ISSUE 01
RONEN
|
KADUSHIN
|
PETER
JELLITSCH
|
SIKI
IM
|
THE
ALLOTMENT
A/W
13
FREE
PICKS
|
SWANS
02
CONTACT INFORMATION
NAME:
JAMES
EMAIL:
JIMMYTHOLDEN@GMAIL.COM
PHONE:
07986613999
BLOG:
ALL
HOLDEN
JAMESTHOLDEN.BLOGSPOT.COM
IMAGES
COPYRIGHT
JAMES
HOLDEN
UNLESS
STATED
03
CONTENTS
04........................................... RONEN KADUSHIN
08......................................... PETER JELLYITSCH
12.................................. AUTUMN/WINTER 2013 PICKS
14................................... SPATIUM A/W 13 LOOKBOOK
18.................................................. SIKI IM
20............................................ THE ALLOTMENT
24................................................... SWANS
26.................................... 10 PERCUSSION ALBUMS
28............................................. BOOK REVIEWS
04 | DESIGN | INTERVIEW
RONEN KADUSHIN
IN CONVERSATION WITH...
05
Ronen Kadushin is an Israeli designer and
“Designers need to embrace the Internet.
design
since
I saw designers having a creative party
2005. He taught furniture design and design
with the Internet – I wanted to join. I was
creativity courses at leading Israeli and
begging companies to put my work out – it was
European
an
educator
living
design
in
Berlin
academies
since
1993.
unacceptable
was
a
situation.
solution
to
Open
that
Design problem.
In 2004 Kadushin developed the Open Design concept, where the designs of his products
The
can
open,
be
downloaded,
copied,
modified
and
produced, much as in Open Source software.
The
world
is
whether
music
open we
industry
–
information
join has
is
not
is
optional.
embraced
it
– its from the hierarchy to the network. Based on this concept, he formed Open Design, a design and production company for furniture,
It’s not about products; it’s a suggestion
lighting and accessories which are produced
in
in Berlin and sold in Europe and the USA.
to my one of my designs you still need
how
to
make
it
happen.
If
you
want
quite a bit of equipment and some money.” Open
Design
regularly group
products
presented
exhibitions
published
in
are
in
solo
and
world
wide,
and
professional
literature.
Kadushin is teaching Open design courses in universities and speaks at conferences. He is the author of the Open Design Manifesto.
Unlike embraced
many the
creativity the
other
opportunity
with
internet.
designers,
a
global
to
However,
if
you
have
share
your
audience the
via
internet
did not exist as it does today, do you think you would have sought other avenue’s to
make
your
designs
freely
accessible?
06 | DESIGN | INTERVIEW
What
do
you
companies
that
to
protect
think go
their
etc.,
and
don’t
share
their
of
designers/
to
great
lengths
work
with
patents
allow
other
knowledge
or
people
to
information?
part it’s
of
a
network
information
of
information.
it
is
If
friendly.”
When you are designing a piece of work, how
much
that
it
of is
a
contributing
going
to
be
factor
is
re-created
by
“Patents are business weapons – its like
countless people, and does this affect the
war. There is too much money. The core of
simplicity or complex nature of the design?
some companies is to sue another company. Design is in a time of transition, the
“It is definitely a factor. My designs
hierarchy and the network are changing.
are
Open Design is where I want the future
manipulate. It excites me to see one of
to be. I call it a church of Industry.
my designs created by somebody - I had
All my work is political – for me it is
somebody in Brazil create one of my works!”
personal. for
I’ve
many
been
years,
expressing
its
my
very
simple.
Simple
is
easier
to
myself
motivation.
Much of your working life is about sharing your knowledge with others, be it through
People are much more aware now than they
your Creativity Workshops or your In the
used to be. There is more transparency.
Open Project, what, if anything, has led
Design
big
you to become so passionate about sharing
are
your knowledge and know how with others?
is
becoming
companies
more
recognize
adapting
to
how
local
this.
people
–
They
are
changing. “If I give out my ideas I am not losing
It
was
money.
not I
my
business
wanted
to
plan
to
make
money – I am giving my aesthetic. My designs
my
own
type
are not important, what is important is
start
of corporation. It’s about starting my
that
the
information
is
on
a
network.
own network. If someone produces enough of my work they can start a franchise –
the
entry
level
is
quite
low.
It was about expression for me. The first three to four years I thought I was on my own, now in the last seven to eight years it has become apparent there is a whole movement.
Open
Design
production. production it.
They
will I
– are
co-exist am
I
don’t
not want
together;
with
mass-
anti
mass
to
they
replace are
both
I feel its my duty to share this information.”
