low-end to luxurious. a

1. Field Notes Memo Book, $9.95 for three, www. fieldnotes brand.com

2. Moleskine Pocket Reporter Ruled Notebook, $10.95, www.moleskines.com

3. Apica A5 Notebook, $2.75, www.tokyo penshop.com

4. Bulgari Scripta Volant ballpoint pen in sterling silver, $420, www.us. bulgari.com

GErMAny

onobloc is an entertaining docue love-hate relationship designers hair. In addition to homage paid signers including Philippe Starck, r, Maarten Baas, and Konstantin presents a range of work, photoghat is a tongue-in-cheek take on n of this chair.

ISBN 978-3-89955-317-8

220°C VIrus monobloC

kIlIan sChInDler

e established term for the ubiqe plastic chair that can be found n yards, snack bars, and campthe globe. Although despised by dos, it is arguably the most sucfurniture in the world.

Far from the common cliché of garden gnome aesthetics, Kilian Schindler explores the peculiarities of German allotments. In doing so, he composes rarely or casually perceived aspects into products that affect the beholder in both familiar and strange ways at the same time. Extracting well-known elements from their usual context and rearranging them like a collage extends their means of use to private room scenarios.

The Infamous ChaIr 220°C VIrus monobloC

5. Staedtler Lumograph pencil, $0.99, www.dick blick.com

6. FaberCastell 9000 2H pencil, $1.07, www.dick blick.com

7. Bulgari ballpoint pen in sterling silver with black cotton resin, $450, www.us. bulgari.com

RECOMMENDED READING DB's design book pick for March/April

220°C Virus Monobloc The Infamous Chair

kkaarrllssTool we are all familiar with the monobloc, this plastic that has spread like an epidemic across the entire world. And we are familiar with it in all kinds of colors: yellow, beige, brown, etc., and of course a variety of forms, from ostentatiously ornate to austerely modern. However, the way Kilian Schindler presents the monobloc is absolutely new. In his so-called outline, the aspect of individual coziness is exclusively a cushion. It will be interesting to see how the garden-sitting faction will react to it.

Charles wIre ChaIr the monobloc plastic garden chair common throughout the world is reduced to its contours. this industrially edited by Arnd Friedrichs designed wrought ironwork therefore moves into the background and andallows Kerstinthe Finger eyes to focus on the cushions. A symbol of deceleration and coziness.

Kkaarrllsstool 2009 Material: round bar iron (6/8 mm), rilsan. technique: wrought-ironwork, bent coldly, coarse-grained sandblast, nickel-plated, chromeplated, thick-film passivated. 60 x 60 x 75 cm.

220°C Virus Monobloc - The Infamous Chair, edited by Arnd Friedrichs and Kerstin Finger, $45, www.gestalten.com

8. Prismacolor White colored pencil, $0.88, www.dick blick.com

An homage to the ubiquitous stackable plastic chairs, 220°C Virus Monobloc (the established term for the seats) chronicles the history of one of the world’s most well-known pieces of furniture, and designers’ love-hate relationship with it. But we think stacking chairs are the best. Seriously.

DESIGN BUREAU // Informer

CLAYMATE SKATEBOARDS A finely designed deck perfect for the street—or museum Design studio Greece is for Lovers uses red clay found around Athens to create the Claymate, a high-end, handmade ceramic skateboard that just might be too sleek for the streets. Its black base is bordered with a labyrinthine motif based on ancient Greek pottery designs. “The aim here was not the practicality; on the contrary, we wanted to have a ‘Greek’ take on a western classic,” says co-founder of Greece is For Lovers Thanos Karampatsos. a

CHOP KNIFE BY LUCIDIPEVERE A culinary tool to keep the kitchen looking sharp Designed by LucidiPevere Studio, the Chop Knife attempts to reinvent the wheel—by making it into a knife. Italians Paolo Lucidi and Luca Pevere settled on the distinctive circular form because of its unique ability to combine ergonomics, aesthetics and a sense of playfulness not often associated with knives. When sheathed in its removable rubber casing, the Chop Knife forms a colorful halo that will stand out in any kitchen drawer. a

CONCRETE SOFT BATHTUB This Italian-designed basin exudes oceanic elegance The influence of the sea runs rampant in the design of the Concrete Soft Bathtub, created by Gigi Rossi for Italian bath and spa expert Glass Idromassagio. Its organic, flowing concrete form is reminiscent of a wave, while its speckled finish brings to mind the soft,

grainy terrain of a beach. Moreover, its asymmetrical shell recalls a certain business-in-front, party-in-the-back hairstyle—a particularly apt mantra for a bathtub which serves both utilitarian and luxuriant purposes. a

Claymate skateboard,€2,000, www.eshop.greeceisforlovers.com; Concrete Soft Bathtub, price upon request, www.glassidromassaggio.it; Chop Knife by LucidiPevere, €35, www.normann-copenhagen.com

DESIGN BUREAU // Informer

COLLABORATION FASHION The sum is greater than the parts in these flashy mash-ups

JENNY HOLZER

Several sophisticated design houses are adding a twist to their usual collections with fresh and unexpected collaborations. Check out a few of these eye-catching fusions, some of which combine classic ideas with a modern flair, while others infuse high-end style into wardrobe basics. a

KEDS

Missoni and Converse Missoni and Converse have joined forces to create a vibrant version of the Chuck Taylor All-Star sneakers. The Italian label, known for its dizzyingly colorful zig-zag pattern, has breathed new life into the classic kicks. The collection features one-of-a-kind space-dyed knits on the sides of the shoe and soft sheep leather on the tongue, heel and collar.

MISSONI

CONVERSE

= Jenny Holzer and Keds Keds teamed up with conceptual artist Jenny Holzer to create three classic Champions and two high-top styles for the KedsWhitney Collection. Each shoe displays the text: â&#x20AC;&#x153;Protect Me From What I Want,â&#x20AC;? a nod to her signature text series found everywhere from LED signs to stone benches. The sneakers are available in white, gray and black. Missoni for Converse Chuck Taylor All Star Shoe, $200, available at Missoni boutiques; KedsWhitney Collection, $70-75, www.keds.com ; Jean Paul Gaultier for Roche Bobois, price upon request, www.roche-bobois.com

DESIGN BUREAU // Informer

FACTS & FIGURES

WORKING IN GRAPHIC DESIGN

Jean Paul Gaultier and Roche Bobois Flashy French fashion designer Jean Paul Gaultier has entered into an unlikely partnership with furniture designer Roche Bobois to create a line of bold, contemporary pieces for the home. The line marries Gaultier’s signature nautical stripes and playful prints and patterns with Roche Bobois’ sleek aesthetic to create transformable sofas, bedroom sets and home accessories.

JEAN PAUL GAULTIER

ROCHE BOBOIS

Behind all the logos, websites and layouts of today’s supergraphic world lie the blood, sweat and tears of graphic designers. But even though the profession attracts many information-savvy people trained in broad-spectrum art and design disciplines, its practical employment facts and figures remain somewhat of a mystery. Here, with the help of the Bureau of Labor Statistics, Design Bureau sheds some light on the industry’s hard numbers.

323,100 The estimated number of people who will be working as graphic designers in America by 2018

+13%

The expected profession growth increase projected over the next eight years

81%

The percentage of graphic designers who hold a bachelor's degree

$42,400 The median wage of current graphic designers

WEB DESIGN & ANIMATION Graphic design's two fastestgrowing subfields Source: Bureau of Labor Statistics

DESIGN BUREAU // Informer

Jason Podlaski Deckstool

Decked Out These skateboard enthusiasts have breathed new life into broken decks Deckstool Jason Podlaski says he began experimenting with turning broken skate decks into furniture at the prompting of his brother Adam, an avid skater. “Looking at the decks, I was inspired by the consistent way in which they were broken,” he says. Podlaski’s company Deckstool has been featured in Playboy and a number of skateboard publications and blogs, and, in 2007, he won Interior Design magazine’s Future Furniture Competition. Seven Ply Launched in 2007, Seven Ply turns pieces of broken decks into classy and colorful jewelry. “Scuffed and broken skateboards have become my obsession,” says designer Lynn Weiler. “I love everything about them.” The New Jersey native found that the worn graphics and colorful plies offer endless possibilities for rings, bangles, belt buckles and pendants. In her “mission to find something that would allow [her] to work from home,” Weiler now finds herself ‘Turning Thrash'n into Fashion.’

Lynn Weiler, Seven Ply

Sk8Lamps The brainchild of former pro skater Victor Perez, Sk8Lamps are constructed out of rejected decks, wheels and trucks. Perez finds old, broken skateboards at thrift shops and sands off the graphics and stickers, using clippings from skate magazines and shellac to line the insides. To complete the eco-friendly operation, electrical pieces are removed from dated fixtures and given extended life. Perez’s lamps have been featured in the skate magazines Skateboard, Focus and Concrete Wave. a by Christopher Moraff Victor Perez, Sk8Lamps

Deckstool, $299-999, www.deckstool.com; Seven Ply jewelry, $22-58, www.etsy.com/shop/sevenply; Sk8 Lamps, $165-3,200, www.sk8lamps.com

THE CORNER DESK A tidy workspace for the daily grind

The Corner Deskâ&#x20AC;&#x2122;s innovative, utilitarian design is perfect for those who prefer to box up their office space at the end of the day. Created by Polish design studio MOWO, the Corner Desk features a small storage cabinet and computer space that can be hidden by a sliding door cover. The elongated cube shape is propped up at a 45degree angle with four slanted metal legs. The bright colors and bold linear structure of this mobile office will appeal to those who appreciate modern design and creative space solutions. a

STAFF PICKS:

DESIGN BLOGS

The DB team shares its favorite sources for inspiration:

Elise, Marketing Manager www.nowness.com - It's instantly addicting!

$18

AN ALARM T-SHIRT DESIGNED BY RYAN PATTERSON OF COLISEUM

Ellie, Associate Publisher www.lookbook.nu - Inspiration and attainable street style.

Lauren, Intern www.pos1t1on.com - User-friendly with a good selection!

Printed in black on dark teal, this limited-edition ALARM shirt was designed by Coliseum guitarist/ vocalist Ryan Patterson, whose art has been used by Russian Circles, Torche, Mono, and dozens of other great rock bands.

The Corner Desk, price upon request, www.mowostudio.pl

www.alarmpress.com/shop

Kyle, Copy Editor www.itsnicethat.com - Unique finds & clean design. Scott, Music Editor at ALARM www.sleevage.com - So many colorful album covers!

DESIGN BUREAU // Informer

FOR RENT: DESIGNER HOMES If youâ&#x20AC;&#x2122;ve grown tired of admiring impeccably designed homes from afar and (understandably) donâ&#x20AC;&#x2122;t have the funds to own one, fear not. All over the globe, high-design homes are available for rent. These manses bear the deft touch and signature style of renowned architects and designers while still feeling like, well, home. Though many of these one-of-a-kind cribs still come with a hefty price tag, there are several rentals with rates comparable to more traditional hotels and resorts. Whatever the price point, be warned: you may not want to go outside once you settle into one of these opulent abodes.

THE SCHWARTZ HOUSE

Two Rivers, Wisconsin Architect: Frank Lloyd Wright

The Comma House

Daylesford, Australia Designers: Jane & Matt Martino

Want to rent one of these designer homes? Visit our website at www.wearedesignbureau.com for more information.

DESIGN BUREAU // Informer

The Balancing Barn Suffolk, England Architect: MVRDV

RADIUS HOUSE G端m端sl端k, Turkey Designer: Radius Design

the winged house

Table Cape, Tasmania Architect: Richard Goodwin

acido dorado

Joshua Tree, California Architect and Designer: Robert Stone

DESIGN BUREAU

Open backroom: A spacious back room serves double-duty as a photography set for many of the studio’s projects, and as the de-facto party room, where events like “Cornival” and taco eating contests go down.

STUDIO TOUR: GRIP DESIGN Design Bureau explores the extraordinary spaces that inspire the world's leading creatives Text by Kathryn Freeman Rathbone Photos by Heather Talbert, a photographer currently living in Chicago. www.heathertalbert.com

Skylights: Sunlight streams through the large skylights that run throughout the studio, eliminating the need for harsh artificial lighting.

From the outside, the Grip Design studio space looks like just another nondescript building set back from a typical Chicago street. Inside, however, the renovated interior is rich with quirky details: bedazzled desks, cornhole sets and a tempermental beta fish, just to name a few. “Here, you can come to work and have fun,” says Grip principal Kevin McConkey. “Having fun on the job breeds respect that can’t be found in a typical corporate white box.” Fueled by coffee (an Intelligentsiaendorsed, high-tech coffee brewer), and board games during break time (Scattegories being a popular choice among the designers), Grip balances work and play with ease. The personalized brick studio provides the perfect space for office feasts, pop culture contests and creative work to unfold. a

Kitchen: Grip installed a full kitchen because the studio likes to eat. Says McConkey, Grip’s resident head chef: “We do everything from taco eating contests to Gripgiving, our own version of Thanksgiving. Here, any type of food goes.”

DESIGN BUREAU

Book loft: The loft is a great place to grab a book, take a seat and just relax. Interns' sketchbooks show mundane scanning and copying tasks don’t impede on their creative growth.

Eames office chairs: Seafoam green (not standard black) aluminum chairs furnish the Grip conference room.

Pin-up board magnets: Thumbs-up, thumbsdown and costume-clad designer mugs lend add a pop of color and whimsy to standard pin-up board magnets.

Typeset blocks: Assorted letterpress blocks from a vintage printing press.

Bedazzled desk: Grip Principal Kelly Kaminski returned from vacation to find that her desk and office supplies had been lovingly bedazzled while she was away.

Project Runway brackets: Each season Grip takes Project Runway to a new extreme, staging an in-house competition that predicts the winners and losers through a modified March Madness bracket system. Cornhole set: Last year this custom cornhole set (also known as “bags” to some) anchored Grip’s “Cornival” office festival. The féte de corn also included a corn-on-thecob eating contest.

Flora and fauna: A cactus and a moody beta fish mix with the high tech monitors and heavy design books that populate the studio’s work area.

