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WIM CROUWEL A GRAPHIC ODYSSEY

UNTIL 3 JULY 2011 ‘THE FINEST GRAPHIC DESIGN SHOW THAT THE DESIGN MUSEUM HAS STAGED’ CREATIVE REVIEW

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A FILM ABOUT THE IMPACT OF MODERN MOVEMENT IN URBAN SPACE

A FILM BY KASPAR ASTRUP SCHRÖDER FEATURING TEAM JIYO BJARKE INGELS BIG BUILDING FREERUNNERS FROM USA, JAPAN, CHINA AND UK POLITICIANS URBAN PLANNERS AND PHILOSOPHERS

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Flux Projects supports artists in creating innovative temporary public art throughout Atlanta. The organization produces new platforms for artistic experimentation that engage a broad audience in their daily lives, beyond the walls of traditional arts venues. We challenge artists to make exceptional, surprising work that inspires Atlanta and fosters an awareness of the richness and diversity of the cityâ&#x20AC;&#x2122;s creative culture. recent projects, clockwise from top left: Gyun Hur: Spring Hiatus (photo: Christina Washington) / Lee Walton: Momentary Performances (photo: Louis Corrigan) / FLUX 2010 (photo: Adam Davila) / Lauri Stallings + gloATL: Bloom (photo: Adam Davila) / John Q: Memory Flash (photo: Bo Shell) / Micah and Whitney Stansell: Between You and Me (image courtesy the artists)

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modern by design

HIGH MUSEUM OF ART ATLANTA | 1280 PEACHTREE STREET, N.E., | HIGH.ORG

Members Always Free!

H I G H

Modern by Design June 4–August 14

Discover nearly 150 works from the collection of The Museum of Modern Art, New York. High Design— a companion installation —showcases the High’s own growing collection of contemporary design. Joris Laarman (Dutch, born 1979), Bone Armchair, 2008, cast marble resin and ground bone china, High Museum of Art, Atlanta, purchase with funds from the Decorative Arts Endowment, 2008.163 This exhibition is a collaboration between The Museum of Modern Art, New York, and the High Museum of Art, Atlanta. Made possible by:

^ Lecture: Juliet Kinchin Saturday, June 4, 2 p.m. Juliet Kinchin, Curator, Department of Architecture and Design, The Museum of Modern Art, New York, examines pivotal moments in twentieth-century design history, illustrated by the Modern by Design exhibition. Free, but tickets are required. 404-733-5000

Radcliffe Bailey: Memory As Medicine June 26–September 11

Atlanta-based, internationally known artist Radcliffe Bailey explores both African American and personal history. The exhibition features more than 25 large-scale works, some never before seen publicly. Radcliffe Bailey (American, born 1968), Untitled (Blue Trees), 2006, photograph on Plexiglas, coconut palms, felt, acrylic, and wood, High Museum of Art, Atlanta, purchase with David C. Driskell African American Art Acquisition Fund, 2006.21. Photo by Peter Harholdt, 2007. Image © Radcliffe Bailey, 2010.

www.contextgallery.com 75 john wesley dobbs ave. atlanta, ga 30303 800.866.0867

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DESIGN IS HUMAN MA presents 2011 Design Is Human week, all about courage, new experiences, and Atlanta’s bright future in contemporary design.

In five years of Design Is Human, we’ve been amazed by the changes we’ve seen. Recent data shows China’s built-environment consumes more and more of the world’s natural resources and has overtaken Japan as the world’s number-two economy. If that’s not change, consider that more people inhabit cities than ever before, and unprecedented advances in technology mean we are living longer in a world that gets smaller and more connected by the day. Some consider this exciting news, while others may share a less optimistic view. With demands to house millions more, how will architecture and design influence the next two, five, and ten years? From zero emission initiatives to ever-more emboldened architecture, we’ve seen plenty of signs that design excellence will be best exemplified by sustainable lifestyles and strong aesthetics. This year’s Design Is Human week seeks out new patterns in urbanism that transform how we live, work, play, and find happiness. There is something to be said about feeling happy. On many occasions as we curated this year’s event we felt happy and proud to be part of what thousands of visitors will witness in June. We were happy to tour for the first time Perkins + Will’s amazing new office located directly across from the High Museum. It has undergone a massive renovation and now generates its own power, no longer on the city’s electrical grid. We also found ourselves happy to gain an exclusive interview in Paris with Colette’s Gillaume Salmon. In Atlanta, we learned that Lenox Cupcakes will be serving up tasty sweets at the Design Is Human launch party, part of Edible Design, which debuts this year. Edible Design is curated by Sonya Boissard and presents food in the context of design. Here are some highlights from 2011’s Design Is Human week. You can find the full lineup in the calendar of events on the following pages. In its fifth installment, 2011’s Modern Atlanta Home Tour is the most sought-after event of its kind, exemplifying the best in contemporary residential architecture and interiors in and around Atlanta. Now with the inclusion of commercial architecture, the already successful event is even more exciting. At the Design Is Human kickoff party, first-time attendees will enjoy a stimulating exhibition of cutting-edge contemporary residential architecture from Atlanta’s top architecture studios. Don’t miss the student work from Georgia Tech’s College of Architecture and Southern Polytechnic State University. Our MA-ology series has become one of the most anticipated events in Atlanta. Best described as design meets fashion meets art meets social responsibility, MA-ology has packaged all these things into one cool underground fundraiser in support of the international relief agency CARE. For 2011 MA-ology, MA, in collaboration with Jeffrey New York/Atlanta, with support from Authentic Beauty, presents MA-ology Africa, a celebration inspired by the continent’s emergence as a creative force and its newfound status in international design. Each year Design Is Human week presents some of the most recognized names in architecture and design, and this year is no exception. For this year’s MA Talks, our lecture series in partnership with Atlanta’s High Museum, we are thrilled to welcome Minsuk Cho, the founding architect of Mass Studies, based in Seoul, Korea. Cho will give a powerful lecture of past and present projects. We also introduce New York-based Manifesto Architecture’s Korean Pavilion, showcasing Korean architecture and design. The pavilion will host an exhibition of winning entries, marking MA’s first international design competition, the MA Prize. The theme for this year’s prize is Architecture By/For/Of Korea. MA will also host a lecture at the High Museum with award-winning designer Jacek Utko. His talk will explore whether or not newspapers can be saved, and what the web can learn from print. Atlanta’s top design showrooms open their doors to Design Is Human, inviting the public to experience the best contemporary furnishings offered in Atlanta. At Pedini Atlanta, meet one of the world’s most prolific contemporary designers, Karim Rashid. Rashid will discuss how he cross-pollinates ideas, materials, behaviors, and aesthetics from one typology to the next. And for the first time Room&Board will showcase beautiful, timeless furnishings in a White Provision condo, while renowned Atlanta-based photo stylist Annette Joseph takes us on a behind-the-scenes journey into her work, providing insight on what it takes to get your home’s interior photo-ready as well as making it a place you enjoy. In collaboration with The High Museum, we are screening a series of short films about Bjarke Ingels Group. Inside Piano, about a little known project of acclaimed Italian architect Renzo Piano, is our headliner film.

Bernard McCoy at John Pawson’s “Plain Space” exhibition. Design Museum, London

MA is also partnering with Objective Cinema to premiere the Atlanta screening of Danish filmmaker Kasper Astrup Schröder’s new film, My Playground, about architecture, the sensational sport of parkour, and the impact of modern movement in urban space. New to Design Is Human week is Design Is Material. Curated by MA Director of Architecture and Design, Matteo Caimi, Design Is Material is a micro-installation focused on the innovation of the materials industry, satisfying our curiosity and commitment to sustainable design. The Atlanta-based Flux Project, whose mission is to bring art into unexpected places and encourage Atlanta’s development as a creative city, makes its Design Is Human debut with Sounding Up There, a project by Brooklyn-based sound designer and musician Roberto Lange. In an exclusive interview for Design Is Human, MA’s Bernard McCoy sat down in a Castleberry Hill back lot with Grammy award-winner and Atlanta-based DJ Kemit to uncover what inspires him to create. As you enjoy your week of design in and around modern Atlanta, we would like to remind you that 2011 Design Is Human speaks to a spirit of courage, outreach, and cooperation among individuals, communities, businesses, academia, and even nations. Together we can make positive impressions felt far beyond Atlanta while having fun. We hope you return home with much more than you came.

Team MA 2011’s Design Is Human and the Modern Atlanta Home Tour would not be possible without the dedication and unwavering support of some very special people. Thanks to everyone at the High Museum of Art for partnering with us and for the use of its wonderful facilities. Special thanks to the talented team at Armchair for showing patience and once again delivering an outstanding publication. Bernard would also like to personally thank Antonella and Asa, Donna McCoy, Sonya Boissard, Matteo Caimi, my dear friend Stefan Kjartansson for such devotion to MF Doom (ya know), Kevin Byrd who has the golden touch, my main man Skylar Morgan, Mehmet Dogu and Bruce McEvoy (Perkins+Will) for making it happen, Yvonne Rakes (Elle Décor), Clint Smith (Atlanta Homes & Lifestyles magazine), my homie Moria Deshpande for being one hell of a writer, Don Purcell at Jeffrey Atlanta, Octane Café’s Tony and Diane Riffel, my new friend Kai-Uwe Bergmann (Bjarke Ingels Group) for his continued support and connecting me with filmmaker Kaspar Astrup Schröder (My Playground), Ria Hawthorn (London’s Design Museum), Jeeyong An and Sang Hwa Lee (Manifesto Architecture), DJ Kemit for a fun interview and keep on “spreading the love” man, and my dear buddy and partner in crime, MA Co-Founding Partner, Elayne DeLeo. And to everyone who has been involved with MA over the years, thanks for all the support!

Creative Team: Stephanie Aron, Designer Caroline Bounds, Designer Aaron Byrd, Designer Mariel Childes, Designer Moria Deshpande, Writer Joe Dreher, Writer & Photographer John Ferguson, Designer & Photographer Acree Graham, Writer & Editor Farbod Kokabi, Designer Rebecca Page, Project Manager Daniel Plasa, Designer Sales: Christy Nixon, MA Sales and Marketing Coordinators & Technology: Marta Burleson, Information Architect Nate Steiner, Web Guru Antonella Mazzucco, Logistics Manager Skylar Morgan, Staging Production Stine Riis Svenningsen, Volunteer Coordination PR: Nick Gold and Louise Plonowski, Gold Concepts Public Relations Social Media: Mark Leibert, Kaikoo

Bernard McCoy Founder of MA

Credits & Support Bernard McCoy, MA Founding Partner & Editor in Chief, Design Is Human publication Elayne DeLeo, MA Co-Founding Partner & Event Director Kevin Byrd, MA Creative Director & Photographer Stefan Kjartansson, Graphic Designer & MA Spiritual Advisor Matteo Caimi, MA Director of Architecture & Design; Curator of Design is Material Sonya Boissard, Curator of Edible Design

Modern By Design

Launch Party

Opening Day High Museum of Art 1280 Peachtree Street, NE Atlanta, GA 30309

6:00 pm – 10:00 pm

Chronicling 20th-century modernism, Modern by Design will include furniture, glass, ceramic, lighting, product, and industrial design. The exhibit continues a multi-year collaboration between Atlanta’s High Museum and New York’s MoMA. Check High.org for details and hours.

Made 8:00 pm – 10:00 pm OCTANE 1009-B Marietta St Atlanta, GA 30318

Made is The Southern Design Concern’s inaugural graphic design salon. A select group of designers will present work emphasizing handmade as a process and deemphasizing it as an aesthetic. Expect a cocktail collaboration with Top Flr mixologist Joshua Flail. Made will remain on display at Octane the entire month of June.

Two Peachtree Pointe 1555 Peachtree Street NE Atlanta, Georgia 30309

The preview party is your threein-one opportunity to take in a high level of design. It includes the premiere of Design Is Material, a micro-exhibition focusing on materials innovation. $10.00 at the door, or free attendance with Home Tour Ticket purchase ($35.00 for 2 day pass). Tickets can be purchased online or at one of MA’s Atlanta ticket outlets. Visit www.modern-atlanta.org for ticket details.

Architect Studio Crawl and Happy Hour

MA TALKS: Jacek Utko

6:00 pm – 8:00 pm

High Museum of Art Hill Auditorium 1280 Peachtree Street, NE Atlanta, GA 30309

Multiple Locations

Thinking about building a cotemporary home or remodeling an existing structure? Have questions about how to build modern in a historical district? Talk design with Atlanta’s best modern architects right in their studios. Participating Studios & Offices: Lightroom House Walker Southface TaC Studio Dencity Cablik Enterprises Check MA website for addresses and details.

Pedini Showroom Presents Karim Rashid 6:00 pm – 8:00 pm 800 Peachtree St NE Atlanta, GA 30308

Karim Rashid has been featured in Time, Financial Times, The New York Times, Esquire, and GQ for his award-winning designs. His work ranges from everyday products for Method and Dirt Devil to furniture for Artemide and Magis, to brand identities for Citibank and Hyundai, to high tech products for LaCie and Samsung and luxury goods for Veuve Clicquot and Swarovski. Hear what inspires Rashid in his creative process and experience up-close his designs for Bonaldo, Tonelli and Cierre.

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6:00 pm – 7:30 pm

“Designing World-Class Media: 15 Ideas For Surviving in a Digital World” Jacek Utko will describe the relationship between newspaper and web design and define 15 essentials for creating world-class publications. A fresh approach to combining top design with business strategy and content can completely reshape the product, the process, and the future of the industry. Can newspapers be saved? What can the web learn from print? Jacek Utko has collected more than 40 awards for his redesigns of newspapers, magazines and websites around the world. He was a speaker at the 2009 TED conference, where he delivered the talk, “Can Good Design Save Newspapers?”

Room&Board Presents Annette Joseph 7:00 pm – 9:00 PM White Provision Building 1170 Howell Mill Road NW Atlanta, GA 30318 SPACE AND SEATING ARE LIMITED. ATTENDANCE IS FREE.

Ever wonder how the images in your favorite home design magazines come together so beautifully? Join Room & Board for an inside look. Renowned Atlanta-based photo stylist Annette Joseph will take us on a behind-the-scenes journey into her work, providing insight on how to make your home’s interior photo-ready and, ultimately, a place you enjoy. Annette Joseph is a regular lifestyle contributor on The Today Show and Better Mornings. RSVP at www.roomandboard. com/MA2011

www.utko.com

Admission is FREE to all events unless noted otherwise. Tickets for events can be purchased from the MA website or at one of MA’s Atlanta ticket locations. Some events require an RSVP from the MA website. Before attending any event, visit www.modern-atlanta.org for updated dates, times, locations, and details.

Putting Moroso in (context)

2011 Modern Atlanta Home Tour

6:00 pm – 8:00 PM

10:00 am – 4:00 pm

75 John Wesley Dobbs Ave Atlanta, GA 30303

Multiple Locations (see MA web site for updated information )

Featuring the latest designs from Patricia Urquiola, Nipa Doshi and Jonathan Levien.

Cocktails and valet parking provided.