0
Rendering plans fot Tel Aviv Chair
Flatveld Chair
Tel Aviv Chair
Images copyright ronen-kadushin.com
08 | ART | INTERVIEW
PETER JELLITSCH IN CONVERSATION WITH...
09
Bleeker Street Documents, 2012
Peter
Jellitsch
artist, both simple.
his incredibly art
programme, of
is
an
work
His
can
Austrian
has
the with
great
of
the and
Working
was
kind
a
computer and
unique
his
work,
brief
to
and
to
explanation
of
methods
artist.
talk
about
give his
a working
and
practices.
changing forms - what draws you to reveal these hidden structures?
think
that
overlapping Architecture, building
of
my
primary
disciplines. although
houses
for
I
interest I
had
clients
is
have
realised not
lies
in
a
master
early
on
done
what
like
simulation-
how
to
connect
For
me
it
this
technological
approach
with
art.
eye
Your work often seems to find shape from the hidden, or from
I
technologies�
spatial educational background. I am trying to find ways
care
enough
“new
beautifully
that Peter
with
programs and rapid prototyping techniques, comes from my
to
and
detail
born be
appear
intricate,
merged
a
Doppelganger Series, 2012
interests
the in that me.
is
therefore
is
not
already I
like
interesting visible to
use
in
to
reproduce
all
technology
its which
something complexity, tries
to
visualize things that are invisible for the naked eye.
10 | ART | INTERVIEW
You work with lots of different types of media, are you
You seem to play on the idea of uniting analogue and
searching for the perfect way to create your work, or do
digital, do you think its important to keep analogue
you find certain media better depending on the project?
in your work so that each piece is you, and can not be reproduced? In essence keeping each piece’s uniqueness.
Actually it always takes me a lot of time to think and sketch and conceptualize new works and projects. The medium
Yes that is exactly the reason! By working with computer
is always an essential part in this conceptual phase. I
programmes you realise that there is an unlimited amount of
am always experimenting with different pens, pencils,
representation possibilities. By working partly analogue,
materials etc... until I find the right way to do it.
you do take more time to think, because each decision has an impact on your work flow for the next hours/weeks/months.
The decision on which media I take for which work, or even combine different materials and presentation methods always
Visit
depends on the research material I am working with. If some
information
of my future projects needs to be painted in oil, I will do so!
Much
of
drawings,
your is
work
looks
architecture
an
like
an
influence
architects on
you?
Like I said, I am coming from a very spatial background. I did an apprenticeship as a carpenter before I started to study architecture. The drawing (which I would name as my main medium) has always followed me in my development.
peterjellitsch.com and
work
for
more
from
Peter.
11
Operator Topographies, 3 Models, 2010
All images and artwork copyright Peter Jellitsch.
12 | STYLE | AUTUMN/WINTER 2013 PICKS
OTHER Oxford Shirt £110
BERTHOLD Double-layer Sweater £219
ISSEY MIYAKE Pleated Trouser £505
COMME DES GARCONS HOMME PLUS Polka Dot Socks £35
13
COMME DES GARCONGS SHIRT Circle T-Shirt £79
YANG LI Baseball Top £410
WEEKDAY ND Air Anorak £90
ACNE Andrian Plastic Sneaker £270
14 | STYLE | SPATIUM A/W13 LOOKBOOK
A U T U M N
/
W I N T E R
2 0 1 3
15
The Autumn/Winter 2013 collection from Spatium is designed for the customer who is interested in the details. Each garment is constructed from premium wools and jersey. Each piece has its origins in classic tailoring, with the addition of new forward thinking techniques.
The collection is influenced by geometric artwork, and the strong shapes used in architecture. Each piece is given a timeless quality through the use of classic silhouettes coupled with the monochrome colour palette.
16 | STYLE | SPATIUM A/W 13 LOOKBOOK
1.
2.
1. Wool Overshirt Black wool overshirt with zip fastening and zip guard 2. Wool Coat Black long jacket with leather patch pockets, leather collar. Removable bottom section to convert coat to blazer 3. T/Shirt Black t-shirt with faux shirt bottom 4.Cotton Trouser Black cotton trousers with button fly opening
17
3.
4.
18 | STYLE | BRAND FOCUS
DESIGNER FOCUS...
SIKI IM
19
Siki
went the long way round to arrive as a fashion
designer. German born, he studied architecture at
Oxford.
but, actually a concept more than an object. thing
is
Upon completing this he moved to New York in 2001. Here
teapots.
he
Siki’s
started
working
under
influential
designer
Karl
translated A
lot
of
for
furniture,
architects
collections
are
are
heavily
to
doing
The same
graphics, these
influenced
by
to
things.” classic
Largerfeld. After leaving this position he then moved to
tailoring. Each piece is carefully constructed with emphasis
become Senior Designer for the niche label Helmut Lang.
on
quality
materials
and
fabrics.