DESIGN BUREAU // Informer

LUMINESCENT DESIGN Light installation sculptor Cliff Garten finds inspiration in the ecology of space for his public design works Text by Christopher Moraff

Spanish architect César Portela identifies “I think that I’ve always been interested in the two types of lighting: good lighting, which way that light interacts with material and “illuminates, clarifies, stimulates,” and bad changes [it],” he says. lighting, which “dazzles, confuses and produces weariness.” For California-based light Garten works out of his state-of-the-art design sculptor Cliff Garten, light is one of studio in Venice, CA, and has completed several devices he uses to translate his vision 50 public projects throughout the US and of place into large-scale public art projects Canada, many of which are collaborations between architecture, landscape architecmeant for the masses. ture and engineering. Derek Pogany, an LED “I’m interested in creating a sculpture that solutions consultant that works with Garten, operates at the true scale of the city,” says says the artist designs his work to maximize Garten. “It’s sort of like a body that you throw the transformative quality of light. “We see a out there and the collective consciousness piece of sculptured steel in the daytime, and throws its expectations on it, and you have we see all of Cliff’s detail and these very intrito make something that’s strong enough to cate designs. Adding light to that design just have its own integrity when all of that stuff makes it that much more interesting,” he says. “Different shapes come out and it reveals difthat happens in public happens.” ferent facets of his work. And that’s what An intuitive artist and prolific craftsman, really stands out.” Garten began his career as a landscape architect, but for the past decade he has been creat- That stand-out quality can be seen in two of ing large public installations that emphasize Garten’s most enduring public installations: stainless steel and natural and artificial light. Avenue of Light, in Fort Worth, TX, and Sen-

DESIGN BUREAU

Sentient Beings detail, Los Angeles

“I've always been interested in the way that light interacts with materials and changes it.” —Cliff Garten

Facing page: Cliff Garten’s Avenue of Light is composed of six independent towers set on concrete pedestals. The towers run a half-mile along Lancaster Ave in downtown Fort Worth, Texas Above: Sentient Beings, Los Angeles

tient Beings in North Hollywood. Avenue of “It’s a timeless piece; there is an elegance to Light is composed of six 36-foot sculptures it,” says Susan Gray, cultural planner for the evenly spaced along a half-mile stretch of a CRA/LA Art Program. “Sometimes with highway median. Each piece is constructed public art it’s a challenge to create someusing 100 stainless-steel plates designed to thing that’s going to last the test of time, and reflect attributes of the surrounding archi- this piece, I really believe, will stand up. It’s tecture. During the day, the sunlight plays on a great standalone piece and a great complethe steel, while at night the pieces are bathed ment to the site.” in saturated hues of red, blue and green. Other projects of Garten’s include Nano Plaza, In Los Angeles, the human-like curves of at the University of Texas at San Antonio, Sentient Beings, a cluster of eight structures and Harbor View, in Long Beach, CA. But constructed from electro-polished, stain- wherever his work resides, Garten’s particuless-steel rods, evoke an image of dancers in lar genius is his ability to create structures motion, at once supple and rooted. The piece that look like they belong. He attributes this sits in the NoHo Arts District of the city and to his sensitivity to the totality of experience, was commissioned through the Community or what he calls the “ecology of space.” Redevelopment Agency of the City of Los Angeles (CRA/LA) Art Program, which re- “I read a site very quickly and I respond very viscerally. My work is a response to a site and quires developers working with financial participation from the Agency to contribute to particular conditions. It grows out of the one percent of development costs to art proj- conditions of the site as a functional program, ects. Garten was selected from a list of more the ecology of a place, the social history of a place, the scale of a place.” a than 20 qualified applicants.

DESIGN BUREAU // Informer

Each tower in Cliff Garten's Avenue of Light is made up of 100 stainless steel plates that reflect sunlight by day and focused beams of colored LED lights at night.

28’ HIGH PLATE SCULPTURE

3’ 10” 3’ 4” HIGH PEDESTAL

6’ 9”

the basics of led lighting Unlike traditional incandescent light bulbs that use a heated tungsten filament to produce light or fluorescent lights that rely on charged gas particles, a light-emitting diode (LED) consists of a chip of semiconducting material treated to create a structure called a p-n (positive-negative) junction. According to the US Department of Energy, “When connected to a power source, current flows from the p-side or anode to the n-side, or cathode, but not in the reverse direction. Charge-carriers (electrons and electron holes) flow into the junction from electrodes. When an electron meets a hole, it falls into a lower energy level, and releases energy in the form of a photon (light).” LEDs are touted for their energy efficiency and long life, which, according to LED consultant Derek Pogany, can be up to 70,000 hours.

Let Let Let ususus turn turn turn you you you on. on. on. Let Let Let ususus turn turn turn you you you on. on. on. High-power, High-power, High-power, energy-efficient energy-efficient energy-efficient RGB RGB Color RGB Color Color Changing Changing Changing andandand Let Let Let us us us turn turn turn you you you on. on. on. High-power, High-power, High-power, energy-efficient energy-efficient energy-efficient RGB RGB Color RGB Color Color Changing Changing Changing and and and White White White Light Light Light solutions. solutions. solutions. SeeSee how See how we’ve how we’ve we’ve “turned “turned “turned on” on” some on” some some White White White Light Light Light solutions. solutions. solutions. See See how how we’ve how we’ve we’ve “turned “turned “turned on” on” some on” some some High-power, High-power, High-power, energy-efficient energy-efficient energy-efficient RGB RGB Color RGB Color Color Changing Changing Changing and and and structures structures structures and and spaces and spaces spaces atSee www.illumivision.com at www.illumivision.com at www.illumivision.com structures structures structures andsolutions. and spaces and spaces spaces atSee www.illumivision.com at we’ve www.illumivision.com at we’ve www.illumivision.com White White White Light Light Light solutions. solutions. See See how how how we’ve “turned “turned “turned on”on” some on” some some structures structures structures andand spaces and spaces spaces at www.illumivision.com at www.illumivision.com at www.illumivision.com

DESIGN BUREAU

Alessi's 9094/8 press, designed by Aldo Rossi

DESIGN ICON: The French Press Thanks to its innovative French design (or was it Italian?), this simple press pot has revolutionized coffee making Since the 1850s, coffee connoisseurs and caffeine addicts alike have equipped their kitchens with the ubiquitous French press coffee maker. Despite its name, the Italians and French have both laid claim to this invention as part of their own culinary legacies. As the story goes, a Frenchman invented the coffee press after casually inserting a screen at the bottom of his coffee pot, although it only became an official invention after Italian designer Attilio Calimani patented its design in 1929. The French press has remained virtually unchanged over the course of its 81-year history.

Also known as a press pot, coffee plunger and cafetiere, its design is elegant yet extremely functional, with a process that consists of three simple steps: pour the coffee grinds and boiling water into the cylindrical glass chamber, let the mixture steep and then press down on the sieve mechanism to trap the grinds at the bottom of the pot. The pressing process yields a coffee that is richer in color, flavor and texture than its pot-brewed counterpart. Today, French press coffee makers are available as full-sized kitchen appliances or as miniaturized travel mugs, making it possible to brew coffee both stylishly and efficiently wherever you may be. a

Anatomy of a French Press The French press delivers delicious coffee from a relatively basic mechanism. By compressing the plunger, the grinds are separated from the liquid, yielding a rich, flavorful blend in the chamber.

DESIGN BUREAU // Informer

THE FAMILY FIVE: Illustrator Christoph Niemann This month, The Post Family sits down with award-winning author and designer Christoph Niemann, whose clever works have graced the covers of Wired, Newsweek and The New Yorker with John Stewart—it’s stunning how they have kept up such a level of quality for years and years now. Do you have a vision for the world? Do you feel it comes through in your work? I have plenty of visions of the world, but try to keep them as far away from my work as possible. Maybe I am too much of a visual pessimist, but I don’t think drawings are a good way to change peoples’ minds. And preaching to the converted is terribly boring. Has anyone asked you a question and your “reply” was to draw him or her a picture? Not in a work situation. But I do that a lot when I talk to architects or my three young boys. What’s the deal with art anyways? Who does it think it’s foolin’ ? As long as I feel that the artist puts a lot of effort and suffering into his or her attempts, I gladly let them fool me. Is there a question you’ve always wanted someone to ask you in an interview? If so, what is it? And please answer. “I want to become an artist. What is the one and only pencil I should use?”

Christoph Niemann

You’re clever and/or funny. Do you agree? While I am working, I am usually in a pretty foul mood and certainly feel anything but clever and funny. If looking at my drawings makes you think I am, I happily accept it as a compliment.

Each issue, The Post Family interviews a new designer/studio with the goal that they reveal all of their most secret wisdom so we may learn to be as radical as them. www.thepostfamily.com

2H. Anything softer is for impatient amateurs, anything harder will eventually cut through the paper and leave nasty marks on your desk. a

Whose wit and wisdom have you been enjoying as of late? I am a great fan of the Shouts & Murmurs pieces in The New Yorker. I am also addicted to the opening segment of the Daily Show

1. 2. 3. 4.

The New Yorker Aug. 9, 2004 Illustration from the book 100% Evil The New Yorker Oct. 25, 2004 Illustration from 100% Evil

DESIGN BUREAU // Informer

BUREAU EXPERT: Design Professor Kevin O’Callaghan The design veteran and SVA professor on the art of conservation a flower pot, and when you turn a flower pot upside down it looks like the top of a crayon; it has that nice little ridge around it and it’s flat at the top. I remember painting it a bright color and people were amazed. I never told people that it was a flower pot—it became like my secret world of seeing things and making them into different objects. Did you start studying 3-D design when you entered the School of Visual Arts? No, I was an advertising major for three and a half years and I was good at it, then the last semester of my fourth year I had an epiphany. It was the realization that I wanted to make things. Your work draws quite a bit on pop culture; for instance, you designed the now iconic MTV Movie Award Golden Popcorn statuette. Why do you think pop culture inspires you so much?

Monumental: The Reimagined World of Kevin O’Callaghan (Abrams)

Q+A by Christopher Moraff 1. O’Callaghan’s portfolio

3. 4. 5.

towed by a ’59 Nash Metropolitan The Turn of the Century carousel, School of Visual Arts Yugo Phone Yugo Toaster Kevin O'Callaghan, photo by Myko Photography, Inc.

It has been said that one man’s trash is another’s treasure, but when it comes to designer Kevin O’Callaghan, one man’s trash is this man’s muse. Professor O’Callaghan has earned an international reputation for reusing salvaged items in ways that stretch the limits of the imagination. The Big Apple native has spent the past 25 years teaching a 3-D design class at his alma matter, New York’s School of Visual Arts, where he says his students “solder, rivet and weld the flotsam of mass-produced consumer culture into new, different, and, most importantly, functional objects.” O'Callaghan chats with DB. When did you first discover the potential of transforming ordinary objects into something different? I remember in elementary school I wanted to make a giant crayon, and I remember seeing

When I was growing up, TV was a big part of my life, as it was for a lot of people that grew up in the 1960s. I was very into TV commercials. I think I was raised at a time when pop culture really came into its own. We were surrounded by it, and then in the 1970s it was all about the clubs that we went to and the music that we listened to and iconic characters from products. When you look around, pop culture is always there. It’s everywhere we look and almost anything that surrounds us. In your 3-D class at SVA, you require your students’ pieces to function, to have an actual use of some kind. Why is that important to you? The word “reuse” has a lot to do with it. To make something that looks like a toaster but isn’t really a toaster is not really reusing it. I think the students learn much more when they have to bring it to that level. What does consumption have to do with your work? Is there a political or ethical statement behind your motivation? I never really understood things being considered useless. I remember as a kid my mother throwing out an old couch and not understanding why that’s not functional anymore. I mean, obviously you could still sit in it, you know?

DESIGN BUREAU // Informer 5

Inside the mind of Kevin O'Callaghan Your father Timothy O'Callaghan was a wellknown architect who worked on many exhibitions for the 1939 World's Fair. Did he influence you artistically? My dad saw no value in things materialistically; he saw the value of them as objects. Once, my mom, who used to compete on game shows, won a brand new blue 1964 Ford Galaxy. Well, my father couldn’t leave the car alone. So this brand new car disappeared for a few days in our garage and when it came out, he had bolted a whole series of metal cans across the top of it and painted them orange. He turned the car into an art piece, which totally humiliated my mother and made the whole neighborhood think that he had lost his mind.

Who influenced you as a young artist and what did you admire about them?

I was really intrigued by the whole custom car culture, people like Ed “Big Daddy” Roth, and George Barris, who did the Batmobile and, of course, Von Dutch (Kenny Howard), who was one of the great, great car designers. Then when I got older, Red Grooms and his Ruckus Manhattan. I walked into Grand Central Terminal in 1976 and it just shook my tree. He was so influential in what I do; really, when I saw that stuff, I knew that I could do this. As a native New Yorker: Mets or Yankees? Definitely Mets. That’s a no-brainer.

DESIGN BUREAU // Informer

BUREAU EXPERT: Denim designer Chloe Lonsdale, MiH Jeans The young designer revived her family's business (and some tried-and-true jean styles), and is making a splash in London and beyond What are some signs of quality construction? Compact, clean, dense denim that’s got no more than three percent stretch. When you take the denim and pull it, it should only stretch a little bit. You want just the right amount of stretch to sort of mold to your body and hold you in. You can tell when jeans are of the best quality in everything, from the finish of the fabric to the length of the topstitch. I think it’s a combination of all these elements that make a great jean, rather than one in isolation, and that’s why every part of the process is so important. What goes into making a great pair of jeans?

Chloe Lonsdale

Q+A by Kaira Townsend MiH's Style Revival: The brand brings back these popular '70s styles and updates them for today 1. Paris: First produced in 1973,

this versatile slim-leg, classic MiH-rise, ankle-length jean is as appropriate for chic flats as it is tucked into your favorite winter boots.

2. London: A quintessentially

British take on a classic style. Slightly more narrow than the standard bootcut with the characteristic MiH rise. It is also Chloe’s favorite style.

3. Marrakesh: An archive fit

with a nostalgic kick flare and jet front pockets. One of MiH's bestsellers, it flatters all body shapes by slimming the hips and elongating the leg.

MiH Jeans by British designer Chloe Lonsdale is the modern reincarnation of the popular ’70s denim brand “Made in Heaven.” Born to the “Blue Jean King” Tony Lonsdale and top ’70s denim model Chekkie Lonsdale, Chloe discovered her interest in denim after finding the classic jean styles stored in trunks in the attic. She instantly fell in love and called on her family’s entrepreneurial streak to rebrand the line for the modern woman, becoming the designer and founder for the revived denim company. “As a child I observed my parents having this sort of carefree lifestyle that required casual, low-key dressing, usually in jeans.” The rest is history. Lonsdale chats with Design Bureau about what to look for when selecting the perfect pair of jeans. What makes good jeans, well, good? The fit is the most important thing, and it is affected by two things: the patent (or cut), and the quality of denim itself. Denim that is light in weight and very stretchy doesn’t hold up. That doesn’t make for good denim. After a while, it stretches completely out and isn’t wearable. Fortunately, we have very old patents from the ’70s with very classic cuts. And we use very high-quality denim. Denim wasn’t traditionally made with stretch, and that’s the success of MiH denim. The quality of the weave and the quality of the product.