MA-ology Africa & CARE Fundraiser 8:00 pm – 11:00 PM Two Peachtree Pointe 1555 Peachtree Street NE Atlanta, Georgia 30309

MA-ology Africa will celebrate the continent’s emergence in international design. In collaboration with Jeffrey New York and Jeffrey Atlanta, it features furnishings from African designers gaining international attention and includes a fashion show inspired by modern Africa. Mixing design, fashion, fine art and social responsibility, MA-ology is historically one of our most popular events. Tickets can be purchased online or at one of MA’s ticket outlets for $30, $35 at the door. Student tickets are $20 (must show ID at door). Proceeds support CARE’s important work to empower women across the globe. www.care.org Complimentary wine served.

June

The MA Home Tour is self-guided. A two-day pass is $35. Tickets can be purchased online or at one of MA’s ticket outlets. Additionally, the Urban Picnic at Atlanta’s historic Sweet Auburn Curb Market will be hosting the city’s street-food vendors from 12:00 PM – 3:00 PM.

MA TALKS: Minsuk Cho 6:00 Pm – 7:30 pm High Museum of Art Hill Auditorium 1280 Peachtree Street, NC Atlanta, GA 30309

Minsuk Cho, the founding architect of Mass Studies, will give a lecture at Atlanta’s High Museum of Art on his firm’s past and present projects. Founded in 2003 in Seoul, Korea, Mass Studies is a critical investigation of architecture in the context of mass production, intensely over-populated urban conditions, and other emergent cultural aspects that define our society. www.massstudies.com

MA FILMS: BIG Architecture: 4 Short Films on BIG Projects 8:00 pm – 8:30 pm High Museum of Art Hill Auditorium 1280 Peachtree Street, NE Atlanta, GA 30309

“Loop City”, “Mountain” from the film My Playground, “XPO Bike Tour” and “8 House.” These screenings are sponsored by AIA Atlanta Chapter.

Inside Piano 8:45 pm – 9:45 pm High Museum of Art Hill Auditorium 1280 Peachtree Street, NE Atlanta, GA 30309

This mid-length documentary film invites us to rediscover a little-known building by Renzo Piano. The building serves as an experimentation field in which the architect developed elements that he would later use for his famous Centre Pompidou in Paris. From the Living Architectures series by Ila Beka and Louise Lemoine.

Fixed 11:00PM

The Sound Table 483 Edgewood Avenue Southeast Atlanta , GA 30312 Fixed is an exhibition of “repaired” objects by emerging American designers. The work will be on display for one night at the Sound Table on Edgewood Avenue. After MA, the exhibition will make its way to Chicago for display during the NeoCon World Trade Fair.

ON GO IN G

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2011 Modern Atlanta Home Tour 10:00 Am – 4:00 pm Multiple Locations (see MA website for updated information )

Since 2007, the Modern Atlanta Home Tour has become the staple event in Atlanta design. Showcasing the city’s latest contemporary architecture, interiors, design innovation, sustainability and aesthetics, it annually attracts thousands of visitors from the southeast and beyond. The MA Home Tour is self-guided. A two-day pass is $35. Tickets can be purchased online or at one of MA’s ticket outlets. Additionally, the Urban Picnic at Atlanta’s historic Sweet Auburn Curb Market will be hosting the city’s street-food vendors from 12:00 PM – 3:00 PM.

June

MA Guerilla Store MA’s Guerilla store offers a curatorial mix of exclusive and uncommon home and personal accessories from around the world.

Light Up Atlanta Incredible Corian® Creations Kick- Off Event Ongoing Through June at select MARTA stations

Local architects and designers pay homage to Atlanta with glowing art installations. Join us for the kick-off of Light Up Atlanta, featuring designs by the local architectural and design community made entirely of DuPont™ Corian® Solid Surfaces.

Sounding Up There by Roberto Lange Presented by Flux Projects Monday – Friday 7:00 am – 7:00 pm Lower Lobby 1180 Peachtree Street, NE Atlanta, GA 30309

Sounding Up There is stealth in many regards, composed of four sets of milky white meteorological balloons floating like an aggregate of atoms or cell clusters above two serene reflection pools in the building’s lobby. Attached to each cluster of balloons are speakers with sound compositions. Created by Lange to complement and reflect the space they float in. The balloons amplify the lobby’s height and regal ambiance, but add something uniquely ethereal—a sense of magic within the business-like surroundings.

CLOUDSCAPES Testuo Kondo Architects In our atmosphere, clouds frame outdoor space and filter sunlight. They carry our life source, water, from the oceans to the land. They balance and sustain themselves, holding and releasing solar energy. Many of us have fantasized about touching and walking through clouds. As we gaze out of airplane windows, we dream of what it would be like to live in an ethereal world of fluffy vapor. TRANSSOLAR and Tetsuo Kondo Architects have created Cloudscapes, an installation in which visitors can walk amidst an actual cloud floating in the center of the Arsenale in Venice, Italy. They experience the cloud from below, within, and above, while walking down a winding path. Sometimes they may only be able to see other people across the cloud when the path is obscured. The structure, leaning on existing Arsenale columns, consists of a 4.3 meter high ramp that allows visitors to sit above the cloud, which constantly changes to create a dynamic experience. The cloud is created from saturated air, condensation droplets floating in the space, and condensation seeds. The atmospheres above and below the cloud have different qualities of light, temperature, and humidity, separating the spaces by a filter effect. Lying beneath an artificial sky, the cloud can be touched and felt as different microclimatic conditions coincide. Collaboration with TRANSSOLAR / Matthias Schuler Site: Venice, ITALY Structural Engineer: Mutsuro Sasaki, Yoshiyuki Hiraiwa / SAPS(Sasaki and Partners) Structure: Steel

ma 11 | international

Venice Biennale, Italy

ma 11 | international

Interview

MA: How do you feel about the term DJ in context today? Is it limiting?

KEMIT

K: It does limit, and with myself, two years ago, I was at a point where the whole persona of a DJ Kemit just kind of faded or melted away. Of course, people know I’m a DJ but I perceive myself much more as an artist than just a DJ. You know, I could be driving and hear a new song on the radio, and I’m thinking how can I implement that into my set for others to enjoy, much the same way an artist or painter sees a tree or flower and will incorporate that inspiration into his craft. My craft is perfected through sound whereas others create through sight, taste, or touch, or whatever the source may be. Really though, we all want to expose people to new experiences through different means. MC: Speaking as an architect and designer, I feel we all essentially use the same approach, different disciplines but very similar approach.

DJ or Designer? MA’s Bernard McCoy and Matteo Caimi sit down in a Castleberry Hill back lot with Grammy award-winner and Atlanta-based DJ Kemit. They uncover what inspires him to create and why he just might be “designer Kemit.” MA: In architecture and design, there is a process involving analysis and discovery to understand the challenges and look for inspiration. I noticed at your packed events the “spread love” video footage and use of industrial space and how it resonates with your audience. That’s creative to me. When you are going through your process, what are the kinds of challenges you face and where does the inspiration come from? K: In the late sixties and seventies, you had Fillmore West, Fillmore East, and such venues that have incorporated some type of film or video, probably more film due to the era, but it has served as a backdrop to bands. Taking that experience when we watch those old edits of Jimi [Hendrix] playing at the Fillmore West and you see that psychedelic background against what Jimi was doing… I know when I saw it, I was like, could you imagine? Let alone hearing a master playing the guitar in such

Words MA

a way you’ve never heard or seen before. But there’s this backdrop that is taking you out of your mind, and who knows what they were on at that point and time. It was more than just a show, more than a performance; it was an experience. I considered how at this day and time, could I incorporate this experience into the DJ realm? So the quest became how to take it for the individuals who play rare grooves, afrobeat, deep house, or anything that is soulful or away from the mainstream and yet give the people this experience. So, through the video, for example, we used Mark Hines, who collects video like DJ Rich Medina collects vinyl. Hines searches for different video clips. They could be dancing or whatever the mood he’s after. If you notice that at the end of the night, Hines merged dance scenes from African tribal dancers to dudes attired in the LA pop-lockers scene from back in the day. He would show, compare, and contrast similarities of what is going on between the two combined with the live action on the floor. The video sneaks some emotion out of the audience so that when the music hits them, the audience is much more receptive to what is being offered creatively.

Images John Ferguson

ma 11 | atlanta

MA: With this interview, I’m realizing you are in fact a designer. We’ve talked about processes, inspiration, and creativity, but let’s discuss the subliminal effects existing within your craft, the people you affect, and that all-important feedback from your audience. I mean, you’re a legend who has traveled the world; you have an army of devoted fans, of all ages and ethnicities. People know your brand and expect you to take them to the next level. In your down time, where and how does the subliminal, people, and feedback manifest itself through your craft? K: For myself, I’ve asked that question, and have found that I retreat after I’ve done work. This allows me to examine what I’ve done in my own head, what has happened, the different processes through the night, the music that was played through the night. But the most important thing as you’ve said is that feedback you receive from the audience. Now if I’m doing an event and it’s like two, three, four, five thousand people, it’s not that I’m not getting feedback, but there is such a distance sometimes in those scenarios, those settings. But like the other night, playing to three or four hundred people, or two hundred people, it’s immediate. It’s

the look in their eyes, or people coming up to you to connect. MC: Because you’re into it, totally, mentally, physically. K: The subliminal is like that when I play. People want to thank you in various ways of expression. It’s like a fine balance I have to strike, but it’s that personable approach when individuals are right there and they tell me at the end of the night when I played a certain song how much it meant or that it changed their mood. MA: You’re right; once you enter the room everything changes. In October, I was in Atlanta for business, unaware that you were doing the Fela (Fela Anikulapo Kuti is considered by many the father of Afrobeat) that night and was upset because I missed it by one week. My point is, with the environment that you design for your audience, we want to forget about everything and focus on what is to come. MC: I think in working with MA in the context being creative, your processes are like those in design because you create an environment for people to feel a certain way. You create an environment that makes people feel good in a certain kind of way. And no matter what the tool is, the result is the same. MA: That’s a great transition for this next question: What are your tools? K: Honestly, it’s my wife and I and our imagination. That’s really it. It all started from wanting to present or create a place for people to go to feel good. For people with kids, you would want to get a babysitter, and be at this place whenever the event happens, and that is it. And showcase the abilities of DJ Kemit and the different music I like to play. I could not play all the different kinds of music I like to play in the club scenario. Therefore, you have to invent it. At the time it did not exist, you know. That fusion of sounds did exist in much earlier times—at the Paradise Garage, The Loft, in Chicago at the Biltmore, or the Warehouse, or MusicBox. It did exist before but right now it was not happening and we were all just falling into that commercial hole. Not falling for it but just settling for it. Everybody retreated to their homes to listen

to other forms of music but there was nowhere everyone was coming together. And there is nothing better than just being surrounded by like-minded people. That’s it. MA: With MA, we stress relationships more than any other aspect of the business. The nurturing of strong relationships is everything to MA, speaking more on how to help the other side. And in that the discussion is open and both sides are effectively communicating and taking the time to explore and remove barriers. K: Simply, MA is bridging the gap, and it was a very wide gap. With anything, if you let a population of people who are not fed, whether it’s music, art, design, or whatever, if they are not fed, their palette may not be ready for it. But when they are fed, it sparks curiosity. People want to learn it more, study it; more people enjoy doing it and that is what it is. I mean, art or design is not something meant for this or that class, or this or that ethnicity. It’s meant for everyone, for the world. MA: If you are critical of yourself, do you think you do a good job of communicating bridging the gap? K: I always believe that there is room for improvement. It can be almost bad because in my music for example, I listen and always feel it could be better; a remix could be better, or certain elements can be pulled out. But yeah, I feel I always have to improve myself, what I’m doing. There are always more people I can touch or feed. I’m always looking for different ways of doing that. MA: Is it hard to go from being the celebrity in the spotlight to becoming one with the audience, dancing and having fun? Is it a switch on, switch off thing? K: It’s a release of ego, laughter. No, because a lot of people will think, “If I get out and dance, they may think this way of me or it may not be cool,” but I’m not worried about that. I’m 41; I know where I am in life, and I want to go dance. So its like, let that go.

www.experiencespreadlove.com

DJ Kemit

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09June MA TALKS

6:00 pm – 7:30 pm High Museum of Art Hill Auditorium 1280 Peachtree Street, NE Atlanta, GA 30309

Sponsored by LG Hausys.

For inquiries into 2012 Design is Material, contact bernard@ modern-atlanta.org

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Corian, solaris kitchen by ernestomeda LEFT: Architecture cladding system. Worldâ&#x20AC;&#x2122;s smallest mosaic tile, 5 x 5 x 5mm, BELOW: Claudio Silvestrin for BRIX. Topakustik, integrated acoustic wall system.

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Design is Material

PERKINS+WILL Perkins+Will is a collaborative design studio focused on creating sustainable and innovative design solutions through an integrated, interdisciplinary work process. For Perkins+Will, environmental responsibility is an integral part of design excellence. The new location at 1315 Peachtree Street is a living lab and educational tool reflecting the studio’s environmental commitment and pursuit of design excellence. Along with the building’s prime location, 1315 was chosen over other possible sites because of its relevant design

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challenge of reusing an existing building. Existing buildings currently emit 49% of CO2, the most common greenhouse gas, into our atmosphere. The impact of converting existing buildings into energy-efficient buildings with ambitious performance goals supports P+W’s commitment to the 2030 Challenge and reduces the site’s environmental footprint. The building stands as an excellent example in deconstruction. P+W revealed the concrete structure and diverted over 80% of the furnishings, finishes and demolition debris from landfills.

By introducing a new civic plaza at 1315, P+W is reinforcing an urban environment. The building continues to house the Peachtree Branch of the Atlanta-Fulton County Library and adds the Museum of Design Atlanta (MODA) to the ground floor, which was previously a parking deck. Perkins + Will wanted to both renew the existing landscape and create new ground-level spaces on the public side of the building. They left highly organic, remediated soil uncompacted in the plaza tree wells to provide additional oxygen in the soil and establish a healthy root system for the tree. In addition, they

expanded existing tree wells to allow for more surface area, which increases water supply and reduces runoff. Given the region’s water issues, Perkins + Will replaced hardscapes with pervious material replaced where possible and added several trees to help retain water on the site. They collected rainwater from the roofs to be stored in a 10,000 gallon cistern, filtered and treated onsite, then used for 100% of restroom flush fixtures and landscape irrigation. Overflow water is channeled under the plaza, where it is filtered before naturally recharging the aquifers.

From paints to wall graphics to carpet to furniture, all materials and products have been screened to reduce VOC’s, PVC, and other toxic substances found on the P+W Precautionary List. Using these materials and increasing ventilation through under-floor air distribution helps maintain a clean and healthy indoor air quality.

5th Floor Atrium and Terrace Perkins + Will completely redesigned the western face of the building with a high-performance curtain wall and glazing system in order to prevent solar heat gain and glare. This also provided the opportunity to reshape the massing and section of the building and provide connections between pairs of Perkins+Will floors as well as add an exterior terrace on the fifth floor. This interconnection of spaces is critical to P+Wâ&#x20AC;&#x2122;s highly collaborative culture and supports office-wide meetings and events.

