flux magazine by Danielle Tong Wei Yue

Mr. Libeskind, 63, is a co-founder, with his wife, Nina, of Studio Daniel Libeskind, and is its principal design architect.

He is currently involved in more than three dozen projects worldwide, including the massive New Songdo City, in South Korea, but is best known for his work as the master plan architect for the reconstruction of the World Trade Center.

Daniel Libeskind

DA N I E L

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Donatella Versace

DesignGraphik

contents flux is:

Pieke Bergmans

L I B E S K I N D The 30-Minute Interview

benjamin sim nur anisah mahmod danielle tong wei yue mike tan yee yong

How is this balance achieved? It’s 16 acres, and a little less than half of that site is for public space, so that it isn’t just crowded with a lot of buildings. And nothing is actually built on the site where people perished, so that it has a spiritual quality. It’s a park. It has waterfalls, which was part of my idea to screen the sound of the streets.

Interview conducted and condensed by Vivian Marino.

Are you disappointed that the rebuilding at ground zero hasn’t progressed further? Look, it’s clear that this is such a highly complicated project. We’re dealing with not only the Port Authority and the investors and their own architects, but we also have different governors, and, of course, families of the victims, the lawyers and the banks. But we’re beginning to see some of the foundations. The Freedom Tower, as it used to be called — it’s One World Trade Center now — is under way. You can see it in the important corner that it’s occupying. It’s all gradual: the memorial will open, then Tower Four, then the PATH tunnel, then the Freedom Tower. How difficult has it been coordinating all the players? It’s a constant challenge — democracy is never easy. I appreciate that there are different forces and my role is to bring consensus, and that doesn’t mean I get everything I want. You lose some of those battles and you have to compromise on issues, but you are never going to quit. I believe that what is being built is aligned with the ideas that were chosen. Tell me about those ideas. First of all, this is a story of memory — so many people perished — but also memory of what liberty means, what New York means, that this event isn’t going to change New York into a sad city. It’s about the past, which is irreversible, but also the future.

At the same time, I assembled the buildings so they don’t throw shadows on the memorial site. Buildings facing the memorial have a different character than buildings facing Church Street. How important was it for you to win this project? It was extremely important. I go by the site every day, I live by the site, so it’s not an abstract idea. I saw the original towers being built when I was in school.

I loathe neutral architecture. The idea of creating a space — a box — with no expression in it. To me it’s a very violent act.

Before the World Trade Center, you had completed only a handful of projects. Now you have about 40. It’s safe to say this catapulted business. For sure. Your name appears in the public realm, even when you don’t want it to appear. Your designs have a sculpturelike quality, which some may find jolting. Have you ever been told that they’re unbuildable? Definitely. But I don’t find it as something evil or negative. I try to understand my clients — first of all, they have a budget. Many call you a “starchitect.” How does that make you feel? I couldn’t care less.

Do you have any advice for aspiring architects? Don’t just go with the trends — think for yourself. Think of the less obvious things. You were an accomplished musician, even playing accordion alongside Itzhak Perlman. Why did you switch careers? I exhausted that instrument. And by that time, my interests shifted. I discovered mathematics and other things like painting, and I kind of stumbled upon architecture because it combined so many of my interests.

But the truth is people have rediscovered architecture. Ground zero had a lot to do with raising expectations, because it was a public process and people were very involved and there was an emotional resonance.

What’s your favorite building?

I consider this a renaissance: a rediscovery that architecture isn’t just a bunch of concrete slabs, that it’s cultural and has to have a sustainable idea to it. place in which they stand.

Is there a style you loathe?

It’s so hard to say. Impossible! It’s like asking, what’s your favorite piece of music? Each building sets up a mood.

I loathe neutral architecture. The idea of creating a space — a box — with no expression in it. To me it’s a very violent act.