Blood, sweat and tears! No, really, it's a combination of a well-cut pattern and beautiful fabric, cut and sewn by top seamstresses so that the stitching is consistent and the finishing is immaculate. And last, but definitely not least, [they must be] washed with sensitivity and care. Some jeans just need a light rinse with nothing but water and a gentle press, while others need more to bring out the color or texture on the fabric. When choosing a pair of jeans, does expensive always mean better? No, because you can never overlook places like Gap and J. Crew that make great denim. Gap has been doing it for a long time—they can afford to buy such large quantities of one type of denim, and they can afford to sell it for a lesser price than a small boutique can. What purchasing tips would you give to a woman doesn’t love shopping for jeans? Denim is supposed to be the symbol of timeless, classic style—look at what is best for you and what will flatter your figure the most. Where do you find inspiration when designing a new collection? Every year I go to a denim fair in Paris to select fabrics. We work a year ahead, as the fashion fairs aren’t held until February. Then we

DESIGN BUREAU // Informer 1

gather inspirational images from old movies, photographers, etc. We gather hundreds of different samples, and we spend a great deal of time testing the denim to create a variety of washes and colors. We also build mood boards, and select the women that are our muses for the season. Tell us, what's next for MiH? We’ve launched a website and worked a lot on making it more interactive—trying to demystify denim for women. We’re including a fit guide educating women on the jeans; not just the jeans themselves, but what body types work best for what type of denim, what type of denim works best in terms of styling your denim and how to care for your jeans. a

DESIGN BUREAU // Informer

BUREAU EXPERT: Industrial designer Todd Bracher The young, accomplished designer places a premium on simplicity and mystery in his lauded home furnishings You’re been described as a minimalist. How would you to describe your approach to design? I don’t consider myself a minimalist—perhaps an essentialist, or better still an ‘irreducible complexity…ist.’ I believe in reduction to solutions. Only what is needed. How does that translate into process?

Todd Bracher

Industrial designer Todd Bracher knows his stuff. He began his career by earning a degree from the Pratt Institute, whereupon graduation he headed to Copenhagen to attend the Danish Design School on a coveted Fulbright Design fellowship. From there, Bracher landed a series of high-profile jobs. First came Zanotta, an Italian furniture company, then came a gig as design director at Tom Dixon’s London studio. Since returning to the US in 2007 to begin his own venture, Bracher has been racking up accolades and awards, including the title of “future of American design” by the New York Daily News, and new designer of the year at New York’s International Contemporary Furniture Fair. The self-proclaimed naturalist designer chats with DB about finding inspiration in the moon, and why reduction rules his creative process. What was the first piece of art or design that you made professionally? And do you still like it?

Q+A by Christopher Moraff Photo by Seth Smoot

My first piece of design was OpenPrivacy, and, yes, I still love it. It is pure and so true to the way I work. That piece defined for me my future; years of dreaming about meaning and poetry in design and there it was, for the first time realized in front of my eyes.

Reduction is a very important part for me… how we can take away everything and just leave what we need behind. That reveals for us something new, something that’s genuine and truthful, that’s not trying to be anything but what it is. Singularity is the way that we communicate truth. It’s one idea...it’s not hidden in complexity; it’s not over-complicated; it’s not diluted. And that’s the way I like to package or contain these ideas about design. How can I take everything out and leave behind just the essence? Can you give me an example of how nature influences your work? Take the Dome lamp (Mater 2009) as an example. I had gone to South America, to Brazil. It was my first time to the Southern Hemisphere, and I found it really fascinating that the moon was upside down, and I couldn’t stop looking at it. Of course it dawned on me that it was just the opposite—that I was upside down. But the phases of the moon became new, and so I created this lamp. The moon doesn’t create light, it reflects light, and so in Dome, the light is reflected from the inside. You’ve alluded to a deep interest in light and the way it enters and impacts a space. Can you expand on your thoughts about the importance of light in design? Light and shadow. They both impact me heavily. We have far too much light in our lives. There is a beauty and a magic in what we can’t see entirely. The fear of the basement is a wonderful thing! Your imagination at work... so much more exciting than over-lit spaces telling you everything there is to know about

DESIGN BUREAU // Informer

it. Spaces should be like people—they reveal themselves to you over time, subtly and elegantly, imperfections and all. What is your favorite material to work with? I don’t prefer any materials. They are chosen by the task at hand for specific reasons connected to its function or the user experience. An object is in wood or plastic for its own reasons, not mine.

Todd Bracher's Faves The designer lets us in on some of his choice people, places and things

Your work is highly influenced by nature, and specifically the structure of plants and animals. If you were to be something other than human, what would you be and why?

Who are your favorite artists or designers?

Good question. I would have to say probably something like a tree. An apple tree. It’s symbolic (Adam and Eve) and yet not obvious. It goes sort of unnoticed... I love that. a

Swiss architect Peter Zumthor, Italian designer Enzo Mari and British artist Jason Marti. What are your favorite places? The Nature Lab at the Rhode Island School of Design; The Museum of Natural History in New York and Skogskyrkogården, the [Gunnar] Asplund Cemetery in Stockholm, Sweden. What was the first object or piece of art you saw that inspired you? Bird in Space, by Constantin Brancusi. My mother used to take me to the Museum of Modern Art when I was a kid. [It was] a wonderful place to go to clear the mind, and fill it in other ways. I remember as you slowly ascended to the second level, positioned atop the escalator was Bird in Space, and it slowly revealed itself to you as you arrived to the next floor. A beautiful way to approach such a work of art, always the subtle highlight of the visit. What are you reading? I read over and over In Praise of Shadows by Jun’ichirō Tanizaki. It says it all for me about our world and my work. From top: The Dome lamp, Ribbed cushion and TOD table, which was inspired by model Cindy Crawford's beauty mark

Is there something you have never designed that you really want to someday? Music.

DESIGN BUREAU // Informer

RESTAURANT SPOTLIGHT

Inside Aja

Whether in cooking or architecture, some design principles transcend discipline A fireplace serves as a focal point on the first floor, opposite the main elevator and staircase. Directly upstairs, a sushi bar is enclosed in translucent steel mesh, which creates a sense of privacy. A carved-wood wall runs the entire length of the hotel on the first and second floors, exuding a warm vibe, while an abstract, backlit metal panel floats in front of the staircase, creating a sense of contrast in the room. “We chose the wood wall as a backdrop to the activity, the furniture and the people that exist in the space,” says Landon. “The metal panel was definitely more random, but still very interesting.”

Texture is one of the most basic principles of design. It can add to or distract from a well-designed item—or, as the case may be, the design of a restaurant or a dish. Both Aja restaurant's executive chef Ariel Bagadiong and interior designer Andre Landon of EDI Architecture share a similar appreciation for texture—a detail that is crucial to their respective professions. “We used lots of different textures for this project,” Landon says, describing the décor of the restaurant housed inside the Dana Hotel and Spa in Chicago. “Bringing all these materials together is really an intuitive process. You have to ask yourself if they feel right together or if any are jarring and then edit out the ones that are not supportive of the overall idea.”

Text by Lauren Del Campo Above: Chef Ariel Bagadiong (photo by Jon Shaft) and Aja's Hamachi guacamole Opposite: Translucent steel mesh encloses a bar on the second floor

As restaurant-goers at Aja absorb their visually sensational surroundings, Bagadiong designs his own texturized creations in the kitchen. His menu relies upon traditional preparations and familiar dishes. “We wanted to keep the menu clean, flavorful and simple,” he says. “We made it more approachable by going back to original techniques and ingredients.” Reflecting upon a culinary creation instead of a structural one, Bagadiong echoes Landon’s perspective of using texture in meaningful ways. “There have to be different textures in a dish. I try to balance it by including a variety, whether it’s crunchy, chewy or soft, because that will excite the client. If it’s just one level of texture, people get bored,” he says.

Like Landon’s design, Bagadiong’s food presentation at Aja is rooted in Asian influence. He notes that where Southeast Asian cuisine is more relaxed, Japanese cuisine is more structured and clean. “With Japanese Landon came on board when the Dana Hotel cooking, we have to play with the simplicity was just a name, taken from the Sanskrit word of the ingredients,” says Bagadiong. “There’s for generosity. Drawing from his 15 years a certain philosophy of mimicking the ingrespent in Southeast Asia, Landon focused his dient’s natural environment. If it’s sushi, we design around textures, materials and open might present it in a way that resembles a spaces and created the hotel and restaurant to wave forming in the ocean.” Bagadjong also feel almost like a home. The building's small depends upon his own Filipino heritage to footprint played a defining role in the layout. remain inspired and creative in his work. “We envisioned the space as being free-flow- “My passion for Asian cooking is inherent. I’m ing, from the second-floor hotel lobby to the always looking at places like Thailand, Mabar to the restaurant on the first floor. We laysia and India in order to find ways to take wanted that circular connection throughout their dishes and make them better or change the public area,” says Landon. them up.” a

DESIGN THINKING

SHAKE THE AIR Ceramic artist Jun Kaneko designs his signature large-scale sculptures to make a statement, no matter their environment

Artist Jun Kaneko creates ceramic forms that seem capable of living comfortably in practically any setting, proudly staking their claim while still settling in respectfully to their surroundings. The inexplicable presence instilled in his pieces may be explained by his approach. It’s not just about the work, but also how and where it lives. “Nothing exists by itself, but in relation to all that surrounds it,” says Kaneko. “Once you put something in a space, everything around it relates and affects it; the environment becomes part of the piece.” He compares his intuitive balancing act of the elements affecting a final work of art to the process of making music. “Initiallly, I start from scratch, and try to understand a given space,” Kaneko says. “Within that space, like a musician might with a composition, I make a choice of how a volume might be needed, a scale, and how many of those things, how many times they repeat.” “When you start considering colors, it can complicate things and alter the energy,” Kaneko says. “A yellow piece in green woods would stick out a lot, but put a yellow and a red and a blue piece in the same wood, then your eye moves around and integrates the forest or environment in a more active way.” Born in Nagoya, the Japanese artist moved to California in the early ’60s. He later enrolled at the Chouinard Institute of Art. Kaneko

also studied with other well-known ceramic artists Peter Voulkos, Paul Soldner and Jerry Rothman. During this time, now defined as the contemporary ceramic movement, these artists began pushing the medium with scale and abstraction of form and surface treatment. Kaneko went on to complete teaching stints at highly regarded ceramic programs across the US, including Scripps College in California, Cranbrook Academy of Art in Michigan and the Rhode Island School of Design. He later relocated to Omaha, NE, where he currently resides and works from his expansive studio. Kaneko has said he designs his sculptures to “shake the air.” And shake the air they do. This poetic but vague phrase aptly describes the presence that Kaneko’s works exude in a myriad of environments. His sculptures live in the permanent collections of 61 museums around the world: the De Young Museum in San Francisco, the Smithsonian in Washington, DC, the Museum of Arts and Design in New York, and the Detroit Institute of Art, among many others. His giant geometrically glazed head sculptures lined New York’s Park Ave in 2008, and his large Dangos reside in the Water Plaza at Bartle Hall in Kansas City, and preside over part of Phoenix Sky Harbor Airport. His work recently popped up all over Philadelphia, anchored with a solo exhibition at the Philadelphia Museum of Art. Recently, the prolific artist has taken a turn as set, costume and video projection designer for a

Text by Sara Jacobson

Right: Kaneko glazing a Pittsburg Project Head. Photograph by Takashi Hatakeyama

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Three triangle Dangos on Plaza (Bartle Hall Public Art Commission); Photograph by Takashi Hatakeyama

new production of The Magic Flute for the San Francisco Opera; previously, he designed the sets, costumes and video projections for Madame Butterfly and Beethoveen's Fidelio in Philadelphia. Admittedly not an opera fan, he says he listened to Madame Butterfly, which runs about two and a half hours in total, two to three times a day for a three month period before even agreeing to design the opera. Once he eventually agreed, the total design time for Madame Butterfly was a little over three years. Doing this consistently everyday inspires his vision. “Images start coming out,” he says. “I start seeing things, and that is my starting point.” Of the wide variety of work that he takes on, Kaneko says simply, “Whatever interests me, I do it and see how it goes.” Kaneko’s trademark Dangos, the Japanese term for “dumpling,” are particularly expressive of his dynamic energy. The hollow-cast ceramic ovular sculptures, ranging from five to 15 feet in height, are covered in his signature geometric patterns. Individually, the Dangos create a balanced tension between their soft, blunt forms and layered, painterly surface treatments. They also create subtle conversations with their surroundings, allowing each piece to both acclimate to various settings and to provide the energy Kaneko hopes to instill in them. He once wrote of his cre-

ations, “Whether I’m making a large or small object, in the end I hope it will make sense to have that particular scale and form together and that it will give off enough visual energy to shake the air around it.” Although Kaneko says he enjoys the creative freedom that comes with creating art for art’s sake, his adaptive range of ability and spatial considerations make Kaneko and his works an interesting and popular candidate for public art commissions, a challenge the artist welcomes. Kaneko was asked to create a large-scale commission for a project in Des Moines reviving a section of the city’s riverfront. Substance Architecture was hired to develop a portion of a recreational trail along the river, with a public café pavilion and corresponding pump station. Principal Paul Mankins, who also holds a position on the board of the public art foundation in Des Moines, saw an opportunity to incorporate public art into the design. Along with Jeff Fleming, director of the Des Moines Art Center, Mankins approached Kaneko, whose “nothing exists by itself ” approach made him a natural fit for the project. For public commissions like the riverwalk project, Kaneko employs a method of immersive research. “I spend a lot of time understanding a space, who might use it, what the traffic pattern may

Three tall Dangos on polished black granite plinths and a round Dango in background (University of Washington Medical Center) Photography by Richard Nicol

DESIGN THINKING

A look inside Jun Kaneko's Omaha, NE Studio

DESIGN THINKING

“Once you put something in a space, everything around it relates and affects it; the environment becomes part of the piece.” —jun kaneko, artist

Above: Aquarium Station in Boston Photography by Jim Dow

be and how that affects the space.” He conducted a preliminary study for three months studying architectural drawings and tried to do as many site visits as possible. “You have to consider the space that is given; each space has a unique quality, and I like to try to learn how to make the whole environment,” he says. “I think of who is going to use it, and how it is used; if there is a 50-story building right next to it versus a green space, that drastically changes my result. I have to collaborate with the environment in this way.”

proposed to install these 17 tower forms into the plaza space, all “leaning a little bit, and angled in different directions, so it looks like they are dancing in the plaza.” Kaneko’s proposal was ambitious, and as is the nature with public projects involving committees, government, and several stakeholders, it was ultimately determined to be a bit too involved for the allotted budget. It’s a situation not unfamiliar for the artist, though Mankin, Fleming, and the Public Art Committee still felt it important that Kaneko’s work be involved with the space. Kaneko and Mankin agreed that public art commission should be a true collaboration between architect and artist, and ideally would have liked Kaneko’s initial proposal for the Riverwalk project to be realized. So as a compromise, it was decided that several existing Dangos would be acquired for the space. Fleming visited Kaneko’s studio in Omaha and selected five Dangos for the space, and have made plans to incorporate a version of the patterned glass wall from his original proposal.