Perkins + Will uses their new terrace for lunches and meetings throughout the work week, as well as Friday Beer Time. The steel trellis and motorized shade system prevent the area from receiving too much sun and penetrating the building with additional heat.

Energy + HVAC Significant energy efficiency is achieved by using water rather than air to heat and cool the space. Cold and hot water is pumped through small capillary mats in the metal ceilings panels. Fresh air ventilation comes from the raised floor system that covFSC-Certified Massaranduba wood ers the floor except at our core. By tiles are used for the floor surface, replacing large fans and ductwork as on the Civic Plaza, and flush with small pumps and piping, stainless steel planters are filled both space and energy are saved. with medicinal herbs, referencing the healthcare and wellness practice areas of the firm.

The Roof The rooftop showcases many of our â&#x20AC;&#x153;living labâ&#x20AC;? and educational opportunities. The heat recovery unit (shown left), or enthalpy wheel, exchanges heat and humidity from one airstream to another. Rather than discard used building air, an enthalpy wheel salvages useful energy and transfers it to incoming, fresh air. This saves energy by reducing the need for cooling in the summer and heating in the winter. Two MicroTurbines, which are compact turbine generators, produce electricity onsite. Although they can run on a variety of fuels, P+W uses natural gas as a clean fuel source.

This building is a snapshot of how current technologies can be used to achieve the highest LEED Platinum Certification rating, meet the 2030 Challenge and help reduce toxic materials from the building products. It is also a living example of how design can continue to contribute to the healthy growth and development of work, employees and community. Design really is human.

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04June 6:00 pm â&#x20AC;&#x201C; 8:00 pm

Two Peachtree Pointe 1555 Peachtree Street NE Atlanta, Georgia 30309

KOREAN PAVILION 38

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Rendering of installation by Manifesto Architecture

Speaking the Same Language Designed by New York City-based firm Manifesto Architecture, the Korean Pavilion for Modern Atlanta’s 2011 Design is Human is an architectural celebration of Korean culture and design. The firm’s principals, Jeeyong An and Sang Hwa Lee, have analyzed the structural logic of the Korean alphabet and applied it to a physical building. In the Korean alphabet, vowels and consonants inter-depend on one other in a tectonic-like manner. The designers translated this logical system into a pure and symbolic installation where a field of simple, scientific structures take on various functions and nuances depending on the orientation and perspective of the viewer, just like the Korean alphabet. Although the pavilion is an attraction in itself, is also the venue for an exhibition on modern Korean architecture. The exhibition features projects selected for the “Architecture by/for/of Korea” competition, an open call for young and talented designers to submit work related to Korea. The projects have been handpicked by a prestigious international jury of practicing architects and scholars. The pavilion is made of materials from the lucent and marmo line of HI-MACS® Acrylic Solid Surface, sponsored by LG Hausys.

Reason: Interdependence of Components Each character in the Korean alphabet must consist of at least one consonant and one vowel. In other words, consonants and vowels are mutually interdependent and cannot by themselves create a readable character. This mutual interdependence of two very different components was the inspiration behind the matrix field of the columns. Conceptually a matrix consists of at least two axes, which exchange input and output in order to form a field of relationships. These elements cannot stand alone if a matrix is to exist. Emotion: Orientational Nuances Korean vowels are based on three elements: a horizontal line representing the flat Earth (the essence of yin), a point for the Sun in the heavens (the essence of yang) and a vertical line for the upright Human (the neutral mediator between the Heaven and Earth). An adjective can have a positive or negative connotation depending on where the point is located in relation to the horizontal or vertical lines. In other words, the tectonic structure can have subtle effects on the meaning of a word. This concept is symbolized in the Korean Pavilion with its matrix of columns that take on different identities, functions and spiritual nuances depending on the direction from which they are observed.

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Design is Material

LUCA LANZETTA

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Ernestomeda

Interpreting kitchens, bathrooms, & lighting Luca Lanzetta founded his firm in 2006, bringing a new splash of modernism to Chicago. The firm initially focused on kitchen design when it opened the Ernestomeda Chicago showroom in the Merchandise Mart. Luca Lanzettaâ&#x20AC;&#x2122;s interpretation of the kitchen space was marked by parallel compositions of functional islands combined with elegant, tall walls of cabinetry. In 2009 the firm expanded to bathroom design with the Antoniolupi grand opening in River North. To Luca Lanzetta, the bathroom is a personal space centered on relaxation. The source of rejuvenation, it is a place to lounge near a fireplace after a bath. Today Molteni & C furniture and Viabizzuno lighting collections shape the firmâ&#x20AC;&#x2122;s portfolio. The collections serve as a refined resource to clients, architects and designers for high-end modern residential projects. Devoted to balancing volumes within living spaces and creating stimulating lighting effects, Luca frequently visits Italy in search of unique contemporary pieces to bring back to the U.S.

Antoniolupi

Luca Lanzetta was born in Rome and grew up in Milan, where he was exposed to fashion and design. He obtained a Master of Science in Mechanical Engineering at Politecnico of Milan and benefits from a background in manufacturing. He now resides in Chicago with his wife and two children. LUCA LANZETTA LLC 222 Merchandise Mart Plaza, suite 128 Chicago, IL 60654 tel. +1-312-329-0229 info@lucalanzetta.com www.lucalanzetta.com

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Design is Material

FINCUBE

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A Vision of Temporary Living Natural high-tech is the concept of this new modular, sustainable & transportable low-energy house. Designed by Werner Aisslinger and developed with a South Tyrolian team, the FINCUBE was created 1200m above sea level near Bozen in Northern Italy, with a brilliant view of the famous Dolomite mountains. The hideaway-in-nature nomadic housing concept is since recently exhibited as a prototype in Ritten, above Bozen. Sustainable Nomadic House Made entirely of local wood, the building provides 47 m of living space with a minimal CO2 footprint: local suppliers and local crafts using local long-lasting and recyclable materials manufactured with the precision and care of tyrolese handwork. The FINCUBE is a materialized vision of a small housing unit with a long lifecycle. It can easily be dismantled and rebuilt on a new site, and even more important for nature hideaways: it requires minimum soil sealing—just 2 m that are easily re-natured after the FINCUBE is moved to another location. Long-lasting design The design is minimal, material-orientated, and in close touch with nature—the wooden space with a 360-degree triple glazing is furnished with a second facade layer, producing shade and giving the building a unique overall mushroom-like monoshape. The horizontal ledges give privacy to the FINCUBE and embed the building into forests, meadows, mountainsides or any nature resorts. The combination of long-lasting design and the option of changing its location after a while make the FINCUBE a flexible home or hideaway and a lifetime companion. Hospitality Vision Together with South Tyrolean hotelier Josef Innherhofer, the FINCUBE was also conceptualized as a vision for future hospitality: A temporary FINCUBE village with minimum soil sealing can be placed in the middle of the most beautiful landscapes without permanently altering them. In contrast to permanent buildings, the FINCUBE could be easily changed, extended, scaled down or removed and the area would soon be renaturalized. These qualities make the unit an answer to future needs for flexible and smart tourism. Technology & Space The FINCUBE is a smart house—all vital house-functions are controlled by a central touch panel. The supporting structure is made of local larch and the interior is a combination of larch & stone-pine. The 3m-high space is organized in a helical structure: The entrance area blends into a generous open kitchen with an adjacent sofa living space. The bedroom lies around the corner, and further down is a spacious bathroom. Interior Design: Tina Bunyaprasit, Studio Aisslinger Styling: Studio Aisslinger

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Edible Design

COLETTE MA’s Sonya Boissard interviews Gillaume Salmon of Colette about the store’s basement water bar. Colette first opened its doors in March 1997 along 213 rue Saint-Honoré in Paris. Aimed at reinventing the concept of retail at its seven-hundred square-meter establishment and armed with a team of 50 sellers, Colette adopted the tag line “styledesignartfood.” In an exclusive Design Is Human interview, MA Edible Design curator Sonya Boissard met with Gillaume Salmon, Communications Director at Colette. MA: You are the press person here at Colette.

MA: Let’s talk about the concept behind the water bar restaurant. Is it true that Colette has over 80 different bottles of water from all over the world? GS: It’s very important to understand that the water bar goes with the restaurant and the water bar restaurant goes with the store. Everything was built at the same time 14 years ago. We wanted to have the restaurant open during the store hours. That way people could have lunch when they wanted to. (continued)

Words Sonya Boissard

Images MA

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Gillaume Salmon

GS: Yes. I am Gillaume Salmon, press person, spokesperson, little bit of everything really.

Kevin Lyons Water Bar

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Edible Design

Upstairs

“This type of bar doesn’t exist anywhere else in the world... the concept was new; it was healthy.” The concept behind the water bar restaurant was to adapt to the new way of life, new way of working. That’s why we wanted a notion of a bar, with the idea of being able to eat and be served at a fast pace compared to going to a sit-down restaurant. Of course we didn’t just open any old bar, because everyone has a bar in Paris, so Colette decided to do the water bar. This type of bar doesn’t exist anywhere else in the world except for Canada, so the concept was new; it was healthy. There is a link between the designers and objects on the ground floor of the store.

For example, at the moment we are collaborating with Chanel for Fashion Week. We also do things like popup stores. We did one in New York during New York’s Fashion Week. The popup stores could last anywhere from one day to six months; it just all depends. The project that we have been working on for the last year is called the Cooklette. One Friday a month we have someone give cooking lessons at the water bar. At the last Cooklette, the participants made “Les Madeleines de Proust.” There were about twelve people; it was nice. We change chefs each time.

MA: Does Colette have other food projects in the works?

Interior of Colette

GS: No, we will not be opening any other restaurants or bars. You know Colette is an independent store. Sometimes we do stuff in the store like a party.

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Water Bar

Eco Build

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Edible Design

RACHEL BAJADA

MA’s Sonya Boissard interviews Rachel Bajada of the blog A’Savourer. MA: What was your experience with food prior to coming to France? RB: I used to be a vegetarian. My parents didn’t support my vegetarian lifestyle, so I had to cook for myself, and that’s where it all started. I became passionate about food, and what better place than Paris? You get such great produce here, the markets are nice… also, for me also it’s about sustainability, eating locally and seasonally. I am planning to write a book about cuisine de grand-mére. I think some of the traditional recipes and techniques from French grandmothers are getting lost in contemporary French culture, so I would like to put all of those secrets in a book. MA: What exciting food trends are you seeing in Paris and around France?

Words Sonya Boissard

RB: In terms of trends, there are many things happening at the moment. Let’s start with Paris, because what is happening in Paris doesn’t necessarily mean that you have the same trends in other parts of France. In Paris what I am seeing is that a lot of atelier de chefs (cooking schools) are very popular at the moment. To be able to cook and share a meal with top chefs in Paris is an amazing feeling. Another trend that’s popping up all over the place is designer patisserie shops. For example, you have a lot of designers like Philippe Starck, Christian Lacroix, and Kenzo, who are collaborating with the famous Lenôtre, designing everything from Macaroons to “Buche Noël.” It’s really the haute couture of patisserie. MA: What three Paris restaurants would you recommend to a foodie who’s visiting for the first time?

Images MA

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RB: There are so many great restaurants, but if I had to choose I would say Café Chez George, Procopio Angelo, and—for a real gastronomy experience—Plaza Athénéé with Alain Ducasse.

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Edible Design

EAT DRINK DESIGN During Dutch Design Week, design studio Moon/en/co gathered designers, businesses and government to enjoy the cuisine of Sot-l’y Laisse’s Edwin Severijn in this first anniversary of the pop-up restaurant. The exhibit showed Analog Digital Clock by Maarten Baas, Lucky Love Chair by Maarten Baptist, and selected work by Joost van Bleiswijk en Kiki van Eijk. Other notable items include the resourceful leather work of newcomers Klaas Kuiken and Sjoerd Vroonland (Car Chair and Kitchenware Stool), the series ABChairs by Roeland Otten (presented on paper) and Kaskast by Marije van der Park, which challenges us to think about other ways to grow food.

Jeroen Vinken exhibited his curtain collection tv, awarded last week with a Dutch Design Award, and Grondvormen artists Nienke Sybrandy, Sander Boeijink and Jeroen Wand drew much attention with their installation: a labyrinth of tubes and pipes that distilled a mysterious plant elixir. For those who believe in it, the beverage may have worked. For others, it’s eye-catching art.

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Words

Images

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THIS PAGE: Eat Drink Design Event Venue

In the middle of everything, the Kranen/Gille dining table was booked all ten evenings. Chef Edwin Severijn improvised dishes such as sea urchin with summer purslane and veal cheek with truffle and trompettes noir, stewed in a Double Dip Slow Cooker by Maarten Baptist. The food was served straight from the Dtile kitchen and garnished with napkins by Jeroen Vinken, the cutlery of Royal VKB, and N-Gispen chairs by Gerrit Rietveld.

DESIGN Lies Arts / Maarten Baas / Maarten Baptist / Anke Bernotat / Joost van Bleiswijk / Sander Boeijink, Nienke Sybrandy & Jeroen Wand (Grondvormen) / Boaz Cohen & Sayaka Yamamoto (BCXSY) / Kiki van Eijk / Niels van Eijk & Miriam van der Lubbe / Thomas Eurlings / Hulger & Samuel Wilkinson / Peter van der Jagt & Erik Jan Kwakkel (DTILE) / Dinie van den Heuvel (dâ&#x20AC;&#x2122;Andt) / Dick van Hoff & Floris Schoonderbeek (Weltevree) / Jos Kranen & Johannes Gille / Klaas Kuiken / Sander Lucas / Fenna Oosterhoff / Roeland Otten / Marije van der Park & Latu / Gerrit Rietveld (NGispen) / Maaike Roozenburg / Jonas Samson / Mara Skujeniece / Jeroen Vinken / Wieland Vogel / Sjoerd Vroonland / Anke Weiss

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Edible Design

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CONCEPT Annemoon Geurts, Koen Rijnbeek (Moon/en/co) & Edwin Severijn (Sot-lâ&#x20AC;&#x2122;y-laisse) CURATOR Annemoon Geurts

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Edible Design

SéBASTIEN DéGARDIN MA’s Sonya Boissard met up with pastry chef Sébastien Dégardin to learn more about the man and uncover the secrets to his success. MA: Can you tell me a little about yourself and how you became interested in becoming a pastry chef? SD: It was not my plan in the beginning. I actually attended a cooking school to become a food chef. It was my father who was a cooking teacher, and at around age 11 he introduced me to cooking. He later suggested I should think about making pastries and learn more about the field.

I credit Patrice Laage, who taught me the base of pastry-making and allowed me to develop my skills and passion. It was a great opportunity. MA: What is your source of inspiration when creating a pastry?

While in school, I started out working weekends. It was during my studies that I entered a pastry competition reserved for professionals and was surprised to be selected for the finals. Through the competition I met Patrice Laage, a talented and acclaimed pastry chef, and we worked together for two years.