“Creativity comes from a conflict of ideas.” DONATELLA

VERSACE

DONATELLA

VERSACE on fashion & celebrity Christopher Kane has designed an autumn/winter capsule collection of accessories for the relaunch of the Versace label VERSUS

With Christopher Kane, who interviews her here, the doyenne of rock n roll style is half of a new fashion power pairing

How vital is experimentation in a brand like Versace? It has always been extremely important and it is even more so today, when we find ourselves in such difficult economic circumstances. It is at times like these that it is essential to be more creative than ever, trying out radical new ideas but never losing sight of our own DNA. It is vital to attract the consumer’s attention with something special — reason we decided to relaunch Versus.

While I was creating the clothes and accessories for Versus, I listened to a lotof rock. How important is music to you? Music is very important— it stimulates me, gives me energy and provides continuous inspiration for my collections. I have always been passionate about music, especially rock.

What do you like most about fashion? Expressing myself creatively by mixing different artistic worlds, for instance music, art, theatre and cinema. What do you find most boring about fashion? Probably the excessive emphasis on finance that has infiltrated this world, sometimes limiting the creative process itself.

How do you rate the young designers of today: are they more or less creative? Of course, designers today are much better trained. They have so much material to learn from and have access to the work of the great names who have created fashion. In one sense this makes them more confident. As for their creativity ... well, I think that so much has already been tried out, that young designers need to be more creative, while at the same time they need to be more alert and keep their feet firmly on the ground, because creativity for its own sake achieves nothing. How did your brother Gianni influence the way you approach fashion? Gianni taught me many things; above all that art knows no boundaries and that different forms of art can combine to great effect.

What causes you the most stress during the creation of a garment? And what gives you the most pleasure? I have to say that presenting a collection to the public has always and still does cause me a certain amount of anxiety, but the show itself is the moment of truth, the moment when you discover whether or not your work is good. When you ave done a good job and the public appreciates it, the satisfaction you feel is utterly unique!‘ What was the fashion scene like when you started? Was it very different from today? When I started to work in fashion, it was a more creative world, or rather a place where creativity could be freely expressed, without giving a thought to the marketing and business considerations that now dominate this world.

Featuring Supermodel Abbey Lee Kershaw Male models Malthe Lund Madsen Victor Nylander Photography By Mario Testino

elegance & seduction

Versaceâ&#x20AC;&#x2122;s 2011 spring collection

The innovative designs, the subtle yet extremely alluring accents that are strategically placed to make a strong visual impact without too much much effort, while the cut outs and asymmetrical accents add a touch of sexiness and modernism to the outfits. Feminine yet edgy the styles presented can undoubtedly spark interest while drawing various positive compliments along the way.

Seduction is the primary component of the campaign as the photos are tasteful yet provocative highlighting the vision of the brand which can undoubtedly appeal to modern women who are willing to adopt a daring style that will highlight their features in a refined manner.

The accessories used are created using a similar theme, inspired by the Greek culture and are one of the main elements that add harmony to the looks presented. The geometric designs heighten this impression even more, creating an alluring, flirty look.

What is your opinion about financial crisis and design? Many design shops are really low now on projects and many clients put their work on hold. Does it make any effect on you? With a finicial crisis lingering and already taking its toll, its going to be hard for designers, becuase designers typically bow down to clients and thier finicial requests. I mean, even before the crisis, its common ground for clients to say “ We dont have much of a budget on this project, can you give us a deal?” This seems to have become a common stance, and from the start gets a designer to work for cheap. It trickles down the ladder you know. You have monster ad agencies or broadcast firms paying people around $100-$500 for story boards, and do not guarnetee any extra payment if the job is picked from your idea. The client might even want your idea and a mix of 2 others, and the agency will never tell you, thus just you got whored out. So yes, it will effect designers, becuase that low budget, will get even lower. The work will be more intense as well. For freelancers (which will grow in size due to layoffs) its going to be more competetive and rough. If you try to charge a higher rate, they will just go with the other guy who is a bit cheaper, no matter the skill level.