For the Des Moines commission, Kaneko contemplated the river's surroundings, which included an intersection of a bridge, recreational trail and a street. “I wanted to make a piece that is visually interesting when you are crossing a bridge from far away, and [as you] get closer and closer, [you] start seeing details,” Kaneko says. The piece also needed to have dual functionality to respond to its uses. “It was important that it be interesting at both day and night, but I wanted to use glass. So I proposed a glass panel with light inside— colored glass and an interesting pattern.” The idea was to create “Many times I have to rethink the space, based several 30-foot tall steel structures and to on these budget and committee changes. It incorporate the colored, patterned architec- does change the conceptual approach comtural glass sheets into these towers. Kaneko pletely, but that doesn’t mean the resulting

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Designing Engineering Manufacturing Building Envelopes Since 1991

RIVERWALK PAVILION—DES MOINES, IA The Des Moines riverfront is about to get a facelift once work on the estimated $30 million Pavilion project is completed. Part public, part private, the design by Substance Architecture will be useful in many capacities for the residents of the Iowa city and will revitalize a section of the town as a lively green space. Plans for the project include a new recreational trail, café pavilion and Dangos by artist Jun Kaneko. Substance also worked with Architectural Wall Systems on the project.

www.archwall.com

Photo: Jacob Sharp

art piece is not as important for the space,” Kaneko says. He believes the Dangos that will soon live along the Des Moines River work well with the space, saying, “If I feel that it’s not possible to maintain the integrity of the work, I don’t do it.”

bRoNx RivER aRt cENtER, bRoNx NY sagE aNd coombE aRchitEcts

In this way, even though they were not created specifically for the Des Moines Riverwalk, the five Dangos Fleming selected will undoubtedly live comfortably there, both dynamically shifting the energy of the space while respecting it as well. Just as they seem at home in a museum setting, a convention center plaza, or the lobby of a building, the five Dangos will enliven their surroundings and, as Kaneko said, “shake the air” around them. However varied, all of Kaneko’s works refer back to a Shinto principle from his Japanese heritage that he often refers to—one that can both explain his approach and resulting work. Art critic Arthur Danto’s description: “There is a principle that can be said to govern all the artistic decisions [of ] Kaneko’s works… the Japanese name for the principle is ma, meaning spirit. Each thing has or is a spirit ... Kaneko’s insight is that not only do what we think of as things have spirits—the space between things has ma, as well.” a

STRENGTH BY DESIGN wai.com | NEw YoRK

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Principal Perspective: Why Graphic Design Can Save Architecture Architect Jennifer Sage discusses the vital link between the two disciplines

It might be suprising to learn that Jennifer Sage, principal of NY-based architecture firm Sage and Coombe, believes graphic design plays not just an important role in architectural design, but a necessary one. Design Bureau chats with Sage about why graphic design can be considered an architectural savior. How does implementing graphic design in an architectural project “save it”? We see it as tied into the basic understanding of the building. And in some cases, it’s because you can get a big statement with a tighter budget. Many of your architecture projects involve graphic design. Why is that? Incorporating a graphic message into the architecture of a project can provide a big message with minimal construction and cost. More importantly, it can also reinforce the spatial definition. In the case of the children’s library at Fort Washington, the graphics on the giant lampshades were used to define a series of “rooms” and create distinct environments. We were able to use the New York Public Library image data bank, which was pretty great. The graphics have created an entire little world in each of those lampshades. What can graphics communicate within a building that the building alone can’t? We see it as a tool for bringing a different scale and sometimes a new texture into a project that does not otherwise have the budget or program for a refined materiality.

Is 'branding' as big of a buzzword in architecture as it is in other forms of design? I don’t believe that it plays as big of a role in architectural work, particularly in institutional or public work, though in our retail projects, the language of the architecture reinforces the personality of the brand. How are photography and traditional 2-D artwork starting to play a larger role in architecture? As the technology is more accessible to everyone, it is easier to take advantage of it as a medium for architectural expression. Flat artwork has always been integral to the best buildings. The availability of the new technology allows us to take a stronger role in conceptualizing and bringing the two dimensional imagery into architecture.

Jennifer Sage of Sage and Coombe

Wayfinding systems, signage, and environmental graphic design have all become examples of how architecture and graphic design work together. Can you elaborate on how you've integrated these mediums into a project your firm has done? We have tried to use signage and environmental graphics to reinforce the character and intentions of the architecture. At all our designs for children’s libraries, we made use of words—in poems, word searches and in different languages—to enliven the experience and reinforce the association with reading. In our retail projects, our signage takes more liberties in message and tone. Whenever possible, we try to take the opportunity to collaborate with graphic designers and artists, expanding the conversation about spatial intentions. a

Q+A by Nicholas Krause, a freelance writer living in Chicago. Krause recently received his masters in architecture from the University of Illinois-Chicago. Photos by Chuck Choi. 1. The children's reading room at

the Fort Washington Library

2. Graphic images create

unusual lampshade styles

DESIGN THINKING

super-sized prefab structures: the ocean breeze park track and field house

When Sage and Coombe began conceptulaizing the Ocean Breeze Park Track and Field House project, they knew they wanted it to be wide open without any unsightly columns in view. Although the request seemed harmless, the expansive space made the goal seem daunting. But structural engineering firm Weidlinger Associates was up for the challenge of building the 135,000-square-foot, state-ofthe-art complex, slated to open in 2012. “This project is really a special one because of its size,” says Tian-Fang Jing, a principal at Weidlinger Associates. “We needed an open interior without any columns, and the structure really is just like an empty space.” Weidlinger relied upon a long-span prefabricated metal structure in order to accommodate the indoor track and field. The building, which sits on 10 acres of a 110-acre park, features a platform in the center where both amateur and elitelevel events will take place. The platform, elevated to 16 feet in order to provide shoreline views, will contain a 200-meter track, with six lanes that can be hydraulically banked for competition, and high-tech weight and cardio rooms.

DESIGN THINKING

Light, Place and Time How architect David Coleman brings together these design principles inside a Pacific Northwest home in the woods

During his 25-year career, David Coleman has utilized countless styles, influences, and locations in his distinguished work. Over time, however, the Seattle architect has whittled the practice of design down to three important variables: light, place and time. The architect puts these three basic design principles to work in his project entitled the Zigzag house, a hillside residence nestled in the woods overlooking the picturesque Puget Sound. His design for the home achieves a rare balance of privacy and openness and features modern forms with lasting traditional approaches, both inside and out.

home’s south wall out of a translucent polycarbonate material, which flooded the space with a diffused glow. “The brightest part of the home is actually the center, which is the opposite of how homes are traditionally [designed],” Coleman explains. “That notion of trying to channel light into the center of the building and create this unexpected burst of natural light—especially in this climate—it’s just a great device.” The Zigzag house, even on a gloomy day, feels bright. At night, the translucent wall makes the house glow from within, humanizing the walled-off design to its neighbors.

Light

Place

Coleman is particularly driven by the challenge of how to elegantly but unobtrusively bring natural illumination deep into spaces. To achieve this, the architect constructed the

The homeowners, both immigrants from Southeast Asia, brought two main requests to Coleman: they wanted privacy and usable outdoor space. “They had a very different

Text by Brian Libby

Opposite page: The front entrance to the Zigzag house

DESIGN THINKING

“The brightest part of the home is actually the center, which is the opposite of how homes are traditionally [designed].” —David Coleman, PRINCIPAL

idea from their own cultural background of how the house should relate to the neighborhood, how they wanted to live in it, and the relationship of the building to the land,” the architect recalls. As a result, Coleman concocted a garden wall and garage that shields the home from the street modestly, and then gives way to three distinct rectilinear wings that jog into each other at angles like arms or legs—hence the Zigzag name. “The idea was that from the street the building feels understated and modest,” Coleman explains, “but as the procession of entry is revealed, one sees what it’s all about: going from public to private.” Time Initially intended as a renovation, the project was put on hold when the clients discovered the original house could not structurally support expansion. Coleman quickly produced a ground-up design, but it was shelved for two years before construction began—a unique situtation as most architects aren’t allowed the opportunity to ruminate on their work before it’s completed. He used the additional time to think about the structure a bit more in depth. “We were able to critique what we’d done originally and distill those ideas down to their essence to come up with a strong concept that’s really singular.” a 1. Light is diffused through a translucent poly-

carbonate material inside the Zigzag house

2. Stainless-steel and light wood create clean

lines in a light-filled kitchen

DESIGN THINKING

Deceptive Design: The Complicated Nature of a Modern House When working on a steep site, it often means that architects and builders must work without key equipment—and sometimes it means hauling the necessary items up to the site by hand. So when David Coleman set out to design a modern manse atop a ragged hillside, he already knew it would be a challenge. The next step for him was to come up with a design approach that would be easy, effective, and cost efficient for the clients. “Rocky hillsides are generally the most difficult sites to work on, so we go back to an old-school approach,” says Brian Dobler, who constructed the Hill house, designed by David Coleman Architecture. “Modern forklifts and man-lifts may not be effective on [rocky hillsides} so we have to handcarry materials up to the building site.”

The The fine fine artart of of construction construction The fine art of construction

206.325.9213 206.325.9213 | www.davidgrayconstruction.com | www.davidgrayconstruction.com 206.325.9213 | www.davidgrayconstruction.com DGC_DesignBureau_Ad_FNL.indd DGC_DesignBureau_Ad_FNL.indd 1 1

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This modest home, set in a valley in Winthrop, Washington, required a considerable amount of planning and engineering. “Designs that look really simple and minimal are often the most difficult ones to engineer and build,” says architect David Coleman. “It’s a challenging thing to not have any walls that go from the ground to the roof on three sides of the building.” Because of the extensive amount of glass, Coleman incorporated a steel moment frame, designed to withstand lateral and wind loads, into the door and windows. The design also features glass walls on three sides and a large, overhanging roof. The house, which sits on a 20 by 115 foot stepped platform that echoes the slope of the hillside, shares a remarkable resemblance with its surroundings. Coleman incorporated rusted steel and stones from the excavation process. “There’s this feeling of the walls just growing right out of the ground,” he says. “Looking around, you see all of the stone and then the stone walls themselves are just putting form to the landscape. We really wanted to create a building that respected and honored the site.”

Dobler ConstruCtion, inc Proudly serving the Northwest for 50 years. We specialize in difficult sites and projects, both residential and commercial. We have been proud to work with David Coleman on Hill House, and look forward to working with him and his clients in the future. 8808 E. Mission, Seattle, WA 99212 [P] 206.484.1213 [F] 509.924.7674

DESIGN THINKING

WHITE-HOT DESIGN Rhumbar's stark colors and clever visual gestures redefine tropical décor

Text by Lauren Del Campo

According to Rafael Alvarez and Brannen Brock, partners at architecture firm Alvarez+Brock Design, the concept behind their design for Rhumbar came from a cocktail. “Our client mentioned a Mojito as a major influence for his bar during one of our first discussions,” Alvarez says. “He didn’t describe it as a Caribbean place right away, but simply described the idea of what he was going to serve. And we try to be very careful about just designing the space you are expecting to see.” Although Rhumbar, a lounge inside the Mirage Hotel in Las Vegas, is a Latin-themed bar, the architects stayed away from standard design stereotypes. “We decided not to use a lot of color, which is a typical cliché associated with a Caribbean place. That’s one of the reasons why we ended up with this very clean, white space. But the little bit of color gives an idea of where we’re coming from, even though nobody is expecting it,” says Alvarez. The long, narrow space is separated into three distinct areas: the interior main bar, a quick-service daiquiri bar and an outdoor patio. Each space reflects part of the Caribbean theme, but none do so overtly. “At no point do we want to be cliché in terms of our design, but at the same time, we don’t go 180 degrees in the opposite direction,” says Brock. “When you walk into Rhumbar, you can still see that Caribbean inspiration. It’s not a complete reversal from the cliché.” a

Textural Divider A three-dimensional screen wall separates the main bar from a public corridor. “This space is actually located on the strip, so thousands of people are walking by each day. It’s not the main entry into the Mirage, but it is still a pretty important entry to the casino,” says Brock. Adds Alvarez: “The screen wall is also inspired by the mint leaf found in a Mojito, but it’s not green–it’s white.” Inside, at the daiquiri counter, a backlit bar displays the same mint leaf pattern in neon green.

DESIGN THINKING

Bold Lighting Both inside bars have recessed and track lighting, which provide varying effects, given the bright white aspect of the main bar and the darker stone found on the wall in the daiquiri bar.

Chrome Finishes: The designers used chrome finishes in several places throughout the bar, including the bar stools. “The shiny quality of the chrome is a contrast, and it’s also a reflection. You get a lot of back and forth images when you use that kind of material. When the lighting hits it, you can see how the light is acting as part of the design. You can see color, movement–the reflection is like another material,” says Alvarez.

DESIGN THINKING

Smart Style A subtle yet thought-provoking design detail reminiscent of Caribbean culture is found within Rhumbar’s metal sculptures. “The lights are three-dimensional interpretations of cock fighters. Each one is an individual piece and every one has a different movement, but they are each acting with each other,” Alvarez says. The architect, who was born in the Dominican Republic, adds: “We have cock fighting where I come from; it’s part of that culture.” Outdoor Space: The outdoor space exudes the same Caribbean vibe. “We wanted the outdoor area to be a relaxed, comfortable lounge that still has a bit of the Caribbean flavor. We brought the three-dimensional leaf design into the lamps and placed a cut-out image of the cockfights onto the wall,” says Brock.

DESIGN THINKING

Design To-Go: “The daiquiri counter is a to-go counter. It’s a very different space. People are walking by quickly, so the design had to be something visually quick. You have one shot to grab someone’s attention, so we went with shocking color,” says Alvarez.

“We decided not to use a lot of color, which is a typical cliché associated with a Caribbean place. That’s one of the reasons why we ended up with this very clean, white space.”

ART METAL INDUSTRIES You Dream it, we’ll figure it out.

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DESIGN THINKING

Case Study 01 Germantown Friends School + Green roof + Photovoltaic solar panels + Geothermal energy + Light monitoring systems

Sustainable Schools In these schools, the classrooms themselves educate students on how to live a green lifestyle As sustainability and global warming have become great issues of our time, perhaps no building type has embraced sustainable principles quite like schools. Not only do more efficient buildings help administrators adhere to tight budgets, but studies

by the Heschong Mahone Group have also shown that students achieve higher average test scores in green, naturally lit spaces. Whatâ&#x20AC;&#x2122;s more, the school buildings themselves demonstrate to students the key principle of sustainability: places constructed

Text by Brian Libby

DESIGN THINKING

efficiently and built to withstand the test of time. Although schools themselves can’t solve the fact that architecture contributes to more than half of all energy use in the United States, they can show a new generation the virtues of holistic thinking. “I think schools, as well as other nonprofits, build buildings to last 75 or 100 years,” says David Ade of SMP Architects, whose firm has worked on numerous LEED-certified projects, including a sustainable school in Pennsylvania. “[Schools] are much more willing to think about the long-term benefits, whereas a corporation is not as willing. And from an educational standpoint, every school that we’ve done—whether it’s started as a goal from the beginning or not—is bringing sustainability to the forefront as a teaching tool, and is something that has emerged in all of our school projects.” So whether public or private, or at the university or elementary school level, educa-

Above: SMP Architects' Germantown Friends School in Philadelphia aims to put “science and sustainability in sight.” Images courtesy of Barry Halkin Photography.