SD: My pastry is based on two aspects: first, tradition; and second, creation. Even if you are not a pastry chef, everybody has his own idea of what a good eclair au chocolat is. From childhood to adulthood we have memories of good cake, and this memory often remains as a reference point. The traditional cakes like lemon tart, apple pie, etc, serve as a guideline when introducing yourself to a variety of different pastries. But for me, what’s very important is the base of the product, the quality of the chocolate,

Words Sonya Boissard

Images MA

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butter, and cream. Working with high-end ingredients ensures a better pastry. However, even with the best ingredients, if you don’t have the skills your pastries will be crap.

but when you start to get more specific, for example, experimenting with ingredients, you have to understand basic techniques. And that requires a lot of practice.

MA: Let’s talk about technique.

MA: Are you seeing any new pastry trends at the moment?

SD: The scale is a very important tool. It is difficult to make a pastry of a certain level without having a scale to measure the ingredients. The regularity of the recipe is also important. Most traditional pastry recipes serve as a reference and have been vetted and tested. It is possible to become a self-made chef, but to become a self-made pastry chef requires more training, especially in France. You really need to understand the art of technique. The average person can make basic pastries like apple pie or chocolate mousse,

SD: Well, I think the base remains the base and I will not try to re-invent the base of a pastry recipe. In my view, in France, what has changed over the last ten years in regards to pastries is the level of design implementation and presentation. Today the most fashionable macaroon in Paris is the “Gerbet.” For me, a delicious macaroon must be consistent; the top has to crack a little and the heart of the macaroon must be smooth. Another big evolution is the amount of sugar in cakes.

We are putting less sugar in our pastries. The percentage of sugar is very important now. The pastries in France are tastier and lighter. MA: I hope next year at Design is Human 2012 and Edible Design we will be able to taste macaroons by Sébastien Dégardin. SD: I hope so too! Sébastien Dégardin Pastries 29 Boulevard de Reuilly 75012 Paris France

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MA-ology Africa

MA-OLOGY AFRICA MA-ology Africa is our special fundraiser that helps support CARE INTERNATIONAL’s important work around the world. Now in its fourth successful year and firmly established as the hottest underground event in Atlanta, MA-ology is many things. It is excellence; it is international; it is raw; it is design; it is fashion; it is art; it is togetherness; it is edgy; but most importantly, it is about giving, sharing and caring for others, especially women and children in need and whose lives are the inspiration and motivation behind MA-ology each year. As part of MA 2011 Design Is Human weeklong events, MA-ology Africa is a celebration inspired by contemporary Africa and the continent’s newfound status in international design. Proceeds from MA-ology Africa go to CARE in support of humanitarian relief and empowering women in Africa and in other parts of the world. In its 4th year, MA-ology will feature parts of the MAfrique exhibition from Milan, Italy, which features acclaimed African designers gaining international attention. In collaboration with Jeffrey New York and Jeffrey Atlanta, MA-ology will also include its signature fashion runway show, taking inspiration from modern day Africa and featuring top design Spring-Summer collections from names like Dries Van Noten, Prada, Marni and special jewlelry from eco-designer Monique Pean. The MA-ology series, best described as design-meets-fashion-meetsart-meets-social-responsibility, has proven to be a very popular event with MA attendees and fashionistas. It will be sure to sell out early, all for a worthy cause. Representatives from CARE will also be available to meet and talk about their critical work. Entrance to the MA-ology Africa & CARE Fundraiser is $30 online and $35 at the door. It is expected to sell out early. Proceeds benefit CARE. Complimentary wines will be served. Tickets can be purchased online or at one of MA’s Atlanta ticket outlets. Visit www.modern-atlanta.org for ticket information and details.

MA-ology Africa

MA FRIQUE

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Milan, Italy. The annual meeting with art and solidarity promoted by CEFA – Il seme della solidarietà Onlus – held its fifth year at Salone del Mobile di Milano in April 2011. It aimed to expand our view of the “African world” to include design and contemporary architecture. MAfrique is a journey through African creativity and a discovery of Africa’s modern side, still widely unknown to most. MAfrique showcases contemporary African design and architecture through text, images and objects, demonstrating the continent’s unexpectedly rich visual culture. For example, there is a striking similarity between minimalist buildings and the Dogon villages of Mali. Set up in collaboration with MA (Modern Atlanta), under the auspices of CoLomba (Cooperazione LOMBARdia), MAfrique is a preview of the exhibition that will be held this year from June 6-12 at the MA Design Is Human week 2011, during MA-ology Africa.

A section of the exhibition will be fully dedicated to the “market,” a typically African place where the life of the villages lights up, establishing relationships and unity amidst great diversity. MAfrique will also offer food, music and shops—each a further chance at interacting and engaging. Partners in MAfrique include Domus magazine, Interni magazine, CoLomba, Lamm, Palazzo Clerici, Ekonos Arte, Fondazione CARIPLO, and Regione Lombardia. MAfrique concept, graphics and research: Mohamed Abdel Sayed Alberto Bellotti Matteo Caimi Marina Mojana MAfrique Milan, part of Salone Del Mobile International Trade Fair Palazzo Clerici – Sala delle Colonne Milan, via Clerici 5 From 9th to 19th April 2011 For further information: www.cefaonlus.it www.modern-atlanta.org bernard@modern-atlanta.org

Photos, projects and works will be displayed, belonging to several internationally known protagonists of this African renaissance with eclectic characteristics: architect Francis Kèrè; MMA Architects; photographer J. ‘Quazi’ King; illustrators Peter Gikandi and Kenneth Coker; and designers Heath Nash, Dokter and Misses and Cheick Diallo, the current President of the African Designers’ Association

Words Marina Mojana

Images MA

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MA-ology Africa

ABOVE Fashion photography by J. ‘Quazi’ King from the MAfrique exhibition.

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MA-ology Africa

1 2

5 6

1. Peter Gikandi 2. J. ‘Quazi’ King 3. Dokter and Misses 4. MMA Architects 5. MMA Architects 6. Dokter and Misses 7. Heath Nash 8. Heath Nash 9. MMA Architects 10. J. ‘Quazi’ King 11. MMA Architects 12. J. ‘Quazi’ King 13. Dokter and Misses 14. Kenneth Coker 15. MMA Architects 16. Heath Nash

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14 16

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MA-ology Africa

CEFA CEFA, the seed of solidarity, is a Non-Governmental Organization of International Voluntary Service. It was founded in 1972 by a Group of Agricultural Cooperatives of the Christian Workers’ Movement to carry out projects that help local populations to fight against starvation in an enduring way.

CEFA is founded on the principles of solidarity and international cooperation. It works in the name of justice, human rights and peace, following the idea that everyone, everywhere in the world, can become a protagonist of development and an active agent of democracy and peace.

CEFA gives priority to those projects that aim at food self-sufficiency and at the satisfaction of the primary needs of the population—food, water, health, education, and social organization. Each project strives to join together operations that are directly productive with others oriented towards cultural and social improvement.

It is a non-profit organisation and uses only 10% of contributions for organizational costs. CEFA’s contributions come from public and private companies and institutions. It is a member of the FOCSIV (the Federation of Christian Organizations for Voluntary International Service) and is officially recognized.

CEFA also works to give technical formation and social awareness to populations to equip them to manage projects that have already been started.

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Mass Studies

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Mass Studies

KOREA PAVILION The World Expo 2010, held in Shanghai, China, was themed, “Better City, Better Life.” Over 192 countries participated. The Korea Pavilion was situated on one of the largest lots in the Expo compound. With land culture (China) and sea culture (Japan) surrounding the peninsula, Korea has been permeable to imported cultures and global influences, whose progressive mix defines contemporary Korean society. Drawing from the concept of “convergence” as its main inspiration, the Korea Pavilion was an amalgamation of “sign” (symbol) and “space.” Signs became spaces, and simultaneously, spaces became signs. Han-geul, the Korean alphabet, was the prime element of “signs” within the pavilion. The overall volume, lifted 7.2m above ground level, was created by converging Han-geul letters, allowing signs to create the exhibition space, so that the visitors could experience their geometry through horizontal, vertical and diagonal movements. The primary geometries that composed the Han-geul letters were universal to other cultures, thus acting as a sort of “open” set of signs that could engage everyone. The exterior surfaces of the Korea Pavilion were clad in two types of pixels: Han-geul Pixels and Art Pixels. Han-geul Pixels were white panels with a relief of letters in four different sizes whose combination formed the majority of the exterior, mainly the peripheral surfaces. Most of the non-peripheral surfaces were composed of Art Pixels, 45cm x 45cm aluminum panels created by Korean artist Ik-Joong Kang. Kang is renowned for creating massive art walls out of small handpainted tiles, either self-produced or gathered from around the world (another type of convergence). About 40,000 of these panels textured the façade, contributing a bright palette of colors that symbolized hope and unity throughout the Korea Pavilion. The surfaces projected different atmospheres during the day and night, with light and shadows creating different textures. Sequential lighting was installed behind the Hangeul Pixels to highlight the individual letters on the exterior façade at night, further animating the pavilion as a sign (like a text message) on a larger scale. The Art Pixels, individually autographed by the artist, were sold at the end of the Expo, with proceeds donated to an international charity organization. The recycling of façade material units as works of art enhanced the sustainability of the Korea pavilion in a unique way—by directly and critically addressing the environmental impact of a temporary structure only in use for six months.

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By understanding a map as a type of a sign that depicts space, Mass Studies translated the ground-level piloti space as a sign by making an abstract 1/300 scale 3D map of a characteristic Korean city as its surface. The rest of the building, containing the exhibition space, was suspended seven meters above to create a 40m x 77m free, open space generated by the map. The map became a semi-exterior landscape that expressed the converging of mountains, water, and a dense metropolitan area, as exemplified by Seoul, the national capital. This ground floor was shaded by the main volume and additionally cooled by the a replica of a river (modeled after the Han River) flowing from one corner to the other as a five-meter wide, 79-meter long artificial stream, while the notable mountains became stages or seating where visitors could enjoy shows while in line to enter the exhibition space above. This concept sought a solution to the problem that most visitors spend more time waiting than experiencing the exhibition itself. There is also a series of LFD monitors, a large LFD screen and two water screen projections to assist the interaction with the visitors. Upon entering the second level of the pavilion, the floor opens up to a gigantic 3,700 square meter exhibition space enclosed in complete darkness. Mass Studies opened the space up as an open flat plane, so that it could handle an extremely heavy load of visitor traffic. The level above contained the VIP Lounge, Press Room, Conference Room, and programs for the staff and administration. On the opposite end of the exhibition space (at the northwestern side of the building) was a restaurant with its own self-operating circulation, and an access to a roof garden that overlooked the Huangpu River and Shanghai skyline.

Korea Pavilion, Shanghai Expo 2010, China Photography by Kyungsub Shin

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Mass Studies

ANN DEMEULEMEESTER SHOP 76

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Nature Meets Artifice The site is located in an alley, at a block’s distance from Dosandae-ro, a busy thoroughfare in Seoul’s Gangnam district close to Dosan Park. Primarily residential in the past, the neighborhood is undergoing a rapid transformation into an upscale commercial district full of shops and restaurants. The building is comprised of one subterranean level and three floors above. The Ann Demeulemeester Shop is located on the first floor, with a restaurant above and a Multi-Shop in the basement. This proposal is an attempt to incorporate as much nature as possible into the building within the constraints of a low-elevation, high-density urban environment of limited space. The building defines its relationship between natural/artificial and interior/exterior as an amalgamation, rather than a confrontation. Diverse interior spaces designated for its three main programs are meant to be perceived and utilized as a part of the outdoors. Rather than being experienced externally as just another “object,” the building is intended as a synthetic organism of nature and artifice. The parking lot/courtyard is at the center of the site, exposed to the street on the southern end. The entrance to the Ann Demeulemeester Shop is located on the western side of the courtyard, and stairs that lead to the other two programs are located on the eastern side. Landscaping of dense bamboo form a wall along each of the remaining three sides that border neighboring sites. Inside the first floor shop, undulating dark brown exposed concrete forms an organically shaped ceiling. Round columns on the edges of the space continue the ceiling surface while providing the necessary structural support. This structural system creates arched openings of varying sizes that are as exposed as possible to the outside road and the bamboo hedges. This organic formation is not only a dynamic space but a flexible rectangular one (11.2m x 14m). The additional wing on the eastern side contains support functions such as fitting rooms, storage, and a bathroom, efficiently divided and simultaneously connected. The restaurant’s main entrance is a staircase that runs alongside the entire eastern side of the building. The shape of the ceiling below influences the restaurant space above, comprised of a three-level skip-floor formation. The two open-air spaces inside, a hidden terrace toward the rear of the building that extends from the top level, and a rooftop space accessible by stairs, form an intimate restaurant that varies in spatial characteristics. The stairs leading to the basement shop begin as a narrow, white, architectural space that gradually enlarges to become another organic shape—like a moss-covered subterranean cave—and serves as an entrance. Open to the outside, the space is simultaneously a composite garden buried 5.5m below ground. The outside building material is primarily geotextile, planted with a herbaceous perennial to form a living façade. The other three sides that face bamboo borders are clad in steel sheets and finished with propylene resin.

Project: Ann Demeulemeester Shop Design Period: 2007.1 – 2007.4 Construction Period: 2007.5 – 2007.10

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Mass Studies

PIXEL HOUSE The pixel house was designed for a young family with two children. The family was very interested in the larger community and planned to share their exterior spaces and create a day care for neighborhood children. So in addition to being a house, the structure was also meant to function as a community center.

The architects also questioned the relationship between the building and its landscape. The main house has been softened and rounded; it now appears somewhere between the rigid orthogonal geometry of the row and the smooth contours of the landscape. Is it a building or a stone?

The site was perfectly matched with the client’s intentions; the Pixel House is the last in a row of houses, the point of rupture between the clearly defined front and back yard spaces, where the continuous façade that defines these outdoor spaces ends or turns. Because of this, the public and private territories are not as clear on this site as on other sites within the row.

At a micro-scale, this tension between the contoured natural condition and the orthogonal master plan condition was developed further in the choice of materials. Using a simple brick in a logical order, but allowing the bricks to slide out of plane to create the curved wall, created a tension between orthogonal and contoured form. This tectonic tension is parallel to the tension that exists between the building and the row of houses adjacent to it and between the master plan massing and the hilly landscape.

While the public and private territories are ambiguous, the end condition is the point at which the relationship between the building and The middle piece of the house, phase three, occupies the back yard the landscape is clearest. The entire row of houses can be read as an object-field relationship between building and landscape. This opposi- as defined in the master plan. tion between formal clarity and territorial ambiguity requires a very different strategy than with the infill condition, particularly because the client is interested in breaking down the public-private opposition. Mass Studies chose to break the row into fragments rather than just extending the “wall” of houses to the end of the site, by placing the main house at the western end of the site. This allowed a bleeding between the front and back spaces and created an outdoor space open to the street within the depth of the row house.

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Project: Pixel House Design Period: 2001.9 – 2003.1 Construction Period: 2003.2 – 2003.11

Pixel House, Gyeonggido, Korea Photography by Yong-Kwan Kim

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Mass Studies

Project: Boutique Monaco: Missing Matrix Design Period: 2004.7 â&#x20AC;&#x201C; 2005.9 Construction Period: 2005.5 â&#x20AC;&#x201C; 2008.8

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BOUTIQUE MONACO Through fifteen missing spaces, the building gains more exterior surface and corners, creating more natural light and better views. The spaces created by the missing matrices are landscaped with trees that are visible from the inside and outside of the building. Inside the tower, a total of 49 different types of units, 172 units in total, are arranged heterogeneously to reflect and exploit rich spatial conditions. For example, in the area created by the fifteen missing matrices, there are 40 units with bridges that divide public (living/dining area) and private (bedroom) spaces within individual units, along with 22 units that include gardens.