So you live in Thailand now. What is the reason that you moved there? Are you planning to stay there for a long period?

Do you have moment when you are low on inspiration? If yes, how you getit back?

Me and my wife used to visithere every year for a month of holiday, as her family still lives here. We had been living in Baltimore for along time, and were ready to leave that crazy place. Then I proposed that we move to Bangkok, just for a change and more relaxed lifestyle than America. It has been almost two years now, and we are both really happy here. Although I miss a good Burrito from time to time, and would enjoy some rules on the road when driving, I think we will be here for a long time. How long, who knows…

I think im never really low on inspiration or a drive to do things in art. But I do get burnt out and tired, and usually take a break by doing something else outside of art and design.

I remember some years ago, when you Designgraphik was a very popular inspiration for young designers, I guess you had many emails daily from your site visitors. How it is now? Still got asked about photoshop tricks? I get more emails about my cleaner designs for sites like michaelpaulyoung, commonwealth and youworkforthem. I do get an occasional email about what 3d application I use, which is still the same old 3D Studio Max. I think these days, hell even 4 years ago, there are so many apps, all so powerfull, its doesnt matter anymore. Nor did it ever really matter that much. Even with code, it all starts to look the same, function the same, minimal differences, advantages and disadvantges between the options at hand. Who do you think is a leader now on the web design market and why?

Michael Paul Young was grown in Tennessee, spread in Baltimore and settled in Asia. His project Designgraphik helped to shape online design throughout the late 90s and early 00s, and earned him a Chrysler Design Award nomination at age 23. He co-founded the design resource YouWorkForThem in 2001, and since 2009 has served as its sole manager and director.

TOPMOST: Sentence RIGHT: Maomao’s Atlas BOTTOM LEFT: ZINE2WO BOTTOM RIGHT: Computer Arts

DESIGNGRAPHIK michael

Webdesign, no idea. I don’t want to sound too pompous here, but I would say myself and some other close designers and coders. Me and many friends have been doing this for over 10 years now, we have seen the boom, the bust and the rebuilding and what has worked and failed. As well, we have been apart of these teams, projects and ideas behind these ups and downs. It takes more than being a fancy with coder/designer to understand a good online design market, you need to understand your market and the reality of people. But there are so many facets now of the online design market, it’s hard to sum up any certain leaders, becuase what applies in one area, would completely fail in another, just basic business.

paul young

Since you have launched YWFT, what else do you do as a commercial work?

Since you quit Vir2l, do you still talk to people you worked together?

Typically, nothing. YouWorkForThem requires an abundant amount of time and focus to create the top level products we output. We process tens of thousands of orders a year and this requires alot of service, most of the which requires our teams special insight and decision making. Not only this, but concepting, managing and developing products takes a clear mindset, something clients needs can easily distort. From time to time, we might venture into a few client gigs, but it is no longer our top focus.

Sometimes, but not often. What are you working hours, do you spend lots of time in front of your computer? How do you rest?

Yes.

Yes, I spend lots of time working, thats how I am able to manage and produce all these projects. But the past few months, I am slowing down some, trying to unwind. I get really carried away and work myself to an explosion, and get really stressed out. I am very competetive and hard working, but this can backfir emotionaly and with others around me. So the past few months, im trying to unplug much more. I have cut back my work process about 20%, and I am menalty much clearer and ejoying life a bit more now.

Do you ever plan to start a big design agency?

If internet will die tomorrow, what would you do?

No.

Read a book.

Do you think when you will be 60 years old, you will still do graphic design?

What is your opinion about that many sites are very 2.0 now and there are less artistic projects. I mean people try to keep their sites simple and don’t care about design much. Not sure, I think its just a personal decision. My Designgraphik updates were never meant to communicate my portfolio or desire for clients. They were projects, personall expressions placed into the online medium. So if saying older projects like Designgraphik differ from modern portoflios, well the two are created for two totally different reasons, so its to be expected.