DESIGN THINKING

Case Study 02 The Amenity Center + Recycled concrete + FSC-certified wood and bamboo + Low-flow water fixtures

DESIGN THINKING

“From an educational standpoint, every school that we've done is bringing sustainability to the forefront as a teaching tool.” —david ade, PRINCIPAL

tional institutions that emphasize shrinking their carbon footprint have become the top places to teach hands-on lessons about green architecture and sustainable lifestyles. Germantown Friends School— Philadelphia, PA At the Germantown Friends School in Philadelphia, local firm SMP Architects collaborated with faculty and staff to create a building that is both a participatory experience and LEED Gold-rated. The 16,400-square foot Sustainable Urban Science Center was completed in 2009 for $8.3 million and includes such carbon reducing elements as cisterns, green roofs, solar energy, geothermal energy, and extensive monitoring systems that minimize the use of lighting in empty rooms. “The fact that the cisterns are above ground and on display, the fact that kids can go onto the green roofs, that systems are exposed inside: those are decisions we reached early on with the school,” says Ade. “The school wanted a science building that was fully integrated into their program. It was the idea of science and sustainability in sight. Kids who were coming to the building could understand this building was different.” The Amenity Center, Indiana University—Bloomington, IN Designed by Chicago firm BOX Studios, The I.U. campus Amenity Center is a 10,000square foot facility that includes meeting rooms, a lounge area, open study areas and

Above and opposite page: A look inside the Indiana University Amenity Center and student lounge

DESIGN THINKING

Case Study 03 Rosa Parks Elementary + Stormwater collection for on-site water + Photovoltaic solar panels + Natural ventilation

Top: Students mingle outside Rosa Parks Elementary in Portland, OR. Photography by Gary Wilson Photo/Graphic.

At a time when the industry is wringing its hands over LEED-rated buildings that do not meet energy-savings targets, Rosa Parks Elementary routinely performs about 10 percent more efficiently than expected, and is now the most energy-efficient building in the Portland Public Schools system.

art rooms for University of Indiana graduate students living in adjacent dorms and campus apartments. The entire space is flooded with natural light thanks to a glassy façade with an abstract checkerboard patterned glass. “It becomes like a jewel box at night,” says architect Ferdinand Dimailig, a principal with BOX studios. Although the project was designed to accommodate LEED specifications, BOX did not register the building for the designation, which allowed the firm to place more of their strict budgetary towards the building itself. To further emphasize the building’s green lien, BOX Studios situated the Amenity Center around a mature tree hundreds of years old and used a palette of locally sourced limestone to tie its contemporary design to the more traditional styled architecture of the surrounding complex. The concrete used inside the building contains 25 percent fly-ash, a pollution-control byproduct from coal-fired energy plants. Forestry Stewardship Council-certified woodwork and renewable bamboo were artfully used within the center’s interior, while energy-saving fixtures such as dual-flush toilets and waterless

urinals were installed to conserve water. “As we talked to the town of Bloomington, they were so encouraging about anything green,” adds Dimailig. Rosa Parks Elementary— Portland, OR Portland architecture firm Dull Olson Weekes Architects designed the LEED-Goldrated school, which anchors New Columbia, a public housing development that once faced rampant crime and destitution in the 1980s but has since been revitalized with a wave of new investment. Rosa Parks Elementary’s sustainable features include a storm water management system that retains all on-site water, photovoltaic solar panels, natural ventilation and extensive day lighting. Dull Olson Weekes designed the school to be 25 percent more energy efficient than energy code requires. And at a time when the industry is wringing its hands over LEED-rated buildings that do not meet energy-savings targets, Rosa Parks Elementary routinely performs about 10 percent more efficiently than expected, and is now the most energyefficient building in the Portland Public Schools system. a

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DESIGN THINKING

An urban agriculture concept uses practical design to solve social problems

DESIGN THINKING

Farmfinder

Seedling Sites

Plug in Farming

Patchwork Farming

Pick an open plot of land and select plants that will thrive in the given conditions.

Overlapping social spaces with planting zones encourages residents and visitors to interact with the site.

Foster unimpeded growth of a diverse crop by placing individual plots throughout the site.

Anyone, from youths to seniors, can adopt the simple and universal NORC Farm strategy.

What can be cultivated?

Make it visible and central.

Be ambitious and precise.

The ONE Prize, a design competition to healthier food for residents. At the same organized by ecological design group Ter- time, gardening activities would keep older reform 1, challenged architects and design residents active and promote the civic enindustry professionals from all backgrounds gagement of an oft-overlooked social group. to reinvent the American lawn by retrofitting “The elderly population is doubling by 2050,” facilities to encourage urban agriculture and Nandan says. “We think it’s probably one of build community. Gita Nandan and Elliott the most important groups to start thinking Maltby, principals of Brooklyn-based archi- about designing for.” tecture firm Thread Collective, tied for top honors with their down-to-earth proposal Nandan and Maltby are no strangers to social for repurposing poorly maintained yards design or urban agriculture. Through Thread surrounding New York City public housing Collective, they designed the Spier Contemporary, the first built element of Southbank, projects into urban farm plots. an arts center in South Africa, and are Their winning entry entitled NORC Farms, working on a sustainable community center details how planting gardens in complexes for an urban farm in Brooklyn. Although with a high concentration of older adults— sustainability is a common thread running known as Naturally Occurring Retirement throughout their work, including NORC Communities, or “NORCs”—would solve Farms, it’s more than a ride on a popular a number of problems. The gardens would bandwagon. “One thing we were thinking revive the underused lawns and yield a lot about in terms of urban agriculture produce that neighborhood grocery stores in New York City was how to have longevlargely lack. NORC Farms would also provide ity beyond this time of passionate interest,” space for more social interaction and access Maltby says.

Farming goes viral.

Text by Jamie Hartford , a freelance writer based in Oregon. See more of her work at www.jlhartford.com. Illustrations by Luke Williams, www.lukelukeluke.com

DESIGN THINKING

Streamlined Sustainability By Nicholas Krause Developed by Mads Jensen and Peter Krebs, Sefaira is an online resource for architects which allows them to assess the potential sustainability of a given project in its early design stages. The web-based software provides a quick and easy way to determine the effectiveness of multiple sustainability strategies, saving time and money. Can you explain what exactly Sefaira is and what it does? Mads Jensen: We try to give architects an easier way to analyze the performance of their designs by providing the tools to easily review and compare different sustainability strategies. Imagine the phase of design where an architect might be working with one shape, one form, one size, and then [he or she] wants to find out what would happen if [he or she] would pursue different strategies: building orientation, glazing ratios, green roofs, solar panels, external shading façades and watersaving strategies. They can test all these things very quickly in our software and narrow down the number of strategies applicable to their environment, and know from the resulting data how the building is going to perform given the various choices. How does an architect get the design into the software?

Urban agriculture has experienced intermittent popularity in the city, from the early days when the Big Apple was more farm than city, to World War II victory gardens, to today’s urban homesteading. Design, Nandan and Maltby say, can encourage perennial urban gardens by making them attractive and accessible. “The city is a quirky place,” Nandan says. “It’s not like being in Kansas where there are plains and fields… design can come in to facilitate urban agriculture.” Nandan, who specializes in sustainable and urban design, and Maltby, a landscape architect, often work with collaborators in other disciplines on their projects.They worked closely with an African arts curator on the Southbank project, and for NORC Farms they teamed with developer, blogger and community organizer Derek Denckla. “We feel you can get further in the design process if you have multiple perspectives,” Nandan says. “Derek was our voice of reason, and he has sort of taken on the role of really trying to get this to become a reality.” As for next steps and actually making NORC Farms happen? “We’re looking to see where and how it could actually live and get off the ground,” Nandan says. Both Nandan and Maltby are looking into speaking with the New York City Housing Authority and are seeking funding sources to help their gardens grow. a

Peter Krebs: Our software is entirely web-delivered like other web applications people use everyday, such as Facebook or Gmail. Architects build their models in the software of their choice and exports to SketchUp. Once they have uploaded their SketchUp file to Sefaira, they can view and begin analyzing their buildings. Architects can create dozens or even hundreds of concepts that are based on the uploaded model, testing out different strategies within each concept. How does Sefaira change the way architects work? Peter Krebs: We don’t want to change the workflow of how design is done. Rather, we try to adapt to the different ways in which architects take a project from concept design and creation through to the later stages of design. Often architects are asked to come up with a design very quickly to meet deadlines for perhaps a competition or an initial evaluation of potential design concepts. One of the things we’ve found when we work with architects is that in that process, it’s hard to obtain the data to make informed sustainability decisions. For example: Which of my concepts is most energy efficient or saves the most water? What are the cost implications? Sefaira can answer these question and more. What we’ve tried to do is to allow data to be generated in a useful fashion requiring far fewer questions than traditional energy software, while maintaining a similar level of accuracy. Programs like eQUEST (a US-government-sponsored program for energy analysis) are accurate models but also require a lot of engineering expertise to use to their full potential. Sefaira's novel approach gets useful answers into the hands of designers and decision makers at the early stage of design, when those choices can have the greatest impact on sustainability.

sefaira.com

DESIGN THINKING

URBAN GREENSPACES Terrain Architecture's landscaping solutions for green city living Traditionally, landscape architecture is found on stone-scaped terraces in smallscale urban sites. But Terrain Architecture aims to brings floral consideration to the tops of skyscrapers and high-rise rooftops. Principal Steven Tupo shares a few of his firm's metropolitan projects that put a new spin on green living.

Text by Ryan Delia, a freelance writer and landscape designer living in Chicago. Photos by Javier Haddad

Metroscape This midtown Manhattan residential site was a rundown relic of the 1980s before Terrain was called in to renovate the space. The site contained both elevated and sunken areas that had become dysfunctional and outdated. To solve this problem, Terrain designed a ramp system that gracefully transitions users through the space. This function addresses both aesthetic and circulation challenges, in addition to balancing the overall feel of the space. Terrain also added bleacher style seating, which acts as a flexible and convenient gathering space, as well as a physical and visual anchor for the environment. Despite tight budget constraints, the team found a way to continue the bleacher style seating to the rooftop, where it also hides the unsightly heating and air conditioning unit. Atop the roof, the seating elevates the residents above the parapet to offer dramatic views of the Hudson River.

DESIGN THINKING

Lucida Landscapes The Lucida project is a great example of contemporary designers pushing the boundaries of traditional landscape architecture. Architects originally planned for the Upper East Side, LEED certified residential building to have a glass curtain wall and a few climbing vines to add a touch of color to the space. Frustrated by the typical building treatment of a few plants and shrubs at the building edge, Tupo thought to himself, “Why not think of the entire façade as a landscape skin?” Terrain envisioned an opportunity for a much larger intervention, one that would define character and style of the building. The final solution features a patternened skin that activates the street edge while serving as a local landmark for residents. Over time, the vines planted at the base of the wall will climb towards the summit, partially filtering the backlit fixtures, which at night will produce a warm and welcoming glow for the building residents.

DESIGN THINKING

Since its installation, the Frog terrace has become a crucial outlet for the staff. The space not only serves as a beautiful vista to gaze upon, but also as a gathering space for meetings, parties and the ever-popular open mic night that takes place every Thursday at the office.

The Landscaping Professionals McNultyOutdoors.com (516) 352-1550

Frog Design Studio Terrace Employees at Frog Design group, a rapidly growing creative firm in New York, originally approached Terrain to suggest appropriate plants for its lobby and office spaces. But when Tupo saw that the rooftop outside their office was being used exclusively for a heating and air conditioning unit, he knew he had struck gold. Terrain developed a strategy to convert the underused space into a multifunctional high-rise oasis. Tupo and team placed boldly colorful and textural plant material in the space as a way to both sharpen the senses and encourage inspiration. Since its installation, the terrace has become a crucial outlet for Frog’s staff. The space not only serves as a beautiful vista to gaze upon, but also as a gathering space for meetings, parties and the ever-popular open mic night that takes place every Thursday at the office. a

Beautifying New York City One Garden at a Time... Since 1985

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STEEP GRADE, SIMPLE DESIGN A modern Aspen home modeled after classic 1950s architecture

In the early stages of its planning, the owners of the Scholl 2 house approached Scott Lindenau, founder and design principle of Studio B Architects, with a book. One look at the architecture within its pages, and Lindenau was sold. It was a collection of the Case Study Houses of the 1950s. These experimental homes were built and designed by architecture luminaries like Charles Eames, Craig Ellwood, Pierre Koenig and Richard Neutra. The clients, avid art collectors living between Aspen and Miami, appreciated the low-profile architecture with its signature simple forms, large spanning interiors, exposed structure, and floor-to-ceiling windows and doors. For the Scholl 2 house, the homeowners wanted Lindenau to translate the same design principles into a home on a steep site in an architecturally conservative Aspen neighborhood. The designs of the original Case Study Houses took the environment into consideration, a forward-thinking idea for the time period. Scholl 2 followed suit, with environmental awareness informing the choice of high-efficiency boiler systems, triple pane glass and spray-in insulation in its walls, roof and ceilings. The home’s luxurious interior boasts darkened oak flooring and Carerra marble, while the home’s

exterior is composed of custom zinc panels, a concrete base, and aluminum windows and doors. Studio B eschewed wood for the exterior of the home, as Aspen’s hot summers and cold winters would have made it a high-maintenance choice. Lindenau’s careful choice of materials complete his “very simple, mercurial palette,” and he says that these choices will help the home maintain its crisp look even ten years from now.

Text by Amy Anderson, a Texas-based freelance writer and editor. See more of her work at www.amyandersonwrites.com. Photographs by Aspen Architectural Photography

Lindenau notes that the project posed a few challenges for him and his team. “The site itself was very tricky because it’s steep,” Lindenau says. Studio B used the potential stumbling block to its advantage by mimicking the natural contours of the hillside and engineering a structure that sits off-kilter in relation to nearby houses. The slight adjustments revealed access to incredible mountain views. Lindenau describes the layout of the Scholl 2 residence as “a plinth with a rectangle sitting up top.” Its simplicity is his favorite element: “I think this distilled the design problem down to its essence, and it’s a very clear solution,” he says. The Scholl 2 house's stylistic nods to the ’50s, yet decidedly modern detailing, reflect both an awareness of history and a willingness to explore new ideas. a

Opposite: The Scholl 2 house, designed Studio B Architects, sits comfortably on a dramatic incline

DESIGN THINKING

Case Study Houses: High Design for the Common Good John Entenza, editor-in-chief of iconic Arts & Architecture magazine, announced the Case Study House program in January 1945. Located in the suburban foothills of Los Angeles, A & A commissioned the first eight houses as an investigation into how good design could be applied to mass-produced housing. The resulting proposals, including designs by rising architects Charles Eames and Richard Neutra, explored how to integrate industrial design materials, compact planning and cost-efficient design techniques without sacrificing the high quality of mid-century housing design. Case Study House #1 by architect Julius Ralph Davidson was completed in 1948. The home was considered an architectural success, incorporating inexpensive building materials such as aluminum siding, asphalt floor tiles, formica and plywood in order to lay out a house that maximized the potentials of both indoor and outdoor spaces. The CSH program quickly took off, and over the next 21 years, A & A published 36 designs, which resulted in the construction of 24 sustainable homes. Most still stand today, occupied by families, design enthusiasts, and people who understand that high-value design does not have to come at a premium cost. Above: CSH# 22: Stahl House, 1635 Woods Drive, West Hollywood (1959-60) and CSH #21: 9038 Wonderland Park Avenue, West Hollywood (1958) by Pierre Koenig. Photos by Julius Shulman. Courtesy Taschen's Case Study Houses. www.taschen.com

DESIGN THINKING

“I think this distilled the design problem down to its essence, and it’s a very clear solution.” —Scott Lindenau, PRINCIPAL

Redesign: Christ Episcopal Church Working with skilled construction companies to bring a vision to life is de rigueur for Lindenau. Bill Baker, owner of W.H. Baker Construction, says his team has been honored to work with Lindenau and Studio B on several structures. Project manager Steven DeClute agrees: “Bill and I have always admired the firm’s approach to design. The Studio B team understands construction, and this makes our work much easier.” Studio B and W.H Baker teamed up to build the national award-winning Christ Episcopal Church in historic downtown Aspen. DeClute says, “[It] was a particularly challenging project to meld Studio B’s great design to the functionality that the church congregation desired, within the constraints of a remodeled building.” But as the conversation between Studio B and the congregation progressed, DeClute and company found common ground within the stunning design.