Boutique Monaco, Seoul, Korea Photography by Yong-Kwan Kim

This tower project has a floor area of 54,859 cubic meters, with commercial, cultural, and community spaces on the lower levels, and â&#x20AC;&#x153;officetelsâ&#x20AC;? on floors five through twenty-seven. To ensure the maximum building footprint ratio (40%) as well as optimal natural light conditions, a C-shaped plan is extruded into a 27-story tower consistent with the Domino Matrix to reach a height of 100 meters, the maximum height allowed by law. When the C-shaped plan is simply repeated vertically, however, the floor space of the entire tower exceeds the legally allowed amount by approximately 10%. To reduce this mass systematically, missing matrices are introduced, meeting the maximum FAR (970%) throughout the building mass.

Mass Studies Project: S-Trenue: Bundle Matrix Design Period: 2006.1 – 2006.7 Construction Period: 2006.8 – 2009.11

S-Trenue, Seoul, Korea Photography by Iwan Baan

STRENUE 82

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This tower proposal is an alternative to the conventional residential/office tower prototype of commercial developments, with its design being specific to the site’s conditions. Generally, the plan of this tower typology is determined by the maximum site coverage (60% in this case), and the maximum F.A.R. (800%), and is repeatedly stacked vertically. Proportionately, this typology is usually on the stable, short side and thus referred to as a “stocky” tower. In this plan, a tower of 14 floors (800% ÷ 60% = 13.333) is possible. The site is located near the Yeouido National Assembly, in an area that has been developed since the 1980’s and mostly populated with towers built according to this equation to similar height and capacity scales. An urban environ-

ment crowded with these types of towers is often monotonous and uninteresting, while the paucity of space between towers results in an oppressive cityscape. Prototype 1 (Standard): This type is possible when there is enough vertical allowance. The lower four or five levels, mostly filled with high-profit commercial entities, forming a podium of maximum site coverage. Smaller (and therefore less efficient) floors are stacked repeatedly on top of the podium, using extra vertical allowance to reach its maximum height. The podium’s capacity maximizes value and invigorates the neighborhood, while the slimness of the tower improves lighting and views inside. In this project, the site is by a 100mwide street that adds extra height allowance, for a possible total of 36 floors. Prototype 2 (L-shaped): This is a variation of the podium tower; The tower atop the podium faces the street and horizontally forms an L-shape. The tower’s visibility increases from the street, while increased distance from neighboring buildings to the rear improves the overall environment.

The L-shaped podium tower is reorganized and transforms into three vertical elements: three slimmer towers. The central core tower, the adjoined street-side tower, the adjoined rear tower and the podium form an “L” that continues as one element. The core tower is of reinforced concrete construction, the other two, of steel construction. With the core tower at the center, the slimmer steel construction towers lean at varying angles that still maintain structural soundness. This will create as much distance as possible between the three towers and add outdoor space between them. Because of these spaces, there are many rooms inside the tower with an unusual amount of access and exposure to the outside for a more desirable residential/work environment. Thirty-two bridges in the gaps connect all three towers functionally and structurally. Each of these bridges has a balcony and greenery on either side, creating pleasant gardens suspended in mid-air. The interstitial spaces extend to the commercial lower four floors with an atrium garden, escalator hall and other common areas for rest and transit that en-

liven the space. The design may have started from a podium tower prototype, but with the division between the podium and tower vanished, the three slimmer towers and two resultant interstitial gaps create vertical urbanity. The site is a gateway into the district, and one can expect this urbanity to act as a new, vital catalyst. There are many changes in store for Yeouido in the near and far future, with its existing financial area at the core. According to the 2020 Seoul Urban Basic Project Plan, Yeouido will be developed as an international financial district and the center of northeast Asian finance. High-density highrise projects such as the IFC and Park One are being developed to the site’s northeast as a link to such mid- to long-term plans. In the residential areas to the site’s southeast, there are mixed-use highrises already developed or under construction. This project is at the center of a rapidlychanging Yeouido’s commercial and financial center. The building is comprised of 7 basement levels and 36 superstructure levels, totaling about

39.899 and 154.14m in height. Parking and mechanical rooms are located on basement levels 2-7, and community conveniences are on basement levels one to superstructure level four, with the remaining levels 5 to 36 being “officetels” (live/work space). Belt truss reinforcement is at levels 14-15 to strengthen the highrise. Levels 14-15, at the core of the building, contain support facilities and central mechanical rooms and mark the division of facilities. A green park space will be installed along the 100m-wide street. In addition, an 85m x 5m garden island will be installed alongside the street 20m to the west, which is narrow but expected to see significant pedestrian traffic. The street-side park features bamboo and Japanese spurge landscaping and water fixtures. Mist fountains and lighting will create a distinctive urban park that adds to the site’s role as a gateway. In the interstitial spaces on either side of the core tower, there are 32 green spaces planned for “sky parks.” Over two stories high and arranged to alternate on the right and left, long narrow gardens effectively cross each other in an indeterminate outdoor space. The penthouse level (36th floor) has two outdoor spaces for every three units, with 31 total outdoor spaces that complement the building’s exterior and help formulate the highrise’s identity.

ma 11 | international

11June 6:00 Pm – 7:30 pm

High Museum of Art Hill Auditorium 1280 Peachtree Street, NE Atlanta, GA 30309

MINSUK CHO Minsuk Cho was born in Seoul and graduated from the Architectural Engineering Department of Yonsei University (Seoul, Korea) and the Graduate School of Architecture at Columbia University (New York, USA). He began his professional career working for Kolatan/MacDonald Studio, and Polshek and Partners in New York. Cho later moved to the Netherlands to work for OMA, gaining experience in a wide range of architectural and urban projects implemented in various locations. With partner James Slade, he established Cho Slade Architecture in 1998. Based in New York City, the firm intended to engage in various projects in both the U.S. and Korea. In 2003, Cho returned to Korea to open his own firm, Mass Studies. Cho has received many awards, including first prize in the 1994 Shinkenchiku International Residential Architecture Competition, the Architectural League of New York’s “Young Architects Award” in 2000 for his work at Cho Slade Architecture, and two U.S. Progressive Architecture Awards in 1999 and 2003. Boutique Monaco was named a finalist for the International Highrise Award (DAM) in 2008 and nominated again for S-Trenue in 2010. Recently, the Korea Pavilion was awarded the Silver Medal by the B.I.E. in the category of Architectural Design for the World Expo 2010 Shanghai, as well as a Presidential Citation from Korea. Cho’s work was exhibited at La Biennale di Venezia for Dalki Theme Park in 2004, and for Different but Same Houses in 2010. He was also a part of the Open House traveling exhibition from 2006 to 2008, the New Trends of Architecture in Europe and Asia Pacific 2006–2007 traveling exhibit, and has been an active lecturer and participant in symposiums worldwide. His representative works include “Pixel House,” “Dalki Theme Park,” “Nature Poem,” “Boutique Monaco,” “Seoul Commune 2026,” “S-Trenue,” “Ann Demeulemeester Shop,” “Ring Dome,” “Xi Gallery,” and “World Expo 2010 Shanghai: Korea Pavilion.”

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Minsuk

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Films

11June 8:45 pm â&#x20AC;&#x201C; 9:45 pm

High Museum of Art Hill Auditorium 1280 Peachtree Street, NE Atlanta, GA 30309

INSIDE PIANO This mid-length documentary film invites us to rediscover a little-known building by Renzo Piano. The building serves as an experimentation field in which the architect developed elements that he would later use for his famous Centre Pompidou in Paris. The film follows the daily paths of a series of employees at the world-renowned B&B design firm, giving us an architectural visit from underground to roof. From the Living Architectures series by Ila Beka and Louise Lemoine. www.living-architectures.com

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B&B Design firm Photography by Ila Beka & Louise Lemoine

11June 8:00 pm – 8:30 pm

High Museum of Art Hill Auditorium 1280 Peachtree Street, NE Atlanta, GA 30309

BIG SHORTS Loop City Xpo Bike Ride 8 House Mountain As part of Design Is Human week, MA presents a series of four short films and clips highlighting the trailblazing architecture of BIG. Bjarke Ingels also appears in the Kaspar Astrup Schröder film, My Playground, which debuts in Atlanta as part MA’s collaboration with Objective Cinema. Bjarke Ingels started BIG (Bjarke Ingels Group) in 2005, after co-founding PLOT Architects in 2001 and working at OMA in Rotterdam. Through a series of award-winning design projects and buildings, Bjarke Ingels has created an international reputation as a member of a new generation of architects that combines shrewd analysis, playful experimentation, social responsibility and humor.

Films

MY PLAYGROUND Parkour is a sport in which a player travels from one point of a city to another as efficiently as possible, overcoming any obstacles in the way, including walls, fences, and trees. It is the sensational traversing of these obstacles that has made parkour the urban sport, recently included in music videos, advertisements, and feature films.

Danish filmmaker Kaspar Astrup Schröder has created My Playground, a documentary about parkour and related underground sports like tricking and freerunning that explores their relationship to urban spaces. The documentary features the parkour masters of Team Jiyo and interviews urban planners, local politicians, architects and philosophers. Objective Cinema had a chance to talk with Kasper, who is from Copenhagen, along with Bjarke Ingels, the award-winning architect and founder of Bjarke Ingels Group (BIG), who is featured in the documentary. They had a conversation about parkour, architecture and how, when the two are brought together through film, they can inspire a movement around the world.

BI: When Kaspar took that few hours of footage and put it together as this small teaser it instantly became a classic and KS: It started in France in the I started using it in all my leclate 1990s and has evolved tures. The primary resonance the to the whole world. I’ve seen film has made is to communicate videos from India to Africa to New Zealand; people are doing it on such a physically intuitive level just by watching the two guys everywhere. It is really growing, climb up through the Mountain especially in Denmark. It is the and jump back down again in fastest growing sport among a real physical space. It is way young people. beyond what we have been able to capture. It helps transmit the Team Jiyo, who are in the film, are the lead team in Denmark and ideas and experience of our work are competing on an international in a way that we couldn’t have done without this visual informalevel. They have channels on tion. We started a dialog with YouTube where they are doing Kaspar about trying to engage stuff no one else can. YouTube is with the architecture at all stages parkour’s club; that is how they get to know each other. They meet of realization. In the office, looking at the architectural models, up at gatherings all around the going to the construction site and world to train with each other. moving around the building in the The British parkour guys are at the top of their game in the world making and afterwards inhabiting the buildings as they are right now, so everyone wants to train with them and go to England. completed. Even if you are only interested in parkour it will give Denmark is now the parkour capital of Scandinavia because of you more of an understanding that architecture isn’t just Team Jiyo. I’ve event met people a specific art form, but really an in China and Japan who knew ongoing attempt to accommodate about them; the sport is public life as a whole. really growing. OC: How big is parkour and how did it begin?

OC: My Playground is really two films. It isn’t only a film about parkour but also a film about architecture and urban space. Architecture and extreme sport aren’t normally looked at in this way. KS: When I began doing these test shoots with the parkour teams I started composing my pictures according to the buildings and the space, but with these guys moving within the space it became a totally different experience. This was something eye-opening to me, and it made the space much more alive and dynamic. There is a suburban neighborhood of garden homes

flowing over a ten-story building called “The Mountain,” which BIG designed in Orestad, just outside of Copenhagen. I filmed the top parkour team in Denmark, Team Jiyo, jumping from roof to roof and did a short film. That is why Bjarke came on board. I gave him the film and he was like, “This is amazing, we have never seen our buildings in that perspective, I want to be more a part of what you are doing.” We began the discussion about preserving space, exploiting space and how you show architecture in a film. So it was a journey for everyone to make a film not only on parkour but also on architecture that didn’t feel like a traditional architecture film. So for some people it is an architectural film; some people see it as a parkour film. I feel it is a good mix of both.

In a way parkour guys running around becomes some kind of an exploration of space that, by having them in the foreground and the building in the background, you focus on the life that is lived in the building, but you experience the space that wraps around it. KS: The film was originally going to be 20 minutes. I did want to shoot the guys in all this architecture and travel with them to different locations, but I didn’t really know how it would evolve. Once Bjarke and I met and began to collaborate, this was pretty much curated by him. Being able

to go to Shanghai with Team Jiyo where Bjarke was building the Expo Pavilion that you see in the film was a real gift. BI: One thing quite special about Kaspar’s approach that really works for me, unlike some documentary makers where it can’t get handheld enough, is that even though Kaspar is like a one-man army on My Playground, he has a really graphic eye for creating scenes in a way that are interesting compositions. OC: Yes, the way you filmed My Playground was beautiful. How did you shoot it? KS: I had one camera and I would make them do it over and over again from all different angles. The opening sequence in the film of the Mountain took half a day. There are 78 apartments and I had to go around each apartment to get permission for them to jump down on every platform. I shot everything myself so I was doing six takes with different angles and the guys’ and girls’ knees were hurting by the last take but they were really great. Creatively composing the images and visually thinking how to compose scenes with the buildings was a lot of fun for me. BI: Whenever you create a building or an urban space you contribute to the future life of the city. In doing that you contribute the future of the culture and the lifestyle of the inhabitants. My Playground is a film of course about parkour, but is also very much about how public life and architecture are intricately linked. It shows architecture not as some static art form, with the typical architectural photography that focuses only on how light falls on a wall. The film shows how architecture observes human life and attempts to accommodate it. Then human life evolves and misinterprets the architecture to expand the realm of possibility. In turn architecture observes the evolved human life and within this there is a continuous loop of building and living, building and living. OC: Do the people who do parkour actually think about architecture and urban space or is it just a sport to them? KI: They do think about it, when we’re walking around different cities they will say, “We should have these kind of buildings at home or we should adapt that kind of architecture.” For them they are always looking for the ideal space to train.

OC: Team Jiyo in Denmark spent a long time getting the support and funding to build the only dedicated parkour training park in the world. How did it all come together working with the city and the architects? KI: Team Jiyo had the idea to build a dedicated place to train because they were just going from gym to gym. There was no organization, no official trainers, no official teams or sport at the time so they wanted to have their own space. The government had a project to promote and create a space for urban sport so it was natural that they began to talk with Team Jiyo. It took two years to get the funding. Team Jiyo was very involved in designing the park and they wanted to have their point of view on it. OC: How did the architects respond to so much collaboration from Team Jiyo, since they usually propose their own vision? KI: Team Jiyo made a 3D model early on of what they wanted the park to look like. The architects weren’t used to this; Team Jiyo was much more involved then they expected. Since the architects didn’t really know what parkour was, I think it was good for them to collaborate and in the end it was successful. OC: When you’re in locations like China, does it become a different challenge since the urban space is unique for different cities and cultures? KI: Definitely. The architecture is very different in each place we go. In England it is very easy to get access to roofs, pillars and small ledges on most buildings, as opposed to Japan, where it is very much about rails or ledges, so their skills are according to the environment that they train in. There is an ideal way to do parkour, which is why they built the park in Copenhagen; you want to be able to train everything at the same time. But the park is only for training and you have to take what you learn into the city, because you can quickly kill the creativity in the parkour parks. If you have a building with more restrictions and challenges, that’s a big part of it, so they still take it to the city. When we went to China to film at Bjarke’s site of the Expo Pavilion in Shanghai, it was fun for team Jiyo to move around a different kind of architecture using their skills. They are the same skills but tailored to the architecture.