LEFT: Omega Code BELOW: +81 Magazine

The next step in mass production could be controlled, imperfect production for interesting, personal objects,” says one of the Netherland’s young, exciting and innnovative designers. Pieke Bergmans’s spontaneous and playful designs aim to subvert existing production processes and take their inspiration from the unpredictable behaviour of viruses.

pieke bergmans

It takes more than being a fancy coder/designer to understand a good online design market, you need to understand your market and the reality of people. 12

This series of crystal vases is made by hand at Royal Leerdam Crystal. Big hot crystal bubbles are pressed onto wooden furniture and while the crystal burns into the wood, some of the woods texture is integrated into the vase. Vase and furniture are then displayed together as an installation. The first Crystal Virus exhibition was all about ‘meeting’: about a modern designer meeting a traditional industry, about the confrontation between the beautiful crystal and the furniture, and about the meeting between design and art. It was one of the highlights of the Symposion that exhibited over 100 international artists and designers. The pieces do have a parasitic aspect that gives the truth to the name, but they also evoke the wonder of manipulated forms and forms in flux (Dali’s melting clocks are writ large), and though the flux is quite literal with these pieces, there’s also an embrasure of metaphorical flux—between “consumer” and “product,” artist and material, medium and venue.

Vitra Virus(2007) is a development of crystal virus (2005-2008) which originally ‘infected’ old plain wooden furniture. Now the Vitra home Collection hosts virus on pieces by famous designer s such

Rather than the finished product, it was the process that captured Bergmans’s imagination. She avoided moulds, blew bubbles and just watched. “It’s the freedom,” she says. “When the glass is liquid it has the fantastic dynamism that dies once it hits the mould and starts to harden.”

as Charles & Ray Eames, Maarten van Severen and Jasper Morrison.

The success of the work extended furher than Bergmans planned. “My idea was to discard the furniture,” she says. “The pieces were just acting as my moulds, but the bubbles left forms in the wood and , in the end, th epieces fitted back like a jigsaw puzzle.”

As if to rescue the mystery and tension of the hot liquid glass, Bergmans got to work on a series of vases, allowing the glass to be the designer while she played a supporting, mechnaical role. She filled a huge truck with old objects and furniture, and dropped bubbles of hot blown glass onto objects. “The tables started to burn and there was smoke everywhere. It turned into quite a performance.”

Bergmans kept the furniture and called the piece Crystal Virus, “because the table acts like a host”, she explains.

“I am so lucky to have this sort of freedom,” she says. “Many designers are approached by a company and asked to do a chair made from wood, of a certain size.. I have been initiating my own projects and the companies are interested or they aren’t, but I don’t have to adapt to their desires.”

Take a cup. It is designed and then produced, but what about that production process? If there are mistakes, the object is thrown away as if it was an error, but in nature nothing is the same... It’s the same with people. You don’t look for the similarities, you look for the differences because that’s where the personality is. - Pieke Bergmans

What she is doing is relevant and she does it by fusing the mind of an inventor with the imagination of an artist and the skill of a designer. And that is what ithis decade’s design agenda is all about. There are special events in which people are able to obtain a personalized Crystal Virus. They can submit their own piece of furniture, that will be infected with the Crystal Virus. On a set date, all people are invited to come to the old heart of the Royal Leerdam Crystal factory (one of the largest and oldest glass-factories in the world). There they can witness their own item being infected by Pieke Bergmans and Master Glassblower Gert Bullee.

The event emphasizes the central theme of the Crystal Virus, which is ‘meeting’. It is a meeting of the Crystal and the furniture, and also a meeting between the artist and the audience. This makes each object very personal. Just to witness the glass blowing process is an unforgettable spectacle. To have your own piece made in front of you in such an inspiring setting is an experience, a memory for life. The people who have participated in these events are grateful for doing so without exception.

flux april 2011. The Creative Issue. flip over for cover