Photograph by Raul J. Garcia & Derek Skalko

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tasty handscreened wallcoverings

flavor

est.1970 [sort of…]

paper

504

4213 chartres st. new orleans la 70117

tasty

944.0447 tel 944.0484 fax

cycloid line:

ted’s original

e s t .1970 [ sort of ...]

handscreened wallcoverings

F l a v o r p a p e r 4213 chartres st. new orleans la 70117 504

pattern:

parTy gIrl designed by karen hsu of omnivore

944.0447 tel 944.0484 fax www.flavorpaper.com

TASTY

HANDSCREENED

WALLCOVERINGS

E S T .1970 [ SORT OF ...]

F L A V O R P A P E R

504

4213 chartres st. new orleans la 70117 944.0447 tel 944.0484 fax

PATTERN:

DAUPHINE LINE:

FRESH FLAVORS

Flavor Paper's dazzling wallpaper muscles its way into the limelight

Text: Ellen Knuti Photographer: Noah Kalina Model: Nadiya with Factor Stylist: Lexyrose Boiardo Hair & Makeup: Anna Marie Tendler Stylist Assistant: Lexyrose Boiardo

FLAVOR PAPER ROOFTOP ELEVATOR VESTIBULE DESIGN THINKING Floral blouse, grey satin pants Jill 79 Stuart Red satin head piece, Eugenia Kim Rings, necklace Karen Walker Vintage pearl earrings, stylist's own Wallpaper: Kabloom in Fruit Punch on chrome mylar.

DESIGN BUREAU

Left: FLAVOR PAPER MASTER BATHROOM Black lace bikini, Lover Earrings and bracelet, Kenneth Jay Lane Wallpaper: Custom-torn Celestial Dragon in transparent magenta and flat black on chrome mylar. Designed by Karen Hsu for Omnivore. Right: FLAVOR PAPER MASTER BEDROOM Yellow lace dress, Cynthia Rowley Nude tights, Capezio Vintage earrings, stylist's own Wallpaper: Sheba in Bleached Sand on bronze ponyskin.

DESIGN BUREAU

DAUPHINE FRESH FLAVOR

F L A V O R

P A P E R

specs SCREENS : COLORS ACHIEVED : SCREEN REPEAT : PATTERN REPEAT :

1 OR 2 2 OR 3 54” 14”

SIDE TO SIDE MATCH :

STRAIGHT ACROSS

BOLT LENGTH :

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bywater blue on silver

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good n plenty on steel grey

hen Jon Sherman talks about wallpaper he tends to speak in multiple senses—the feel, the texture, the smell, the flavor— like he’s experiencing some sort of visual synesthesia, a blurring of lines between sensory pathways. But the wallpaper he’s talking about does warrant special consideration. Its design is graphically and technically impressive, and its patterns range from unique to loud. There’s a reimagined version of Hokusai’s classic Japanese block print, The Great Wave, that pops on iridescent blue paper, a buxom babe posing amidst skulls and sharks in a wallpaper called Shore Leave, and Elysian Fields, a heavily patterned take on William Morris that replaces Colorways can be printed on any ground. fleur duis lys and flytraps. SherImage on page roughly with true-to-sizebats and our second linervenus is approximately 6’ tall. The quality and depth of the paper cannot be captured by screen or print production. man’s claim, “I’ve never been a ‘white-wall’ For an accurate representation, please request a sample. guy,” only begins to describe his penchant for bold design. Sherman runs Flavor Paper, a producer of high-end, screen-printed wallpaper geared toward a design-savvy consumer market. Over the course of its history, wallpaper has been treated as a trend exemplar of the decorative arts, touching on (and often falling victim to) its defining dichotomies. Can it be art or is it mere decoration? To what degree does its functional application limit its creative scope? Does it belong in the foreground or the background? Sherman concerns himself with only one answer: the right wallpaper can, and should, fill the foreground of a space. “It all came about because I didn’t know a single person who had wallpaper,” Sherman explains. “I didn’t know anyone who’d even thought about wallpaper.” That is, until he was living in New Orleans and saw a catalogue of screen-printed wallpapers by a deceased Oregon designer named Ted. Swinging metallics, bold geometrics and “some awful 80s work” filled the pages of the book, and for Sherman, it was love at first sight. After years of bouncing from industry to industry, he had finally found something he could settle into that would simultaneously indulge his artistic- and business-minded impulses. Sherman committed to starting and maintaining a business in the name of a craft he admired, but had yet to learn.

DESIGN BUREAU

“I'VE NEVER BEEN A ‘WHITE-WALL’ KIND OF GUY.”

—Jon Sherman, owner, Flavor Paper

Within hours of his revelation, Sherman was in Portland gathering the first pieces of the puzzle from the original designer’s family, which included a 48-foot-long, four-ton steel screen-printing table, an industrial vacuum and the decades-old silk screens of the original patterns. He loaded everything onto a semitruck and shipped it to New Orleans while he raced back to find a suitable studio space to set up shop. He decided on a spot in the Bywater District, east of the French Quarter and across the levee from the Lower Ninth Ward. That was in 2004, and just a year later Hurricane Katrina dropped down to wreak havoc on the city. Flavor Paper was spared from the flooding, but power outages, inconsistent mail service, and the city’s severely compromised infrastructure made for a particularly tough backdrop for a new business. Perhaps more critically, the high humidity of New Orleans made it an extremely challenging place to work with paper. “We use water-based inks that we print onto non-breathable materials like mylars,” Sherman explains. “The ink sits on the surface and needs to air dry. We were fanning the flames, basically, trying to make that happen.” With most of Flavor Paper’s sales coming from New York, and with its paper and ink providers close by, Sherman began looking to relocate his young company from the Big Easy to the Big Apple. flavor lab Part of what sets Sherman apart from other entrepreneurs is not just his willingness to act on impulse, but also his confidence to do it wholeheartedly and with bravado. The evidence can be seen in Flavor Paper’s new headquarters in Cobble Hill, Brooklyn. Sherman looked at more than 130 sites before deciding on the four-story 1929 brick and con-

FLAVOR PAPER BEDROOM Brown short-sleeved jacket, Lover Scarf worn as bathing suit top, Hermes High-waisted black bottoms, Camilla Staerk Ring and bracelet, Kenneth Jay Lane Vintage earrings, stylist's own

DESIGN BUREAU

DESIGN THINKING

FLAVOR PAPER STAIRWELL White blouse, Alex Casertano Blue pants, Built By Wendy Scarf worn as headband, HermĂŠs Rings and necklace, Karen Walker Ring, Kenneth Jay Lane Vintage earrings, stylist's own Wallpaper: Sakura in Cherry Blossom on chrome mylar. Designed by Emily Minnie.

DESIGN THINKING

stages of their process and the equipment required. A lot of the opportunity was to create a more efficient studio.” After immersing himself into Flavor Paper’s culture, Kovel decided to make some unconventional moves in the new space. He located the silk-screening studio on the highly visible ground floor and the showroom on the second floor, reversing the traditional emphasis on retail. “Doing manufacturing as retail was a much more interesting and progressive concept,” says Kovel. “Upstairs, we decided to create window displays, each with a different pattern and development, ” he continues. The Skylab team created the studio so that its design scheme changes in accordance with the color and pattern of what’s being printed at the time. “The idea [was] to take the building exterior and paint it matte black to create a more neutral environment for all these interior spaces to come forward.” Kovel explains. Sherman admits that some of Flavor Paper’s neighbors initially expressed concern at what might’ve turned out to be a big, black monolith in their midst, but the open layout of the studio eventually won over hearts and minds of the block, as passersby regularly stop to see new work in progress.

crete building. He turned to his friend, Jeff Kovel, the founder of Skylab Architecture, to convert the building into a mixed-use space that would house the wallpaper production studio, office space and a showroom, as well as two employee apartments and his own residence on the top floor.

Above: Along with an expansive roof deck, the Flavor Paper building clocks in at 16,000 square feet of commercial and residential space Top photo by Boone Speed

Kovel not only understood the challenges of the project—from navigating New York City’s complex zoning laws to devising a program that fit the various uses of the building—but he also saw it as an opportunity to showcase Flavor Paper’s stunning designs by applying Skylab’s approach to creating distinctive environments. “We flew down to New Orleans and spent three days trying to learn and understand [Sherman’s] process,” Kovel says. “It was important that we become experts in the

To emphasize the dramatic space, the ceiling was outfitted with an 80-foot-long mirrored soffit that cantilevers to reflect outward the contents of the twin printing tables. Doug Russell, who served as the lighting consultant for the project, suggested installing a pair of thin slots to house lights that run the entire length of the ceiling mirror. The mirror ends in a mirrored wall at the far end of the building, and the two resulting lines of light give the illusion of continuing on forever, pulling the viewer’s eye back into the studio. “Whatever lighting we did on the façade needed to be subtle and still respectful of the neighborhood,” Russell explains. “It makes you look through the cracks.” At points in the building’s design, Flavor Paper and its space merge seamlessly. A large-scale neon installation inspired by the florals in the Sakura wallpaper runs the entire height of the building’s staircase, and the sculptural touches on the showroom ceiling are modeled on the pattern of Cycloid. “I went to Carnegie Hall for the first time the other day, and all I could think of was what a waste of wall space.” Sherman says. “I feel like they could engage people so much more by adding more to the space rather than just this white, massive, five-story field of blankness. It leaves you

DESIGN THINKING

A look inside Flavor Lab, where creative prints and papers are crafted on a 40-foot aluminum table

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—Dan Funderburgh, artist

yearning for something to drive your eye towards. I guess they consider it to be ‘not distracting,’ but I consider it to be boring. Honestly.” Flavor Paper now boasts more than 50 styles of wallpaper, with patterns from a variety of designers in a dizzying array of colorways. Some of their wallpapers are quite literally flavors—scratch-and-sniff. These designs carry familiar fragrances like banana, cherry and tutti frutti. Brooklyn-based artist Dan Funderburgh has created some of Flavor Paper’s most interesting wallpapers, from City Park, which freshens a standard square-repeat pattern with its fire hydrants, parking meters, and pigeons to Sharp Descent, a stark, two-color paper with a cornucopia of murderous and pointed objects cascading downward. Funderburgh counts himself lucky for Flavor Paper’s existence. “I’d been designing wallpaper only with the vaguest sense that it could ever really get made. Flavor Paper’s level of exactitude and craftsmanship is something I can’t even do on my computer, and they’re screen-printing it by hand. It’s incredibly impressive.” “I think that Jon [Sherman] and Flavor Paper—if you just look at the whole building—are almost obnoxious in their flamboyance,” Funderburgh adds with an affectionate chuckle. “Which is intended, and it's awesome.” a

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Photo: Boone SPeed

“Flavor Paper is almost obnoxious in its flamboyance. It’s intended, and it’s awesome.”

Massive Change for Bruce Mau

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Massive Change for Bruce Mau

Design powerhouse Bruce Mau believes that reframing design research is the key to resolving some of the world’s biggest issues. Architecture and design curator Zoë Ryan feels that cultural institutions— museums included—should utilize their influence and resources to promote design research. With these two complementary perspectives in mind, Ryan sat down with Mau to discuss his life experiences, current work and big visions for the future.

INTERVIEW BY: ZOË RYAN PHOTOS BY: JANE J.GASPAR

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Most designers build their careers through specialization. They choose one area of the graphic world and spend decades perfecting projects and honing their expertise in that area. Although this approach is perfectly acceptable and considered the norm for most in this practice, it just doesn’t fit the mindset of designer Bruce Mau. Mau, a native Canadian now based in the US, thrives on versatility. He first became known for his revolutionary graphic design work on the Zone Books for MIT Press, in which he created a cohesive graphic identity for the series that broke free from traditional book layouts. He also became the graphic force behind SMLXL, architect Rem Koolhaas’ seminal architecture tome. Outside of books, Mau’s graphic work earned him heavy hitting jobs, including designing the entire signage systems for architect Frank Gehry’s Disney Concert Hall and Koolhaas’ iconic Seattle Public Library. Other more recent career coups included his work on ¡GuateÁmala!, the Guatemalan government’s expansive communications campaign to reinvigorate national pride, and Massive Change, an exhibit that used graphics and media to pinpoint design thinking as an approach to breaking down systemic world problems. He has since expanded this idea of Massive Change into new research practices, making the exhibit one of his most defining works. Such a prolific career spanning more than 25 years would be enough to overinflate any designer’s ego, but refreshingly, Mau hasn’t transformed into a design egoist. Rather, he is warm, welcoming and jovial, walking to greet Zoë Ryan, curator of Architecture and Design at the Art Institute of Chicago, as she arrives on a North Shore-bound train for her interview with Mau at his home. He greets his friend with a toothy smile and a wave hello. His house is just as inviting as his wide grin. A conversation with both Mau and his vivacious wife Bisi reveals that they worked hard to transform the house from a dark, wood-covered box into a bright, airy home for their brood. Playful elements like family photos, a poster-sized plea for a pet fish from his daughter and a giant trampoline in the front yard make his space far from curated. It's the perfect habitat to breed creativity and curiosity—and new ventures. As it turns out, Mau recently took a step back from his duties at the revered studio Bruce Mau Design to begin a new one, Bruce Mau Live. Its mission: to broadly improve the world through his theory of Massive Change. Its current number of employees: two, just Bruce and Bisi. Without many hands on deck, most people would find such an all-encompassing goal entirely overwhelming. But not Mau. Armed with decades of design experience and unwavering optimism, he is funneling all his efforts into Bruce Mau Live and the idea of Massive Change, a strategy he’s hoping will help resolve some of the world’s biggest issues. Here is a portion of the conversation Mau had with Ryan for Design Bureau, in which he explains just how he plans to solve such major problems with his new design thinking firm and theory—and how he will do it all while maintaining his positive approach and signature broad smile. Introduction by Kathryn Freeman Rathbone

Zoë Ryan, photo by Randy Korwin

Zoë Ryan : Bruce, what do you feel is your responsibility as a designer?

Bruce Mau : The way that I’ve been thinking about

design for quite a long time is that it’s constantly evolving. I think that there are roles, possibilities, opportunities, and responsibilities in each system. I think [that] this moment in time is a moment of struggle. For me, personally, for the world, for the [design] work. There’s a struggle going on.