BI: The beauty of parkour is that it’s a form of urban ballet. It has a gracious quality in its own right. Therefore it becomes a very dynamic way to experience architecture, teaching you about urban space and urban life. Architecture is an ongoing global dialogue. Using film, you can communicate ideas to people who do not have the luxury to travel to Copenhagen or Shanghai and see the structures in person. A good example of this is that, in our amateur way, we made a two-minute film showing a bike ride through the loop of our expo pavilion in Shanghai after it was open. That specific project is a good exercise in the diffusion of complexity. Complexity in computer programming is defined as being the capacity to transmit the maximum amount of information with the minimum amount of data. So we created the simplest form to provide the maximum amount of possibilities. When you see the pavilion it looks strikingly simple, and when you move around it it becomes surprisingly complex. In a way we learned from Kaspar and we were able to capture some of the essence of the structure much better than even the beautiful digital photography we had. OC: You build structures for people to live in, work in and here comes a new sport where young people are jumping and climbing all over your creations. Obviously this is something no one could have expected or planned for it must be interesting to see how your space is evolving. BI: I am personally interested in parkour as this sort of idea of hybrid youth or cross colonization

or even unanticipated events. After a building has been designed with a series of parameters in mind the materials become part of the framework of the city. Therefore it is subject to creation and adaptation through the art of acrobatics and used for purposes that are beyond the original scope and takes human occupation beyond its intended boundaries. Even if you are only interested in parkour it will give you more of an understanding that architecture isn’t just a specific art form but it is really an ongoing attempt to accommodate public life as a whole. OC: How has the film been perceived by other architects? KS: Many architecture magazines have written about the perception of architecture through parkour to show what architecture can look like with a different point of view. A lot of the architect companies have been passing around the clip I did of the Mountain. The word has certainly gotten around. BI: You rarely design for other architects. You always have to accommodate doctors and patients if you are doing a hospital, curators if you are doing a museum, firefighters if you are doing a fire station. So you never design for other architects, but often the only people you are engaging in dialog with is other architects because the work is so myopic or inaccessible that no one else gives a shit. That’s why we are so passionate and insistent on capturing a larger audience beyond our colleagues. OC: Are you guys working on any other projects together?

BI: We are currently in the process of realizing the Danish Maritime Museum, the refurbishment of a former dry dock in the shipyard. We are transforming that into a big submerged museum where all of the main spaces are actually under the water with a sunken courtyard surrounded by a museum. I have been talking to Kaspar about trying to document all the turmoil and tragedy, and hopefully in the end the success, to realize this project. KS: I am waiting for it to go all wrong, then it will add the drama effect. The whole construction of it is pretty complicated. My Playground is a film focusing on the life that happens after, and this could be a film about all the pain that goes into it that people never see. OC: What inspires you to create films, to create great architecture? KS: I try to be around people that inspire me. It isn’t just something or someone; it’s everyday life. BI: Every time we experience something foreign it expands our idea of the world, what is possible, feasible and what is normal. But it is also a mirror to reflect back on your own life, limitations and possibilities within yourself. Saturday, July 23 7:30PM Plaza Theater 1049 Ponce De Leon Avenue Northeast Atlanta, GA 30306 (404) 873-1939 To reserve tickets, email elayne@modernatlanta.org

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04June

Opening Day High Museum of Art 1280 Peachtree Street, NE Atlanta, GA 30309

MODERN BY DESIGN High + MoMA Since its inception in 1929, the MoMA has been at the forefront of recognizing radical changes in twentieth-century design through its exhibition and collection program. The High will present a selection of works chronicling three key moments in MoMA’s design collection and exhibition history—“Machine Art” (1934); “Organic Design in Home Furnishings” (1941) / “Good Design” (1950-1952); and “Italy: The New Domestic Landscape” (1972)— that heralded groundbreaking aesthetic movements and intellectual considerations.

The exhibit includes 150 objects by over 120 of the most influential artists and designers of the twentieth century. A companion installation, “High Design,” will incorporate 20 works from the High Museum’s growing collection of contemporary design. “Modern by Design” continues a multi-year, multi-exhibition collaboration between the High and the Museum of Modern Art, NY. It will run from June 4 to August 21, 2011.

THIS PAGE Propeler by Aluminium Company of America, c. 1934. Anywhere Lamp by Greta Von Nessen, 1951. All images courtesy of MoMa.

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Malitte Lounge Furniture by Roberto Matta, 1966.

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GRAYSON BYRD Young Talent Grayson Byrd, a recent graduate from the Industrial Design program at Georgia Tech, will soon make that leap from student to professional. As he nears this crossroads, meeting a challenging economy with a burning desire to gain experience, he asks himself one question: What’s next? This inquisitive approach to problem solving is what won Grayson the IDSA Student Merit Award at Georgia Tech. The award, which celebrates excellence in industrial design education, honored the forward-thinking attitude that was evident in Grayson’s student work. Throughout his senior year, he challenged himself and others to an openended hypothesis: If design in the last ten years has been about (blank), then design in the next ten years will be about (blank). Grayson combined responses from students, professors, professionals and peers with literature and his own views to complement the academic curriculum. OPPOSITE: The Casper Stool. By using what would normally be considered consequences of vacu-forming, Grayson used the undercuts and trapping of material to add to this stool’s overall structure. This negated the need for fasteners and other extra steps during the manufacturing process.

His “Casper Stools” look forward to innovative manufacturing processes. “Connect The Blocks” anticipates a movement of redesigning overly familiar objects that we no longer see. His “Student Access Tablets” embrace the idea of collaborative consumption and the sharing of products and services within a community. And his “CitrusTwist” seeks to transform a daily duty into a rich experience. With each assigned project, Grayson attempted to shine some light on the future of design. Essentially, he was experimenting with different answers to the question, “What’s next?” Grayson eventually grew to understand that his last year wasn’t so much about answering the question as it was about asking it to begin with. “I have found that the more questions I ask, the better understanding of the best solution I get. I aspire to exhibit this curiosity in my daily design process and believe that being inquisitive drives good design and ultimately drives and defines me as a designer.”

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04June 8:00 pm – 10:00 pm

OCTANE 1009-B Marietta St Atlanta, GA 30318

SOUTHERN Scrappy. Resourceful. Self-reliant. Southern. In January of this year, my first trip out into a postSnowpocalypse Atlanta was to Octane Coffee to get my beloved Americano. When I walked in, I noticed the Atlanta landscape was not the only place that had been radically transformed. Located in the middle of the Westside Arts District, Octane is just as well known for dressing up its minimalist loft space each month with works by local artists as it is for its hand-crafted coffee drinks. When I arrived, there was more than art hanging on the walls. The plywood and metal schoolhouse chairs were set aside

Words Erin Kasari

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to make room for chairs made from cardboard and stools with cushions full of air. Round bistro tables were replaced by actual coffee tables, some topped with wood left in its natural form and one anchored by a whole stump. This temporary redesign was all part of “The Possible,” the first exhibition organized by The Southern Design Concern. Formed in late 2010, The Southern Design Concern is focused on creating exhibition and sales opportunities for Southern designers (whether born and raised or transplanted here) and to expose their work to new markets.

Images Kevin Byrd

The group was started by Stephanie Aron, Shelton Davis, Travis Ekmark, Collin Farill, Skylar Morgan, Steven Sloan, and Josh Tuminella. The original seven were eventually joined by Matt Alexander, Melissa Alexander, and Kevin Byrd. Since “The Possible” show, the members of the Concern have been hard at work putting together two new exhibitions taking place during Modern Atlanta’s week of activities in June. I recently had the opportunity to chat with Travis Ekmark, one of the consortium’s co-founders, about the design collective and its activities during MA.

EK: Why the focus on Southern artists? TE: Well, one thing we’ve learned from traveling a bit is that there’s a lot to learn from how people in other places do regular, everyday things. We think that the South is a special place that, though often maligned in popular culture, has a lot to offer outsiders. Along with cliches about friendliness and hospitality, we like the scrappy, resourceful, self-reliant attitude we frequently observe here. (continued)

11June 11:00 pm

SOUND TABLE 483 Edgewood Ave Atlanta, GA 30312

On top of that, there’s a younger generation here that exhibits a genuine interest in sustainability, prioritizing local businesses, technology, social consciousness, and a prevailing pride in craftsmanship. Likewise, we know we have a lot we could learn from designers in other parts of the country and those who are practicing outside the U.S. We’d like to further the dialogue and showing our work and ideas is our attempt at getting the conversation going. EK: What is The Southern Design Concern up to during MA?

TE: Lots! We’re presenting two exhibitions during MA. One, focused on furniture, is called Fixed and will take place at The Sound Table on June 11. We’ve asked some of our favorite designers to find objects and repair them in inventive ways. The other show, our first to be focused exclusively on graphic designers, is called Made and will be at Octane during the whole month of June. Designers in that show were invited to contribute work that celebrates handmade craft—a change of pace from most graphic designers’ heavily digital workflows.

EK: What’s next for The Southern Design Concern? TE: A few days after MA, we’ll be participating in our first show outside the Southeast, shipping a bunch of designers’ work up to Chicago to be exhibited during the NeoCon World Trade Fair. We’ll be showing alongside other US designers at the Guerilla Truck Show.

THIS PAGE FROM TOP LEFT: doc. Trixi Dining Table, Normal Disregard, Leg Lamp, Sloan Dresser, Square Root Table, FarmBench, Pallet Adirondack Chair OPPOSITE FROM TOP LEFT: The Southern Design Concern. Kevin Byrd, Melissa Alexander, Shelton Davis, Josh Tuminella, Collin Farill, Skylar Morgan, Steven Sloan, Stephanie Aron, Matt Alexander

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SOUNDING UPTHERE Flux Projects & Roberto Lange

Some of the most transformative and enduring works of art are the ones that take you by surprise. You stumble across them in a strange city or encounter them when art is the farthest thing from your mind. Brooklyn-based sound artist and musician Roberto Carlos Lange has created one of those projects. Sounding Up There creeps slyly up on passersby as they go about their days, entering and exiting the 1180 Peachtree building’s elegant lobby on 14th street. The project is stealth in many regards, composed of four sets of milky white meteorological balloons floating like an aggregate of atoms or cell clusters above two serene reflection pools in the building’s lobby. Attached to each cluster of balloons are speakers with sound compositions created by Lange to complement and reflect the space they float within. The balloons amplify the lobby’s height and regal ambiance but add something uniquely ethereal, a sense of magic within the business-like surroundings. Juxtaposed with 25-foot bamboo trees and soaring 40-foot glass walls that bathe the space in diffused sunlight, the balloons create a whimsical tableaux of the outdoors moved indoors, like a city park transposed onto a minimalist theater set. In this case it is the theatre of ordinary life that Lange presents his audience with—but ordinary life intensified and made dramatic, reverberating around the lobby’s landscape. Because lobbies are transitional spaces, passed through on your way from one place to another, Lange’s soundscape features the rhythmic beat of people on the move. In stolen moments, Lange captures the shuffling gaits, coughs, hiccups and overheard conversations that define these spaces when people are unaware they are being aurally observed. Lange culls his sound from the musical happenstance of city life and turns it into an orchestrated work, with sequences of found sound arranged alongside his almost musical, rhythmic compositions interspersed with yawning expanses of silence. “It turns into a symphony of the human voice,” he says.

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Lange’s interest in music originated in the festive cacophony of the Latin American community in South Florida where he grew up surrounded by a vibrant acoustic tapestry. He describes the experience of drifting off to sleep to the sound of music and voices and auditory clatter at the all-night parties called “penas,” which were arranged on the weekends by his father. “It’s like I went to sleep when I was eight with a party starting and woke up when I was twelve,” recalls Lange. When studying at the Savannah College of Art and Design, Lange discovered musique concrete, a conceptual approach to music, and avant-garde composers who “kicked down the door of the basic rules.” Such discoveries pushed Lange’s own work in a conceptual direction. The inspiration for Sounding Up There was a conversation between Lange and his artist wife in which they wondered, if some disaster befell their Brooklyn neighborhood, what would be the best escape plan? A hot air balloon of course, says Lange. “There was always this nice thing about being able to float away.” Lange’s talents are diverse. In addition to being a singer/songwriter in the band Helado Negro, alongside former Atlantan Mario Schambon, he is a frequent collaborator with artists including David Ellis, Nene Humphrey, Brian Alfred, Eve Sussman and music producer Guillermo Scott Herren. Lange arrives at Modern Atlanta via the Atlanta-based Flux Projects. Flux Projects’ mission is to bring art into unexpected places and encourage Atlanta’s development as a creative city. The nonprofit has commissioned the dance company gloATL to perform at Lenox Square Mall and artist Gyun Hur to create an installation called Spring Hiatus on the mall’s lower level this spring. This October, Flux Projects will again stage their one-night-only event, Flux, incorporating performance, installation, film and art on the streets, walls and vacant store fronts of Castleberry Hill to engage Atlanta with the infinite possibilities of art by creating dynamic public spaces.

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Sounding up there. Images courtesy Flux Projects

Interview

JTRAV

“People have the most im know how to photograph

A delicious fish swims on. Photographer, designer, illustrator, member of the band Sealions, and friend to nearly all, Jason Travis, popularly known as J Trav, got down & dirty with us at Carver’s Country Kitchen on West Marietta Street. Carver’s is a cluttered, low-ceilinged place with metal folding chairs, a clanging cash register and a a recklessly sloped floor announced by handwritten signs. In its way, it is a visual vacation from the cold, spare modernist lofts that dot the rest of Atlanta’s Westside. Jason had just come home from South By Southwest, where CNN hired him to photograph famous attendees and the contents of their bags. The job was an extension of his Persona portrait series, the cleverly conceived and beautifully executed Flickr project that brought J Trav to the top of Google results for his name. Though it’s hard to ignore the feeling that such a job may be the nail in the coffin for Persona, Jason assured us that seeking new and interesting ways to capture personalities will always be what he is interested in. Coming off a wave of big projects and busy days and nights, Jason finally got a chance to catch his breath and riff wild on what the future might hold. We shut up and listened.

Words Acree Graham

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Images Kevin Byrd

pact for me. I’m not Ansel Adams. I don’t the Grand Canyon and make it pop.”

“I would like for Scion to give me a bunch of money. That would be a sell-out, but I would totally do it. Someone hook me up with a Persona van.”

“Yeah, I could go online and find some model site, someone who’s free and wants to work with photographers to help their portfolio out, but I’d rather work with people I know.”

“There’s something about photography and illustration and design that’s very freeing. Design can go anywhere. Something can always be better.”

“I ruin everything that I love. You do something to a point where people want to pay you for it, and then it becomes a task rather than an exploration.”