Like
the
majority
of
menswear the key is in the details, from a blazer that folds The influence of both these designers is there to see in
up, to a jacket with a strap inside so it can be carried.
Siki designs. The flair and drama of Karl Largerfeld is coupled with the colour palette and drape used by Helmut Lang.
Each
season
continual
is
a
progression
refinement
of
the
from
the
designs.
last,
with
a
Siki
states:
What is also very evident throughout Siki’s work is his background in architecture. Fashion design and architecture
“For me it’s really important that I keep my language and keep
both
designers,
improving my language. It’s important for me also to work on
including Rick Owens and Raf Simons, started their design
silhouettes, which I think menswear is not really doing so much.”
have
careers
a
history
within
together.
architecture.
A
Both
number
fields,
of
particularly
within menswear, focus on shape and form. As Siki says:
“An architect, in my opinion, is a designer who primarily designs
spaces.
They
do
not
just
design
mere
objects,
Visit
sikiim.com
for
more
information.
20 | STYLE | STORE FOCUS
ALLOTMENT THE
Located in Leeds City Centre, The
labels
Allotment is a menswear store
the
UK.
that seeks to put an emphasis on
BLK
DNM,
quality. Each of the brands in
Isaora
store are selected to fit into
thinking
the
aesthetics
high
The
shop
itself
in
design,
with
touches.
A
shed
serves
room,
with
constructed
of
the
is a
few
store.
minimal quirky
custom as
the from
are
rare
to
Brands
such
as
Siki
are
Im
young,
forward
companies
with
quality
Here’s of
looks
For
more
a from
and
a
product.
selection the
store.
built
the
stock
changing
room
old
that
scraps
of wood. The store carries many
information,
visit
allotmentstore.co.uk
21
BLK DNM Leather Biker Jacket £599 SIKI IM Oxford Shirt £269 SIKI IM Wool Trousers £379
22 | STYLE | STORE FOCUS
BLK DNM Blazer £359 SILENT Navy T-Shirt £44 BLK DNM Suit Trousers £170
23
ISAORA Trench £649 SILENT Scola Shirt £224 BLK DNM Black Jeans £149
24 | SOUND | LIVE REVIEW
S W A N S LEEDS
STYLUS
05/04/13
25
new element of percussion to the band,
when the whole band join in, it becomes
with bells, violin and other home-made
obvious why the venue were handing out
instruments added to the sound.
free ear-plugs at the door.
band may be in their fifties, they play
2012’s ‘The Seer’ was the result of the
From here on in it’s Swans at full force.
loud and long. For two and a half hours
band putting all their previous work
The music sends you into a sort of trance,
they test the crowd both physically and
together. Gira has described the album
with Gira keeping the audience hooked
mentally. Nothing can quite prepare you
as being “30 years in the making. It’s
to his every move. Though he’s now 59
for just how loud they play - every note
the culmination of every previous Swans
years old he moves around the stage with
played smashes into your chest. It’s an
album”. The seer is 120 minutes long,
the energy of someone half his years.
experience that leaves you wondering if
with many songs lasting more than 20
He jumps to his knees and batters his
you’ll be able to hear again when it
minutes. Each song has its own presence,
guitar with a certain grace not expected
finishes.
from blue-tinged acoustic ballads, to
from a man who wouldn’t look out of place
the albums title song which is 35 minutes
in a Sergio Leone film.
Relentless.
It’s the only way to describe seeing Swans play live. Though the majority of the
Swans started life in the early eighties,
or build-up and release. There are only around six or so ‘songs’
led by Michael Gira they were one of the leading bands of the ‘No Wave’ scene.
Watching Swans live you realise that
performed in the set, but each one lasts
Over the years many members came and
Gira is the man who leads the band. Gira
upwards of fifteen minutes. There’s an
went,
only
is not like a traditional lead-singer/
ebb and flow to each suite, some parts
constants in the line-up. In 1997 the
guitarist of a band, he conducts the band
build, whilst others are full on attack.
band broke up, only to return in 2010
like it were an orchestra. Every member
with new focus. Unlike many other band
on stage is facing him, not the audience.
Seeing Swans live reminds you of what
reunions this one was not about cashing
They watch him for directions. He raises
a live experience should be, not every
in on past glories, but about creating
or lowers his arms to direct the band to
song sounds as it appears on the album,
new music.
play either louder or quieter.
but that’s not what this is about. If
with
Gira
and
Jarboe
the
you want to hear those songs played notIn 2010 Swans released the album ‘My
Opening song ‘To Be Kind’ lulls you into
Father Will Guide Me Up A Rope to the
a false sense or security, with Gira
Sky’ - an album which laid the sonic
singing over Kristof Han’s lap steel
blueprint for the newly reformed band.
guitar you are unprepared for the aural
The addition of member Thor added a whole
onslaught. Finally then, ten minutes in,
for-note put on the record.