ZR : It’s interesting to hear you say, “I’m struggling because

the world’s struggling.” Has this experience prompted you to focus the work of your studio more directly on projects that have social significance and meaning? Are the outcomes of these projects the reason you remain so optimistic?

BM : I have a fact-based optimism. We live in a world of

six billion people, and we wouldn’t be here if we weren’t winning. If we were losing, we would be a billion. We won, and we’re closing in on seven billion. Now that’s creating a whole craft of troubles that we wouldn’t have if we weren’t successful. We wouldn’t have climate change. If there were only a billion of us, every one of us could drive a Cadillac and it wouldn’t matter. We’ve overcome such incredible problems, and we’ve done it by distributing power. The reality of our culture is that we’re social, and we distribute capacity. We teach people—that’s the whole idea of education. Think about it—it’s an idea that says, “I’m going to help you.” We put that at the foundation of our culture, so it has had an amazing effect on society. So optimism is based on reality; if you’re pessimistic, then you’re actually >>>

Bruce Mau shares a laugh with wife and business partner Bisi Williams inside his 91office DESIGN BUREAU // Informer

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suffering from a disorder. If you only focus on the negative, it’s paralyzing—it doesn’t inspire you. You go home, you go to bed, you lock your door. And so [pessimism] produces negative effects, which is why I think this is such an important question: Can we generate optimism and can we generate movement forward?

ZR : How then do you see your role as a designer? BM : That’s a really good question. The easy answer is that

there’s a variable. Sometimes I act as an instigator—I can help you look at problems, I can show you solutions, and then you’re going to fix it. For example, I’m not going to fix Guatemala, the people of Guatemala are going to fix Guatemala. I can help them communicate what they want to fix and then they can go ahead and do their thing.

ZR : But isn’t the idea behind Massive Change that a collective response—in which teams of people with different knowledge and skills are brought together to solve problems rather than an individual response—can achieve stronger outcomes? How then does a collective message get put forward in order to achieve projects that have strong voices?

BM : I work really hard, and if I’m going to work really hard,

then I want to know that the work I’m doing is good. When I was working for a corporate design firm, I had this feeling that I was building my own prison. It wasn’t a good feeling. I was constraining life rather than releasing it.

ZR : What was the impetus for your move to America?

discourse—but being here, you’re connected to people who have the capacity to do things.

ZR : What has been most surprising or eye-opening to you conversation is all academic. It’s not real in the sense that about moving here? you don’t have a responsibility for anything. We’re good at talking, but we don’t actually have to decide when to pull BM : I thought I knew America—our biggest clients are the trigger. We don’t have to decide whether or not we here in America. But what I realized is that I was actually will enforce international law. The reality is that America working with Canadian Americans. The kind of people has that role. Every conversation is intense because the who hire me, they are not the total bandwidth of experioutcome is real. The outcome is: “We’re going to spend bil- ence. The Getty Center, Frank Gehry, MoMA—these are lions of dollars on this or that, we’re going to go support this, not your typical American people. and we’re going to take money away from that.” If America does things, it impacts the global economy; it has a central ZR : Since moving to Chicago, you have become involved role in the discourse of the world. It’s not that marginal in a number of local initiatives and projects. Recently, you discourses aren’t important—they can all affect the central became a member of the Herman Miller design council. What has been your experience of working with this company?

BM : This was “the empire.” When you go to Canada, the

BM : It’s been an absolutely extraordinary experience. They’ve started thinking about [total] design rather than thinking [only] about the products as design.In general, when we first think about low-cost products, we think that we’re going to have to go down-market. But at Herman Miller, we’re thinking about it as flipping design upside down and saying that the lower cost product is the best achievement of design. Any bonehead can make a thousand dollar product. Try making it for $150. That takes the best design, and it’s the highest order accomplishment because that means we’re using less energy, we’re using fewer resources, and we’re producing the most effect. If you can design in the spirit of Herman Miller, then you

This page and right: A look inside Mau's home reveals a warm environment filled with books, school projects, familial objects and a few highdesign chairs.

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have contributed to the world of positive effects. For me, that definition of design as thinking about the whole enterprise as a design enterprise is a perfect engagement.

ZR : Your latest venture is that of Bruce Mau Live. What

does this mean for your role within your own studio in Toronto? Has Bruce Mau left Bruce Mau Design?

BM : I will still do key projects. Hunter Tura, the CEO [of

Bruce Mau Design], talks about spike projects—projects that spike the capacity of the studio; those I’m [still] involved in. If you want to get a book done, one of the best places in the world to do that is BMD. Now, if you want to do a book that goes to new places, that inspires me, then that I’ll be involved with.

ZR : So how will Bruce Mau Live differ? BM : [BML] develops new things; it’s not for a client. We

know that education is a key area of focus [for us]. We need to do a new way of thinking about education. If you can accelerate that, then you can accelerate everything else. That’s not what a design studio is set up to do. It has an infrastructure to deliver excellent design services and very creative work for design projects.

What is Massive Change?

ZR : Will Bruce Mau Live be more research-oriented? Will you work on more self-initiated projects?

BM : Yes. I realized that in the past I was interested in

doing both of those things, and it was totally confusing to people. I would throw that into the studio, and because I was excited, everybody would want to be involved. There would be a research project with like a $25 budget, no money behind it, and yet when I would go give a presentation about it, there would be half a dozen people there from the studio because they saw that I was really excited.

ZR : Is this a new business model that you are instigating for a design practice?

BM : You have to design research as a business. You don’t

have to as much as you need to. Massive Change is obviously a huge change in the way I work and think. It’s about getting at the real problem, getting at a central idea, and I

In September of 2006, Bruce Mau opened his exhibit Massive Change: The Future of Global Design at the Museum of Contemporary Art, Chicago. The show introduced the world to Mau’s belief that design thinking can be applied to a wide array of social problems, fostering widespread collaboration and generating innovative solutions. From this perspective, anybody can act as a designer, supporting Mau’s view that design shouldn’t be limited to a closed set of professions. Bruce Mau Live will advance these principles further, taking on projects not normally approached through design practice. When Mau states that Bruce Mau Live will focus its energies on implementing his idea of Massive Change, he isn’t overinflating the studio’s ambitions. Currently, BML is working towards reframing Monterrey, Mexico’s broken education system. “Education is not a traditional design project,” asserts Mau. “It’s not about visual things or physical things. It’s about applying design as a way of working, as a way of thinking.” Mau finds this project especially intriguing because Monterrey’s most influential leaders recognize and believe in the potentials of design thinking. “In Monterrey, they see education as a design problem. There’s a realization that if you apply Massive Change design thinking, you can have a radically good solution.”

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Signage

Top: Disney Concert Hall, Los Angeles, CA, Bottom left and right: Seattle Public Library, Seattle, WA

When it comes to architecture, graphics are often ornamental. But at Frank Gehry's Disney Concert Hall and Rem Koolhaas' Seattle Public Library, graphics are integral, creating stunning spatial effects without being too obvious. Mau and his studio designed the graphic systems for both buildings. Just like many of their other projects, the designers site research as the key element to signage success. For the Seattle Public Library, they involved the entire library staff in the design process. The final result: bold supergraphic signs meshed seamlessly with walls and floors that guide visitors while enlivening the library's spaces. For the Disney Concert Hall, the studio tested more than 5,000 font variants using patented Disney animation techniques. In the end, they devised "A Font Called Frank," the building's signature graphic element, by studying the transitional points of the animated fonts as they morphed into one another.

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“Design has changed its place in the world, from a subset of business to the biggest business of all.”—Bruce Mau

think that’s the real transformation. The thing that is in- ally saying, “You have a responsibility to the world that you teresting about it is that when you use the word “design,” love.” Essentially, it’s about understanding that responsimost people think “fancy, expensive, singular objects.” bility and accepting it: we’re going to have to design nature, They think cultural, not popular. They think it’s expen- or we will perish. sive. They think it’s singular—an authored thing. What we realized is that, for our work, those are old definitions and ZR : Bruce, have we missed anything in terms of defining categories. We’re looking at plural, systematic, economic this new direction for you with regards the founding of and ecological things. How do we make collective things Bruce Mau Live? that are systematic, that produce beauty and quality, and can produce that beauty and quality economically, eco- BM : Well, the one thing that’s not so clear is the economic logically and in perpetuity? That’s a new way to think mechanism. The real problem is that we don’t know how to about design. do it yet, but we do know that it is possible to do. Ultimately, a very narrow sliver of people can afford to be in some ZR : But you are talking about a complete rethinking of how kind of emergent experience in Chicago, or Toronto, or anywhere else. The people who need Massive Change the a design practice can function, am I correct? most are completely cut out of that. So, one of the things BM : If you think about design in the old way, you think, that we’re committed to is this idea that we need a new cur“Oh, that Bruce Mau, he’s a megalomaniac. He wants to rency. Imagine you’re a shareholder of a school that you’re design the world.” I think the “designer idea” is still very part of. Rather than paying tuition, you would buy shares. much tied to an authorship, a singular artist, whereas this That would mean that you would actually participate in the creative contribution that you’re making and the effect is about collaboration. that it has. This is the real work, and we need to make an The world still wants a narrative, and how we deal with easy model to do it. I think this is such a critical idea: we stories is changing. You know, we tell stories to talk about need a currency that has an exchange rate with dollars. an idea. When I was in New York, I went to hear Bill Clinton. And he was amazing, but he was boring—all he talked about ZR : But isn’t the challenge being able to make visible the was math. And for a wonk like me, I get excited. But every- value—financial, social and cultural—of this work? body else is like, “This is so dull because it doesn’t touch my narrative heart, and I can’t tell my story.” So getting to the BM : All great design has value, great reputational value. collective things and getting to a way that allows people to When we went to South Africa, we announced that we tell individual narratives is what I think we’re about. wanted to do something about Massive Change. And there was a line around the hall, hundreds and hundreds Design has changed its place in the world, from a subset of people who wanted to do it. And it’s like, “Oh, Wow! Ok… of business to the biggest business of all. In the end, we’re we better figure out what to do. How are we going to do not going to win by being right or smart—we know how to this?” These people can see it’s the new way, so how can be right and smart, we’ve known that for 40 or 50 years. we make it easy for them? How can they be part of this? It’s a really hard subject for people because we like to act like we don’t have responsibility. We have it, but we act like The real challenge is to change the story from hard to easy. we would rather not. We would rather that the world just To do what we’re talking about, if it’s hard, it will be very happen to us. But designers don’t have that luxury. When exclusive. Design needs to just be easy, but it’s so difficult we say that nature is now a design problem, we’re not to achieve. So figuring out the easy concepts in design is saying that it would be fun to mess with nature. We’re actu- our major challenge. a

UNSCRIPTED STYLE Actresss, musician and jewelry designer Krysten Ritter has mastered the contradiction of staying grounded while floating along Text: Christina Voss Photographer: Noah Kalina Stylist: liz mcclean & lexyrose boiardo Hair: Kristan Serafino Makeup: Beau Nelson for the Wall Group/BeautĂŠ Cosmetics Stylist Assistant: Sayani Ortega

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Top, Society for National Dress

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coms, her characters have range; she’s played the sweet girl in Confessions of a Shopaholic, the emasculating hard-ass in She’s Out of My League and the darkly witty heroin addict in Breaking Bad. But in person, Ritter is playful, funny and describes herself quite simply as a “I want this apartment. This place is amazing,” “weirdo.” she says. But as it relates to her own home, design is the last thing on her mind. “I do not “High school was tough [for me] because you have a domestic bone in my body. The only can only miss 25 days, and I missed them all,” reason why my [home] is designed is because she says. She spent her childhood growing up my roommate did it for me.” An interesting on a small cattle farm in Pennsylvania, and fact, given that her home was featured on at 15 was discovered by Elite Model Management. Soon after, Ritter was catching the popular design voyeur site, The Selby. 5 AM bus to New York City for photo shoots, After greeting everyone, Ritter disappears and by the summer she was living on her own with her hair stylist to prepare for the shoot. in Tokyo. “That’s when going back became When she reemerges, she shows off a com- harder. I was from this tiny, tiny town—farm,” pletely new haircut—her long, dark locks now she says. “And here I am off in Tokyo with my transformed into a blunt shoulder-length bob own apartment, fending for myself.” with brow-grazing bangs. “I’m an actress,” she says with a grin. “I’m supposed to change.” And thus began Ritter’s nomadic lifestyle, and, consequently, is one of the reasons why Her new haircut may seem spontaneous, but she says she's never developed a particular she explains that it is marking her transition interest in designing her own space. “I just from one film to another. She has just finished don’t care about things that don’t fit in my filming the romantic comedy Vamps with Ali- suitcase…I guess it’s because I’ve been a vagacia Silverstone and Sigourney Weaver (di- bond for so long. I’m more concerned about rected by Clueless’ Amy Heckerling), about what I have with me. I don’t have a real sense two young, female vampires in New York. of home.” Her roaming requires a flexible Now, she’s shooting the tentatively titled sense of personal style, which she describes BFF & Baby, which she co-wrote with direc- as “easy and accessible and multi-purpose.” tor Kat Coiro about two best friends whose lives change when one of them gets pregnant. Ritter is endlessly inquisitive, creative and Although Ritter has done her share of rom- eager to explore new outlets of expression. In hen actress Krysten Ritter arrives at the East Village apartment for the day’s photo shoot, she shakes out her long black hair, still wet from rain, and smiles broadly at her surroundings.