“Whenever I talk to designers, they’re like, ‘Oh, your photography work’s great; you should be doing that.’ Then when I talk to photographers they’re like, ‘Dude; you’re a really good designer; you don’t need to be doing this.’ I’m like, ‘Fuck you!’”

“Sealions have started working on some new songs, more like early ‘90s industrial, getting away from the ‘80s New Wave thing a little bit. It’s really dark.”

“Film is something I want to explore more.” “If I went to New York I’d be a tiny fish in a big pond. Not that I’m a big fish here. I am a delicious fish.”

“I have all these ideas about building a desk that suits everything I want. That I make from scratch and do all my work on. And every time I work on it I’m like, ‘I’m working on this desk that I built!’ But I don’t have any industrial design skills. I’m not a handyman in any way.” “After Persona I want something else that people talk about like that.”

“I want a day where I do nothing.”

“Is photography a talent? People look at a piece of glass and hit a button. Then there it is.”

“I want to reboot. Just restart and do it all again.” jasontravisphoto.com

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Interview

GEORGE JOHNSTON MA spoke with Dr. George Johnston, the Chair of the Georgia Tech School of Architecture, about how the college is evolving to stay at the forefront as architecture transforms into a digital-age practice.

Words Moria Deshpande

Where are we now? Unique to the School of Architecture is an unexpected relationship with the School of Music. Music has long been a part of education at Georgia Tech but was never a degree-granting program. However, recent proof that musical aptitude correlates to ability in math and science has given the School of Music a higher academic profile, and disciplines such as Music Technology are flourishing. Dr. Johnston considers how visual harmony is an acoustical concept translated across sensory domains. “Structure and repetition and rhythm are shared between architecture and music. Architectural spaces are like acoustical instruments.

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A symphony hall is tuned like a musical instrument. Architecture and sound are intimately related.” A blending of the arts and architecture is not the only aspect of the school that is evolving. Today’s student population merits a reframing of the stereotype that architects are white males. Dr. Johnston welcomes the diversification of the student body and appreciates how this diversity will move into practice and eventually, back into the professoriate. Dr. Johnston also sees dramatic changes in the way architecture is practiced and how Georgia Tech is preparing students to meet these changes. Among the aspects he considers particularly transformative are:

Hinman Building at Georgia Tech

Digital models The models architects are building now have greater versatility and robustness for testing designs—constructability, performance, and energy codes, for example. They are embedding performance within design. Continuing economic viability Design has now become integrated into fabrication and manufacturing. One can take an idea straight from its digital model to the fabrication of customized components. This reality positions the architect as a global professional whose work is not constrained by geography. Future technologies Advances in nanotechnology suggest that the notion of architecture as bricks, mortar and steel might soon be nostalgic. There’s another world out there that we are headed towards. How soon

we arrive depends on what the public and markets are willing to accept. Where are we headed? Johnston points out that the emerging tools of this digitalage practice actually enhance architecture’s ability to challenge social and cultural conventions. “They make the intentions of design so much more accessible,” he says. “You can create visions that can be absolutely convincing in their verisimilitude and represented in such a way that convinces naysayers. ‘Show me’ can be satisfied with increasing sophistication. When physical models can be verified, it’s liberating.” In an age where software places the ability to design into a layperson’s hands, will design become a commodity? Johnston remains convinced that architects and designers will continue to prove their value

because, unlike the layperson, they know how to turn constraints into opportunities. He views increased stakeholder participation as an enormous positive. Critical judgment will be the differentiator for remaining relevant. Given that so much is possible, it’s not what can you do, it’s what should you do. Johnston says, “Georgia Tech trains its students to focus on how architecture can perform better for all of us. How can it serve a larger social good? How can it do no harm? How can it be a part of a retrofit and reclamation of previous damage that might have been done?” “We have recently established a new program in urban design collaboration between the School of Architecture and the School of City and Regional Planning. Architecture is not just about buildings. It’s about anticipating the needs of larger bodies of people. For instance, there are issues of suburban sprawl and economic collapse with foreclosures and abandoned buildings. Urban design logic can be applied to suburban expanse. The faculty is savvy about this issue and very cognizant about the things we are doing in the present that

pay benefits over a much longer period of time than, say, one particular building does. We hope what happens in urban design contributes to public dialog about choices we have as we plan the future.” Dr. Johnston’s own scholarly work addresses the evolution of what it means to be an architect. Says Johnston, “I think we are involved in devising a new paradigm of digitally astute craftspeople. We are devising new tools and skills that haven’t been exercised before. The continuing tradition of modern architecture necessarily requires a basic understanding of the relationship between tools and things.”

Georgia Tech seeks to break from the old paradigm that puts theory in academia and practice in the world. Johnston believes that theory should be embedded in practice, not separate from it. “We want our graduates to know how to do and to be able to make,” Johnston says. “They use the new digital tools to become ever more engaged, ever more clever, in the act of making. If the fear was that we would become less manually dexterous, then that has been disproved. Digital design can foster even more physical experimentation. Be assured, architects are still making big messes in school. I just hope we’re doing a better job now of cleaning them up.”

“Truly modern architecture is conscious and critically conscious, but at its best, not self-conscious about the capacity of those tools to effect some kind of positive change,” Johnston says. “It’s only at the point that we stop questioning our tools that our designs become rote. There is little point in using today’s tools to replicate something that was done yesterday if we are not also advancing capability and performance.”

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MA GUERILLA 5

Our popup Guerrilla Store has a definite growl to it this year. Most of what’s offered at the Guerrilla Store is inspired by Design Is Human Week activities, from Atlanta and all over the world.

In true MA fashion, you can help support the organization while enjoying unique and beautiful objects that inspire what we do best—bringing people together and showcasing design excellence from around the world.

“We’ve always had this idea of punctuating the MA experience in special partnerships with our exhibitors during the Design Is Human week, extending our attendees the opportunity to take home a little piece of MA,” says MA founder, Bernard McCoy.

Most items have small runs and a limited availability, making them truly unique. Guerrilla Store offerings include the MA kitchen apron with mitts by JAMILY, MAology PARIS “action-drawings” by famed illustrator Jarno Kettunen, and—fresh from Milan’s Salone del Mobile design week—the “We-Do” raw tote bag, part of the London Royal College of Art’s design exhibition with giant textile company Kvadrat. MA contributes 30% of sales to further the careers of young designers.

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STORE 9 6

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Painting by Marco Grassi Lemon Press by Luki Huber Jarno Kettunen Art by Koralie and Supakitch Chairless for Vitra by Alejandro Aravena Tote Bag designed by WE-DO (worn by Asa-Yoji) Art by Koralie and Supakitch Mighty Wallet Cotton Tea Towel by Robert Ryan

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Interview

DONALD BURLOCK Young Talent

Last year MA visited GA Tech’s Industrial Design Program to learn more about its future designers and what constitutes good design. One student who made an impression on us was Donald Burlock, who is finishing his master’s degree in industrial design and has already gained notoriety outside the classroom. MA: What was your inspiration to study industrial design? DB: From conversations with many of my colleagues in industrial design, I realized that most designers have been creating since they can remember. In my case it was quite the same. I just never knew what to formally call it until two years ago. Even while in engineering school, I was always reading about architects and other innovative people. My hours outside of work and academia were always filled with drawing, painting, and photography of landscapes and objects. So when I finally discovered I.D., it was like it had just been here

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waiting on me to find it. I think the notion of creating artifacts and environments that can add to peoples’ lives inspires me to pursue design with a great deal of passion. MA: Tell me about Pharos. DB: Pharos is an extension of a parent studio I hope to build as my career goes forward. Though the name literally means “beacon of light,” for me it represents innovating in places that have not been readily explored by others in industry. It means challenging the accepted norms and perspectives regarding the objects we use everyday. Pharos represents my attempts to aesthetically innovate with furnishings for a living space. My intension is that the brand not only evokes thoughts of quality craftsmanship, but also excites people about furniture design. While there are parameters I would like to keep to help establish the form of the pieces that carry the Pharos mark, eventually

I would like to understand how to involve my clients in the design process. MA: What kinds of products would you like to design? DB: Going forward, I want to design more for the effect of a product than just the artifact itself. I understand more everyday about how people attribute value to the things they have in their lives. I am learning more about how I value things and I want to bring this perspective into design. I do not think the design challenge is in just designing a clock or a watch or a table, but in understanding what affect that product will have on someone who buys it and interacts with it. Before, I was just focusing on the development of things and my stakeholders were predominately other engineers. Now, my focus has expanded to consider the user. In the case of the firetable, I did not want to design a fireplace or a table. Instead, I wanted to design a social experience. Thus far, it has been successful in achieving that goal.

MA: Any future plans for your own studio? DB: Yes! The industrial design program at Georgia Tech has exposed me to so many stories of young designers who made it a point to operate in a studio environment. Just today I listened to an inspiring talk from David VanArsdale of People of Resource and his journey to create a studio. I operate under a studio called Pyroblu Design House, but for now, much of my work is done from where I stay and other fab shops. Eventually, I would love to develop a cooperative environment filled with innovative peopleâ&#x20AC;&#x201D;engineers, designers, model makers, and animators all working on diverse projects. Through the design house, I would love to market our own designs, but in addition, contract with other clients seeking to develop their own concepts. It would be great to work on furnishings and other things for the home: lighting, tableware, even accessories. And maybe along the way I could design a series of watches. Just because I love watches.

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MULTIDISCIPLINARY PRACTICE 112

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Multidisciplinarity allows for the creative overlap of different design disciplines in an interactive and compelling way. As design becomes more complex and teams become increasingly diverse, Multidisciplinarity allows for scalar thinking and incorporates collaborative processes from diverse fields such as architecture, engineering, graphic design, filmmaking, and interactive and product design. With the recent dot-com bust and the rising popularity of the internet and social media, the designer’s practice has been redefined. An architect’s education trains him or her to understand color, composition, typography, and proportion—basic design skills that can cross over to web, print, and identity design in addition to architecture.

Multi-Disciplinary Practice cuts a section through the multidisciplinary movement to look at several names in the architectural realm already taking a different approach to the traditional architecture firm. Lightroom Studio in Decatur contacted Stefan Sagmeister, Steven Holl, and MK12 (a Kansas City, Missouri firm that was the inspiration for Lightroom). Each chapter contains images and descriptions of the designers’ work, showing their ability to create at different scales and with different media. Due to the increasing number of multidisciplinary firms around the world, there will be several volumes of the book, as well as a traveling exhibit showcasing the work of each designer in zzvv. The traveling exhibit will appear at the Museum of Art and Design

and the Museum of Modern Art in New York City in 2012, as well as at the Tate Modern in London. Lightroom is a multidisciplinary firm that provides creative services for entrepreneurs, artists, and designers. Lightroom seeks the highest level of design while finding a balance between living and working. They classify themselves as “southern modernists” who are of this place and whose concepts emanate from the south. They seek to reuse materials, creating sustainable and smart buildings mindful of site and location.

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Design isHome Modern Material Tour

MODERN HOMETOUR

The MA Home Tour provides design enthusiasts and the general public with an inside look into the world of cutting-edge and distinctive residences in Atlanta. Beautiful homes and their designers are showcased here via an â&#x20AC;&#x153;open houseâ&#x20AC;? format, and tour participants have the opportunity to see some of the cityâ&#x20AC;&#x2122;s latest residential projects from the inside out, meet with architects and interior designers, explore housing trends, and discover design solutions that inspire modern Atlanta living. The MA11 Home Tour focuses on showcasing exemplary examples of living modern through lifestyle, architecture, interior design, and landscaping. Homes range from the classic postmodern to the state-of- the-art contemporary. 114

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Flanagan Residence 515 Greenland Rd NE Atlanta, GA 30342

Cablik Residence 1394 Ragley Hall Rd NE Atlanta, GA 30319

Houser Residence 2146 McKinley Rd NW Atlanta, GA 30318

Allen Road Residence 562 Allen Rd NE Atlanta, GA 30324

White Provision/Room & Board Condo 1170 Howell Mill Rd Atlanta, GA 30318

Perkins+Will Office Tour 1315 Peachtree St NE Atlanta, GA 30309

Lavorgna Residence 643 Amsterdam Ave NE Atlanta, GA 30306

Container House #2 440 Gartrell St SE Atlanta, GA 30312

La France Residence 1431 La France St NE Atlanta, GA 30307

10 Chapman-Palmer Residence 257 Garland Ave Decatur, GA 30030

11 Confederate Ave Residence 727 Confederate Ave SE Atlanta, GA 30312

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Google Map: http://bit.ly/mahome11

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Modern Home Tour

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FLANAGAN RESIDENCE 515 Greenland Rd NE, Atlanta, GA 30342

Architect:

Studio One Architecture, Inc. Contractor:

Pinnacle Custom Builders

Despite being located inside the perimeter within a mile of offices, shops, schools, a church, and a synagogue, the site and immediate surrounding context look like a precious interstitial space, remote and tucked between layers of adjacent development. With hints of serpentine stone walls from a bygone era tracing through the underbrush, the decidedly wooded lot is both elusive and distinct from the surrounding urban fabric.

The house lies on the high side of the undulating property, sliced through a narrow gauge among existing setbacks, easements, and buffers. Conceived as a home for three generations, the design translated the program into an open plan of discrete zones of both public and private spaces. Organized as two volumes slipping past one another, the resulting form creates a series of indoor and outdoor rooms with each zone open to framed views in multiple directions. Oriented along a topographic east-west axis, the home incorporates multiple low-tech sustainable features such as an

underground rainwater collector as well as daylighting through the careful placement of deep overhangs above glazing to protect against heat gain in summer while allowing full sun to penetrate in winter. Combined with more high-tech systems such as geothermal heating and cooling, argon gas-insulated glazing, recycled content, high-efficiency appliances, pre-wiring the roof for future photo-voltaic array, and a garage for future electric vehicles, the home seeks a low carbon footprint and has been designed for LEED certification (level pending).

The entry approach is through a long, private drive set back from the street, with vehicular access through the building via port-cochere and courtyard to the garage embedded within the hillside beyond. Solid white volumes are stitched together by planes of wood and glass underneath a low-sloped timber-frame roof. Separated by clerestory glazing, the two alternating roof planes hover over and cut through high above the second floor, diminishing the boundary between inside and out as they move across the perimeter enclosure.

disparate preferences of the owners, wood became a critical element and common denominator in developing not only a material palette but the buildingâ&#x20AC;&#x2122;s form, establishing a rhythm and structural module for the home. The exposed Douglas fir rafters, purlins, cabinetry, and flooring combined with southern yellow pine decking, trim, doors, and windows, work together to balance clean, contemporary lines with traditional references in a blended mix that is intended to be expressive, authentic, indigenous, and warm.

Influenced by both the natural surroundings and the somewhat

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Modern Home Tour

LAVORGNA RESIDENCE 643 Amsterdam avenue NE, Atlanta, GA 30306

Architect:

Dencity LLC Contractor:

Oakland Construction

The project started out as a challenge from the homeowners: “Give us a lifestyle change.” The Lavorgnas had considered selling their house and buying a home or lot elsewhere, but after seeing their options they realized they wanted to stay exactly where they were.