26 | SOUND | 10 PERCUSSION ALBUMS
CUT HANDS AFRO NOISE I VERY FRIENDLY RECORDS, 2011 William Bennett uses his background in noise music to create African tinged techno. Though the arrangements are sparse, the music clangs and clatters along.
BOREDOMS SEADRUM/HOUSE OF SUN WARNER MUSIC, 2004 The Japanese experimentalists album with just two songs, the first (Seadrum) opens with a shout, then a beat is formed. Drum after drum joins in until the rhythm becomes somewhat trance like. The second track is the come-down, a twenty minute drone of Asian strings.
STEVE REICH DRUMMING NONESUCH, 1987 The legendary minimalist composer uses one basic rhythm pattern to create a piece that ebbs and flows over sixty minutes. Reich’s infamous phasing technique lets the drums fall in and out of time of each other, creating new patterns and rhythms.
PUBLIC IMAGE LTD. THE FLOWERS OF ROMANCE VIRGIN, 1981 With the parting of bassist Jah Wobble, PiL lost their trademark dub sound. Rather than trying to recreate Wobble’s groove’s, Martin Atkin on drums became the central force of the bands sound. Lydon’s barks over the intense drums to create PiL’s most raw record.
CAN TAGO MAGO UNITED ARTISTS RECORDS, 1971 Years ahead of their time, Germany’s krautrock pioneers released a record that fused psychedelic percussion with funk guitar. Their least poppy album, songs such as ‘Halleluhwha’ form a locked groove, while ‘Aumgun’ descends into a psychedelic jam.
27
LIARS DRUMS NOT DEAD MUTE, 2005 With Drums Not Dead Liars created a concept album that plays of the yin and yang of two characters. Two drum kits were used for the recording, with abstract and difficult to recognise guitar work. The result is an album that sounds like the soundtrack to an unmade horror movie.
MOONDOG MORE MOONDOG PRESTIGE, 1956 Moondog’s second Prestige album solidified his standing as a rare breed: a musician whose work was both highly experimental and approachable by listeners. On this album he produced a variety of wonderful shaking percussion sounds and rhythms with an ‘oo’ (a homemade clave).
SWANS THE SEER YOUNG GOD RECORDS, 2012 A double-disc album that has everything. Some songs are short, and are there to set the scene. Other songs last upwards of twenty minutes, during that time they build until it feels like there is no where else to go, then they explode with the full percussive force only Swans can create.
TEETH MOUNTAIN TEETH MOUNTAIN LP SHDWPLY RECORDS, 2008 Teeth Mountain navigates a rhythmic journey through steady-pounding floor toms,
space-travel
cello drones, and some cosmic-dust dashes of guitars or woodwinds or noise-makers or some other hand-powered sound source.
BABATUNDE OLATUNJI DRUMS OF PASSION COLUMBIA, 1959 Along with a cadre of backup singers and two other percussionists, Olatunji works through eight traditional drum and chorus cuts originally used to celebrate a variety of things in Nigeria. “Akiwowo” and “Shango” are chants to the God of Thunder.
28 | BOOKS | SPACE & EXPLORATION
VISIONS OF MARS OLIVER DE GOURSAC
“Visions of Mars offers a visual tour of the main geographic features of Mars as they have been recorded by twenty years of remote-sensing missions, ranging from the Viking orbiter/lander of the late 1970s through the Pathfinder orbiter/rover of the mid-1990s and up to the twin rover missions of today.”
29
FULL MOON MICHAEL LIGHT
“Full Moon is a photographic journey to the Moon and back, drawn from NASA’s 32,000 pictures from the Apollo missions. For the first time NASA has allowed 900 of the ‘master’ negatives and transparencies to be taken offsite for electronic scanning so as to produce the sharpest images of space that we have ever seen.”
30 | BOOKS | SPACE & EXPLORATION
SPACE RACE: THE BATTLE DEBORAH CADBURY
FOR THE HEAVENS “This is one of the greatest stories in history, beginning in the throes of the Second World War and spanning through to the moon landings. With the US and Russia pitched against one another during the Cold War, it was the race to create the most powerful rocket and dominate the world, culminating in 1969’s ‘giant leap for mankind.”
31
SPACESUITS AMANDA YOUNG
“Spacesuits have been as vital a factor in getting man safely to the moon as launch vehicles and spacecraft. Dramatic photographs from the Smithsonian’s collection and never-before- published historical images of spacesuits development and testing expose this fascinating history.”
LAYOUT AND TEXT BY JAMES HOLDEN