Opening spread and opposite page: Actress Krysten Ritter, known for her work in film and TV, also plays in the band Ex Vivian

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Continued on p. 115 Top, Society for National Dress Skirt and bra, VPL Shoes, Brian Atwood

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CASTING CALL After leaving her hometown behind and relocating to New York, Ritter decided to pursue modeling full time—a decision she quickly discovered wasn’t the best fit. She found herself waiting endlessly at “go-sees,” only to have someone nod at her book and move on. “They just want a clothing rack,” Ritter says. “They just want you to stand still and shut up.” But everything changed when her agency sent her to audition for a commercial. This time, they didn’t just flip through her portfolio and thank her for her time; they asked her to talk. “So I did, and I got that job, and I left and thought, ‘Oh my god, this is so cool,’ because I felt like I had full control. Because I can always work harder. I can always be better. Instead of, ‘My nose is too pointy! My thighs are too bootylicious!’ You have no control [in modeling].” Ritter likens the experience of acting to the process of a painter—she selects certain personality elements for a character the way a painter selects pigment. What really drives her is the moment when she truly becomes the character. “There’s only a couple moments in acting when you feel like you transcend [the boundary between] where you start and the character stops,” she says. “You chase that, and you keep going back.” Even still, there are times when it can be too intense. When her Breaking Bad character Jane died in the critically acclaimed AMC series, she briefly felt overwhelmed with emotion. “When you have someone like Aaron Paul on top of you and violently trying to revive you, and sobbing, it’s like, ‘Holy shit, if I were dead, this is how people would react.’ ” The scene even became too powerful at one point. “I teared up and I was almost hyperventilating. I didn’t even think I’d have that reaction. Sometimes when you’re playing these darker roles, it does seep into your real life for a second.” Not that it would stop her from going back to that place. Ritter seems to enjoy flirting with darkness, and she says she’d welcome the challenge of playing a character like Jane again. “I would love to play something super dark, like a murderer or something,” she says. “But here’s the thing: I fancy myself a little cooler than I actually am. I think, ‘Yeah, I can play tough’, but then I’ll see myself on screen and think, ‘Oh my God, I’m such a nerd—there’s no way I could actually kick butt.’ ”

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Caption here

Dress, Missoni

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Dress, Missoni

“I just don’t care about things that don’t fit in my suitcase…I guess it’s because I’ve been a vagabond for so long. I’m more concerned about what I have with me.”—Krysten Ritter

addition to modeling, acting and writing, she sings, plays guitar and writes music, performing under the name Ex Vivian. And now she can add design to her list of talents, as she is working on two collaborations in the world of fashion: a dress with clothing designer Corey Lynn Calter and a jewelry line with Exhibitionist designer Michael Spirito. Calter approached Ritter to co-design a dress for Dare to Share, a charity dedicated to helping special needs children. The design is reflective of her busy lifestyle and tastes. “I live out of a suitcase, and I’m pretty minimalist. This dress can be worn during the day, around the city, to a meeting, and then [you can] put on a pair of heels and wear it out at night.” The dress also reflects her taste for darkness. “I hate using the word goth, because I’m not actually goth, but maybe it’s a little that. A little girly and a little rock ‘n’ roll. Ballsy.”

ages of death, Ritter’s inspiration comes from an appreciation for life. She recounts a specific moment that inspired her jewelry collection: when her little sister came to visit. “She stomped on a beetle and I was like, ‘Bailey, no killing in California!’ I said to her, ‘If you want to live and thrive, you’ve got to let the beetles stay alive.’ And I [thought] that would be a good concept for a jewelry line.” It’s understandable why Ritter feels the need to be clear that her style isn’t gothic— what with her dark hair, fair skin and past roles that allude to a gothic style. The living, breathing Ritter is a bit paradoxical: she likes a little edge, but still loves a feminine look; she keeps it easy, but isn’t afraid to go glamorous; she likes it dark, but with a celebration of life. As for design, Ritter views it as an opportunity for genuine personal expression, not an interpretation of a pre-existing identity.

Her foray into jewelry design has this same dark-edged sensibility. The line is inspired by “The writing and the designing and the music— nocturnal creatures and features subtle nods that’s what I’m putting out into the world. The to beetles, spiders and bats using gun metals acting stuff is creative. It’s ‘How do I interand organic colors. Again, she mentions that pret what’s on this page into a living, breaththe line isn’t necessarily meant to be gothic. ing, three-dimensional person?’, and that’s a “I’m dark, but I’m also very feminine,” she challenge,” she says. “But the design from the says. In fact, where goth tends to evoke im- ground up is just totally your own.” a

Elements + Principles Photographer: Jane J. Gaspar Model: Chloe Condon for Factor Women Stylist: Tony Bryan for Ford Artists Hair & Make-up: Alfred for SP Academy / Ford Artists Assistant Photographer: Michelle Britton Fashion Assistant: Mary Collins Hair Assistant: Natalie Roos for SP Hair Academy

Form Mesh bodysuit, American Apparel Dress, Lemuria

Line 106

Leather vest, Haider Ackerman from Ikram Dress, Complex Geometries from Robin Richman Necklace, Marion Vidal from Robin Richman

JANE PHOTO ESSAY

Direction

Balance

108 DESIGN BUREAU Dress, Renovar Shoes, Y3 from Ikram Broach, Marion Vidal from Robin Richman

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Shape Hat, Renovar Corset, Toga Archives Skirt, stylist's own Bracelet, Ronald Pineau from Robin Richman

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jan banning bureaucratics It was, initially, “the most horrible assignment” photographer Jan Banning had ever received. “It seemed to be un-photographable,” he says. The assignment in question entitled Bureaucratics charged Banning with photographing the offices of business people and officials in eight different countries. But what started as a tedious project, one that involved getting permission from high-ranking officials in places like Liberia and Yemen, ended with an introspective reflection into bureaucratic methods around the world, including Bolivia, China, France, India, Russia, and the US. “There is so much to be found in these photographs,” says Banning. “If you reflect on them, they will bring you something about that country, but possibly something about bureaucracy in general.” After receiving permission to work in each location, Banning traveled from place to place, shooting 20 to 45 subjects in each country. “We had to be able to talk and photograph people without advance warning because that would mean they would start to clean up. And that would take us away from showing the natural habitat.” In order to give a clear sense of the people photographed, Banning included the subjects’ salaries along with their images in the book. “I think their salaries give an idea of how people look at bureaucracy and an idea of its status and importance,” he says. Although Banning’s work has consistently focused on the long-term consequences of war, his goals for Bureaucratics don’t include forcing an opinion onto viewers. “I try to make photography that is open. I would rather make people wonder and think than put the conclusions on their plates.” a

View more of Jan Banning's work, including his latest title, Comfort Women, at www.janbanning.nl

Bureaucratics (Nazraeli Press), photographs by Jan Banning

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Clockwise from top: INDIA, 2003 Sushma Prasad (b. 1962) is an assistant clerk at the Cabinet Secretary of the State of Bihar (population 83 million) in The Old Secretariat in the state capital, Patna. She was hired "on compassionate grounds" because of the death of her husband, who until 1997 worked in the same department. Monthly salary: 5,000 rupees ($110, €90). USA, 2007 Rudy Flores (b. 1963) is one of the 118 Texas Rangers, state law enforcement officers who cover 254 counties between them. He is based in Palestine, Anderson County, Texas, and is responsible for three counties. Monthly salary: $5,000 (€3,720). BOLIVIA, 2005 Constantino Ayaviri Castro (b. 1950), previously a construction worker, is a police officer, third class, for the municipality of Tinguipaya, Tomas Frias province. The police station does not have a phone, car or typewriter. Monthly salary: 800 bolivianos ($100, €189).

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Clockwise from top left: LIBERIA, 2006 Major Adolph Dalaney works in the Reconstruction Room of the Traffic Police at the Liberia National Police Headquarters in the capital Monrovia. Traffic accident victims at time are willing to pay a little extra if Dalaney's department quickly draws up a favorable report to present to a judge. Monthly salary: barely 1,000 Liberian dollars ($18, â&#x201A;Ź17). RUSSIA, 2004 Marina Nikolayevna Berezina, a former singer and choir director, is now the secretary to the head of the financial department of Tomsk province's Facility Services. Monthly salary: not revealed. YEMEN, 2006 Nadja Ali Gayt is an adviser at the Ministry of Agriculture's education center for rural women in the district of Manakhah, Sana'a Governorate. Monthly salary: 28,500 rial ($160, â&#x201A;Ź110).

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7 new albums

Presented by

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John Vanderslice with The Magik*Magik Orchestra

White Wilderness (Dead Oceans) For an artist who has remained so consistent throughout his decadelong career, now seems an unlikely time for a reinvention. On his last release, singer/songwriter John Vanderslice paired his cool eloquence with equally distinctive progressive-pop compositions. On White Wilderness, he pursues the alluded grandiosity of his previous works thanks to a collaboration with The Magik*Magik Orchestra, a malleable ensemble that has worked with Jonny Greenwood, Tin Hat Trio, Hauschka, and others. Now Vanderslice’s compositions breathe with a lived-in cinematic quality, backed by substantial string, horn and percussion sections, and are replete with spare, delicate moments of respite—the result of Magik bandleader Minna Choi’s complex arrangements. It’s an incredibly layered album that shows the adaptability of Vanderslice’s writing. /01

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Sidi Touré

Sahel Folk (Thrill Jockey) Malian artist Sidi Touré and French producer Covalesky recorded Sahel Folk in hopes of documenting the traditions of Touré's hometown, Gao. The songs, composed of field recordings and one- or two-take audio mixes, are driven by Touré's hypnotizing, rhythmic, finger-picked guitar. Meanwhile, vocal duets, largely based in traditional folk-singing tropes, are inextricable from the spare musical accompaniment. It’s an intimate affair that speaks with masterful intensity and expressiveness of the musical and cultural climate in Mali. /02

New Slaves Part II: Essence Implosion! (The Social Registry) Last year, experimental Brooklyn trio Zs released New Slaves, one of its noisiest but most direct recordings, with improvised electronic sounds that coated looping beats for a transfixing effect. Now the group has given that album the remix treatment for New Slaves Part II: Essence Implosion!, venturing even further from its traditional blend of free jazz, drone and no wave. At times, the band’s music is given more structure, as with the dance revision of “Acres of Skin” or the chopped-and-screwed synth line of “Diamond Terrifier.” At other times, cacophony takes over with saxophone squeals, arrhythmic drumming and textured static. Ultimately, cohesion isn’t the focus; rather, the flexibility of the original tunes is showcased and exploited to full effect. /05

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Brandt Brauer Frick

You Make Me Real (!K7) The avant-garde acoustic dance trio of Daniel Brandt, Jan Brauer, and Paul Frick gained worldwide prominence when Kanye West posted its music on his blog. The song he featured, “Bop,” is an accurate encapsulation of Brandt Brauer Frick’s sound: hyperactive piano, drums and guitar chopped up and set to a dance beat. The group’s new album, You Make Me Real, keeps up the tempo, infusing it with melodic phrases and expressive bursts. Thanks to those real instruments, the music is based more on textures than techno. At others times, it’s more down-tempo and dark, but the album is driven by a consistent backbone where every instrument becomes part of the rhythm. /03

…And You Will Know Us by the Trail of Dead

Tao of the Dead (Superball Music) There has been no shortage of grand themes and allegories in the canon of Austin post-punk quintet …And You Will Know Us by the Trail of Dead. The band’s newest album, however, better matches its ambitious themes with its music, presenting an epic pair of pieces for Tao of the Dead. Split into two parts (the first in eleven chapters and the second in six), the album recalls progressive albums of yore, from the likes of Rush and King Crimson, but channels them into easily digested movements. Stretches of heavy distortion and drum thrashing will appeal to the more metalminded Trail of Dead fans, but there’s also plenty of hook-laden, radio-ready alternative rock. /06

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Bill Frisell and Vinicius Cantuária

Lagrimas Mexicanas (E1) The new collaboration between legendary jazz/ Americana guitarist and composer Bill Frisell and Brazilian bossa-nova pioneer Vinicius Cantuária translates to "Mexican Tears." The album deftly combines Latin rhythms and improvisation, with Frisell on guitar and Cantuária on vocals, percussion and acoustic guitar. The title track is an incredibly smooth, polyrhythmic, up-tempo tune; the track that follows, “Lagrimas De Amor,” is more classically rock ’n’ roll, with guitar effects and a plaintive melody. Despite the fact that the two virtuosic performers are late in their respective careers, the laid-back, South American-flavored record finds them sounding as fresh as ever. /04

Stateless

Matilda (Ninja Tune) Thanks to its entangled blend of electro-rock, Britain’s Stateless already has hopped across a venerable stable of record labels, from Sony to !K7 and now to Ninja Tune. Matilda is the band’s first release on its newest home and just its second total full-length album, and it showcases the band’s continued maturity. Lead singer Chris James hits an impressive range of notes, from reverb-cloaked backing croons to soulful leads, atop an amalgamated mix of styles, sounds and beats. With contributions from The Balanescu Quartet, DJ Shadow, and Shara Worden (of My Brightest Diamond), Matilda is stylistically inventive, with familiar touchstones reworked into new contexts. /07

Scott Morrow is the music editor at ALARM and author of This Week’s Best Albums, an eclectic weekly series presenting exceptional music. Visit www.alarmpress.com for more.

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Laura Allcorn FOR HIRE DESIGN TALENT FRESH ON THE MARKET

FOR HIRE

FOR HIRE The Portland-based studentDESIGN jewelry designer explains DESIGN TALENT TALENT Design Talent FRESH ONof THEhoneybees on FRESH ON THE Fresh On the the influence her creations MARKET MARKET

FOR HIRE

DESIGN TALENT FRESH ON THE MARKET

FOR HIRE

Market

FOR HIRE

Design Talent Fresh On the Market

DESIGN TALENT FRESH ON THE MARKET

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FOR HIRE: Laura Allcorn

Do you remember when you first becamed interested TALENT FRESH in design?DESIGN ON THE MARKET The first memory I have of creating an object that communicated an idea was in fourth grade during a competition to design a new flag for our elementary school. I remember DESIGN TALENT FRESH DESIGN TALENT FRESH thinking through what the teachers andMARKET students would ON THE MARKET ON THE want to say about our school and how that could be represented. I decided on a theme of cooperation and a symbol of cogs alongside the tag line “A Working School.” I even considered production, telling my mom that mine would be cheaper to produce since there were only four colors and not a lot of details.

DESIGN TALENT FRESH ON THE MARKET

FORFORHIRE HIRE

How did you pick jewelry design and designed objects as your area of expertise? I am interested in designing objects that invite people to participate or take part in an experience. I hope the objects I make raise curiosity and help people personally connect to a new idea and see something differently. Tell us about your line and how you were inspired by honeybees. I created a series of sterling silver hand-pollination tool sets that allow humans to assume the pollination responsibilities of the honeybee. When adorned, the wearer exchanges roles with the honeybee and can actively connect

RESUME SNAPSHOT: LAURA ALLCORN EDUCATION PNCA & OCAC MFA Applied Craft + Design Candidate (expected graduation date: May 2011) Mount Union College

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DESIGN TALENT FRESH ON THE MARKET

to the tedious and vast amount of work they provide, which hopefully encourages them to question the role pollinators have in sustaining our food supply. In many ways, my aesthetic is determined by what needs to be communicated for the experience I’m trying to create. I think my tongue-in-cheek approach to presenting serious issues is really what differentiates my work. How would you describe your style in three words or less? Thought-provoking, considered, surprising. What’s the most useful piece of information you learned in design school? The least? Most useful: Get comfortable with ambiguity. Least useful: Take every opportunity you are given. Why should somebody hire you? I’m creative, analytical and dedicated to designing interactions that enable positive change. I’m fascinated by behavior and uncovering opportunities to intervene in a system. a

Major: Business Administration / Marketing Minor: Media Studies / Public Relations (May 2005)

Work Experience Resource Interactive—Columbus, OH (remote Portland, OR) Business Development Consultant

Columbus Cultural Arts Center Metalsmithing (September 2005- July 2009)

Fitch—Columbus, OH Sr. Manager, Business Development Manager, Business Development

Interested in being featured in For Hire? Email us at forhire@wearedesignbureau.com

Laura likes… TED Talks, the idea of The Netherlands, Good Magazine, Nau, ChangeObserver, This American Life, Jeni’s Ice Cream, David Sedaris, Design With Intent Toolkit by Dan Lockton, Jean Pierre Jeunet Laura dislikes… fast food, greenwashing, faux authenticity, Pandora Jewelry, things with too many bells and whistles

exhibitions Portland Fashion Week 2010: The Presentation Show (Human Pollination Project)

Wanna hire Laura? Check out her website: www.lauraallcorn.com

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