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There were few specifics to the project. The homeowners did specify that they wanted more natural light and extra storage. The house is a traditional, brick one-story bungalow, and the floorplans were typical of other houses in the area: a corridor running the length of the house with rooms on either side. On the back of the house was a large storage area (that had been added on later) of a different material that acted as a barrier between the existing house and the rest of the property.

The design solution accomplishes several major goals. Internal walls and ceilings were torn down in the existing part of the house to open up the dark, compartmentalized spaces creating an open floor plan and bringing in more light. The storage area was leveled and a large new addition was built to house kitchen, living, dining, and a master bedroom loft. The architecture is modern, well lighted, and opens up to the back of the property, creating a connection that was missing from the old design. Storage runs the

length of the house along the circulation spine. It starts out as a small library in the front and turns into the kitchen in the rear with cabinets built into walls along the way for items that would normally clutter a house. The project challenges one’s perspective of how to connect something that has been around for almost a century with something new. A decision was made to take the slope of the existing roof and articulate it in a new, modern and different way

for the new structure. The façade material is a combination of metal panels, painted fiber cement panels and glass. Overhangs protect the glazing from the sun. Great effort to make the window frames and façade material coplanar has created an effect of the window openings seeming carved out of the façade.

CABLIK RESIDENCE 1394 Ragley Hall Road, Atlanta, GA 30319

Contractor:

Cablik Enterprises

This mid-century modern renovation updates a 1972 splitlevel home. Cablik Enterprises opened the attic space with a structural support beam, giving the home a much more open feel, then incorporated many details to reflect mid-century modern design, including vintage light fixtures, a minimalist trim package, pine tongue-and-groove ceilings, aluminum clad Jeld-Wen casement windows and sliders, and narrow skylights positioned out of the sunâ&#x20AC;&#x2122;s direct path (which allows light in, but reduces heat gain). The eaves have doublepane clerestory glass.

Not only is the house an excellent example of mid-century modern architecture; it is also a model of sustainable building practices. The homeâ&#x20AC;&#x2122;s envelope is designed for efficient energy use, and the home itself features Polyicynene insulation as well as double-pane Energy Star windows, skylights, and doors. There are two separate HVAC systems including 13 SEER equipment, so that sections of the home can be heated and cooled independently of one another. The windows and doors have been flashed and foamed to form a tight, weatherproof seal. The landscaping of the home is drought-resistant, with recycled concrete and crushed stone used where possible.

The renovation is modern right from the entrance. The front door, which features a Crestview vertical light double door package, opens to a slate entry of the split-level home. The entryway leads to a large entertaining area on the main level that includes kitchen, dining, breakfast, and living areas, as well as a 800 square foot wraparound deck. The kitchen features Energy Star appliances, Aristokraft custom kitchen cabinets and oversized brick pattern porcelain tile. The main level splits into the upper and lower levels, featuring the original wood-burning, two-sided fireplace, on view from both the main and lower levels of the home.

The lower level of the house contains a living area with cork flooring, gym, full bath, office, bar, and entertainment room. The upper level features the master suite with walk-in closet and bath. The master bath has double designer wall-mounted vanities with matching faucets and medicine cabinets, an oversized jetted tub made of Italian marble, and a marble shower with three shower heads. The upper level houses two additional bedrooms with sanded and finished oak hardwood floors, a laundry area, and a full bath.

is walking distance to the MARTA transit system, and lies within one mile of grocery, restaurants, and shopping. The extensive use of the existing structure during the renovation allowed for a great reduction in waste and cost.

Speaking to true sustainability, the home is located in the in-town neighborhood of Brookhaven,

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HOUSER RESIDENCE 2146 McKinley RD, Atlanta, GA 30318

Hank Houser is a Principal Architect with the awardwinning firm, Houser Walker Architecture. He and his wife, General Contractor: Margot, recently completed their Houser Walker Architecture second addition to a 1962 splitKitchen Designer: Rao Design Studio, Matthew Rao level home in Atlanta’s Springlake Interiors Consultant: neighborhood. Architect:

Houser Walker Architecture, Hank Houser & Jamie O’Kelley

Monika Thiels Lighting Design:

Gabler & Jim Youngston Landscape Design:

Land Design and Consulting, Michael Streger Architectural Concrete:

Exact Concrete, Barry Camac Steel and Glass Doors and Wall:

AD Metal Design, Ulises Tavare

Phase I of the renovation work was completed in 2003. It consisted of a small addition to the front of the existing house to enlarge the master suite and provide a new front porch and entry. High clerestory windows and large overhangs let in soft natural light while affording privacy. Corner windows were strategically placed to afford

views from the reading and office areas. Furniture-like cabinets provided storage and privacy in the new bathing area while maintaining its openness. This work was recognized with the 2004 AIA/ Atlanta Business Chronicle Residential Design Citation Award. Phase II, completed in 2011, completes the original expansion and renovation plan envisioned for the house. The new addition includes one bedroom, two bathrooms, a living room, a garden terrace and a roof terrace. The addition incorporates exposed architectural concrete walls, polished concrete floors, and custom

steel and glass walls, which contain two 6’x10’ pivoting glass doors. The remaining original interior of the house was also fully renovated to open up the kitchen to the living spaces and garden terrace. As advocates for ecological building practices, HWA holistically incorporated sustainable technologies such as solar hot water, a rain and condensate harvesting cistern, high-efficiency mechanical and lighting systems, a whole-house ventilation fan, thermally efficient windows, open and closed cell foam insulation exceeding R value standards, and radiant flooring.

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Modern Home Tour

CONTAINER HOUSE #2 442 Gartrell Street, Atlanta, Ga. 30312

Architecture:

Francis Kirkpatrick

This home is on a very small urban infill corner lot in the Old Fourth Ward neighborhood. It was always planned as a companion to Container House 1.0 next door at 440 Gartrell St. Container Houses are inherently green in that the majority of their structure is a reuse of an existing material – shipping containers. Lessons learned constructing Container House 1.0 were applied to the even “greener” Container House 2.0. One of these improvements was to make the second version even more energy-

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efficient—by double tinting the low-e windows, painting the house a lighter color, increasing the thickness of insulation in the walls and adding insulation to all the ceilings. The result of these measures was a substantial reduction in solar heat gain. Like Container House 1.0, the home was designed as a reverse floor plan with bedrooms on the lower levels and the main living space on the top level. This was done to take advantage of the amazing views of downtown and mid-town Atlanta. The difference with this house is that a balcony was added to take further advantage of the views

and allow for easy outdoor access from the main living space. Other environmentally friendly aspects of the home include the rainwater capture that can be used for watering the exterior landscape and pre-wiring for future rooftop solar panels. The location only adds to the green appeal, as the house lies within walking distance of the Marta Rail-line, as well as a number of great entertainment options along the recently revitalized Edgewood Ave.

Chapman-Palmer 257 Garland Avenue, Decatur, GA 30030

ARCHITECTURE:

Lightroom

This house, located in the historic Oakhurst area of Decatur amongst Water Oak and Georgia Pine trees, works closely with the language of the existing gabled roof home. Its concept is about dematerialization from solid to void.

The program for this house includes a studio for two artistsâ&#x20AC;&#x201D; an animator and a filmmaker. The additional spaces on the main level include a music room, an SCIC kitchen, dining/living and outdoor living room. The upstairs and private realm includes a bedroom for the coupleâ&#x20AC;&#x2122;s daughter, a library and art studio, an atrium and the master bedroom suite, which hovers above the site with its cantilevered, ship-like balcony.

In the rear of the site, a new fire pit area ends the axial movement and rush of space through the entire home. The materials palette is painted brick, natural concrete, hard coat stucco and concrete plank siding.

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Design isHome Modern Material Tour

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WHITE PROVISION 1170 Howell Mill Road, Atlanta, GA 30318

Architect:

Smith Dalia Architects Interior Architect:

Square Feet Studio Contractor:

Gay Construction Interior Styling for Room & Board:

Annette Joseph

In an area that was once home to the city’s meatpacking district, White Provision is the trendsetting, mixed-use development in the city’s burgeoning neighborhood on the Westside. Bordering the chic retail area known as Westside Urban Market, White

Provision is a significant part of the neighborhood’s rebirth that began in 2000 and has now evolved into a neighborhood known as Westside Provisions District. The award-winning community was honored as

a Development of Excellence in 2010 by both the Urban Land Institute and the Atlanta Regional Commission.

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Modern Home Tour

Allen Road Residence 562 Allen Road, Atlanta, GA 30324

Architects:

TaC Studio

Designed as a refuge for its owners, this LEED-certified house was built into a steep hill and nestled within an existing neighborhood. Open and full of natural light, it expands to the outdoors for entertaining. The living level opens to the front and rear terraces, allowing for cross ventilation. And the windows are positioned throughout the house to capture and control sunlight throughout the day while framing a view of the surrounding trees. At TaC studios, “green” design is not an add-on, but typical

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practice. Sustainable elements include natural ventilation planning; energy star-rated windows; FSC-certified wood products throughout the home; advanced framing techniques to reduce waste; geo-thermal heating and cooling system; superior insulation; high-efficiency plumbing fixtures; recycled construction waste; native, non-invasive plants within the landscape; lightly colored roofing material (to reduce local heat island effects); and roof pavers made of recycled tires.

Unique Features: The home’s flooring was harvested from trees found on the site and other local white oak. The living level is connected to the bedroom level, by a steel and wood stair that can be seen as you approach the house. A bridge connects to the roof terrace. Materials and patterning of material were introduced for the play of shadows. The large granite boulders were found onsite.

La France Residence 1431 LaFrance StREET, Atlanta, GA 30307

Architect:

West Architecture Studio

This home is on a small urban infill corner lot in the Edgewood neighborhood just south of Candler Park. The client requested a home that was modern, yet human-scaled and used materials that would imbue the home with a sense of warmth. Though the house didn’t wear the official badge of a “green home,” consideration was still given to the home’s energy efficiency—using thicker exterior walls for increased insulation and passive solar design through accurate computer modeling.

One large challenge with the design of this home was to address the security concerns pf a “transitional” neighborhood (heightened by the exposed nature of the corner site, which lies on a fairly busy street across from a MARTA station) with the large windows and general openness typically desired in a modern home. One aspect of the home that attempts to address the potential privacy issues is the design of the front entry. The front door is inviting, but not immediately apparent. Instead, it is tucked away behind a large stone wall and water feature, not easily visible from the main street.

In this home, as with all West Architecture Studio projects, there is an emphasis on sitespecific design and seamless integration of the home with the outdoors. An operable glass wall opens the interior living area to a covered outdoor space for seamless entertaining. Impeccable detailing was achieved on a relatively modest budget through judicious use of quality materials and efficient use of space. To that end, the design does not provide for a separate formal dining room. It instead acknowledges the increased use of kitchens for entertaining by having the dining area integrate seamlessly with the kitchen through the use of

a 20-foot island, half of which is raised in order to serve as a dining table.

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Design isHome Modern Material Tour

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Confederate Residence 727-731 Confederate Avenue, Atlanta, GA 30312

Architect:

Jean Philippe Saldana

Almost six years ago the future owners of this house drove past 727 Confederate Avenue SE and fell in love with the grand old commercial brick buildings and their surrounds. Seeing what the buildings must have meant to the neighborhood 100 years earlier as a commercial center, they instantly bought the property and set about renovating it. With a vision of restoring the depot to its original splendor, they spent hours researching the property’s historical significance and understanding its context in the Grant Park Historic Neighborhood district—an intact grouping

of architecturally significant residential and commercial buildings constructed in the late 19th century.

as the gathering area and focal point of the house.

The 727 Confederate property consisted at the time of two buildings. The main, single-story building was typical of commercial buildings in the district. Originally built as a depot for the Atlanta Trolley system on the east side of the park, it now comprises the foundation of the modern house.

The owners have designed a space that is commercial in look and finish but warm and inviting in atmosphere, maintaining a loftlike style to preserve the depot’s original openness. The renovated building certainly stands out among its wood-frame bungalow neighbors, but it is similar in size, scale, materials and style to other commercial structures in the district.

The smaller building was designed around the original station house of the 1940s. Retaining all its original features, windows, and exposed brick, it now serves as a modern kitchen and functions

Unique Features: The property sits on a unique elevation on the street, allowing for a nestled, two-tiered garden space reminiscent of European courtyards.

The old Sherman barns that were torn down in recent years on MLK Blvd provided additional bricks for use during the renovation. The Sherman barns were from a similar construction period, so the bricks added to the house’s upper level have the same handmade shape, density and weathered patina as the original façade.

The pine floors in the kitchen and in the upper level all came from the famous National Pencil Factory.

The Louis XXVI limestone carved mantle (circa 1780), spectacular in scale and elegance, was bought from a chateau in central France during the renovation. The spiral staircase, also from France, was produced by the Jay, Jallifer et Cie in Grenoble, founded in 1893.

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Modern Home Tour

Perkins+Will 1315 Peachtree St NE, Atlanta, GA 30309

Perkins+Will’s new location at 1315 Peachtree Street is a bold statement about what existing buildings can teach us about reuse, sustainability, aesthetics, and excellence.

49% of CO2, the most common greenhouse gas, into the atmosphere. The impact of converting existing buildings into energy-efficient buildings with ambitious performance goals supports P+W’s commitment to its 2030 Challenge and reduces the site’s environmental footprint.

Along with the building’s prime location, 1315 was chosen over other possible sites because of its relevant design challenge of reusing an existing building. Existing buildings currently emit

The building was deconstructed, revealing the concrete structure and diverting over 80% of the furnishings, finishes and demolition debris from landfills. P+W matched materials for reuse

Architecture:

Perkins+Will

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with local needs, resulting in donations to over 20 non-profit organizations. This building is a snapshot of how current technologies can be used to achieve the highest LEED Platinum Certification rating and help reduce toxic materials from building products. It is also a living example of how design can continue to contribute to the healthy growth and development of work, employees and community.

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w w w . p r e s s c o t t . n e t

Presscott McDonald presents JUNE 6th-12th, 2011 @ MA-ology Africa in Atlanta, Georgia. Modern Atlanta supports CARE International, an organization that empowers Fashion

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women to create permanent worldwide social change. Proceeds from sales of these works will enrich and grant opportunities for the lives of these LOST BOYS and their families via GlobalNetworkforHumaitity.org Presscott McDonald is proud to be the ofﬁcial photographer for Modern Atlanta 2011

See more of Presscott McDonald photography by scaning the QR code.

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Photography (from left): Aros Museum, Århus by POUL IB HENRIKSEN / Aros Museum, Århus by POUL IB HENRIKSEN / Arken Museum of Modern Art, Ishoej by BOB KRIST / Arken Museum of Modern Art, Ishoej by TED FAHN

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M20 is a design firm founded on the simple premise that even small projects need big ideas. Our working philosophy is elegantly summed up in the aphorism: Anything worth doing is worth doing well. Our goal is to transcend expectations, to foster unexpected solutions, to create spaces and buildings as unique as each of our clientâ&#x20AC;&#x2122;s needs.

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June 7th Visit our booth at the MA Launch Party

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June 11, 2011 11pm the Sound Table An object design salon dealing with repair and reuse.

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