Category: Design


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"Urban Camping" kommer til København

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Projektet er tænkt og udført af den belgiske tegnestue IEA // Import.Export.Architecture. Det er et mobilt etagestruktur der gør det muligt at campere i urbane områder…siger de – for mig vil det næsten være endnu sjovere at bo i trækronerne.

Ifølge Dezeen og arkitekternes website, så vil den blive udlånt til København i forbindelse med eventen OUTCITIES – 25. juli – 2. august. Jeg kan ikke tyde hvor den vil blive placeret, men et bud vil være Søren Kirkegaards Plads ved den Sorte Diamant.

Se mange flere billeder, eller en beskrivelse her på Dezeen.

Kilde: OWI // Office for Word and Image

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"Objectified" i Grand Teatret, mandag d.29 juni

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“Beautiful… a fascinating analysis of the design business exclusively from the vantage point of designers.”

- indieWIRE

Jeps, den længe hypede dokumentar, Objectified, har kørt i flere New Yorker biografer i den sidste måned. Det er instruktøren bag en anden superdokumentar, “Helvetica”. Og det lader til at filmens succes pt overskygger alle andre amerikanske independent film.

Dansk Dynamit og Sweet Talk har i samarbejde med Plant netop fået en skandinavisk præmiere i stand hvor instruktøren vil introducere. Og det er så på mandag d. 29 juni i Grand Teatret. Billetterne vil ikke kunne købes gennem Grand, men direkte gennem deres website - www.objectifiedfilm.com

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- Læs også artiklen, Design at 24 Frames per Second om hvordan filmen blev til.

www.objectifiedfilm.com

kilde: danskdynamit.com

[youtube=http://www.youtube.com/watch?v=S9E2D2PaIcI&w=500]


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CASE Design, NY – Revit 2010 Whitepaper

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Pix071dededDet er egentlig ikke så ofte at man får en software walkthrough der er til at holde ud at kigge på. Ofte er det et eller andet tarveligt højhus i Texas (med saddeltag). Så måske CASE Design Inc. har skabt et anderledens skole eksempel i deres nye Autodesk REVIT 2010 whitepaper . De 3 personer bag CASE har tidligere arbejdet hos sHoP Architects i New York – en tegnestue der gør godt brug af de nye teknologier…eller måske det bare var de 3 fyre her der holdt fanen oppe, haha!?

Den ene er David Fano (tv) en af de sejeste i arkitektbranchen til at kommunikere hvordan man kan/skal arbejde med de nye programmer (fx Grasshopper, Revit, 3Ds Max). Du kan bruge mange timer på deres super Blog, DesignReform.net, og se uhørt mange filmtutorials og sætte dig ind i hvordan true hip hoppers tænker parametrisk design.

Du kan læse en artikel om drengene her på Archinect (feb. 2009):  “Working out of the box – CASE”

- Download REVIT 2010 whitepaper

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Musik i topformer

[youtube=http://www.youtube.com/watch?v=ipzR9bhei_o&w=500]
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Kilde: Jeppe Utzon (postet på Facebook)

objects450

"Objectified" (dokumentar)

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objects450

“Beautiful… a fascinating analysis of the design business exclusively from the vantage point of designers.”

- indieWIRE

Jeps, den længe hypede dokumentar, Objectified, har kørt i flere New Yorker biografer i den sidste måned. Det er instruktøren bag en anden superdokumentar, “Helvetica”. Og det lader til at filmens succes pt overskygger alle andre amerikanske independent film. Så vi må holde øje med hvornår den kan ses i DK (om ikke andet så køber DR2 den nok hjem…om 1 års tid)

DVD´en udgives  i den kommende uge (husk nu at købe den i PAL!)
– Læs også artiklen, Design at 24 Frames per Second om hvordan filmen blev til.

www.objectifiedfilm.com

http://www.youtube.com/watch?v=S9E2D2PaIcI


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Skitzofren stol fra Phillip Stærk

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“the masters chair brings to mind the lines of three great masters and three great masterpieces. Putting them all together they create a new product, a new project, a reflection on a new society.”

Phillip Starck

ma08hhg ma05hhg ma06hhg

Kilde: Designboom.com

2015

Defining the designer 2015

2015

AIGA, the professional Association for Design er gået sammen med Adobe i en fagundersøgelse af fremtidens profesionelle designer. Altsammen for at forberede dem på fremtidens forventede behov. Det foregår ved et 5-trins survey hvor man responderer på 5 kendte trends. Du kan vælge at gennemføre undersøgelsen her , eller kun nøjes med at se screendumbs af de 5 trends nedenfor.

2015 - 1

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Mark trender Møller

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En gammel bekendt, Mark Brunswicker, er en dansk freelance grafisk designer, som kan mere end lidt af det hele. Men check endelig hans, endnu ukendte, Trentemøller video!…husk høretelefonerne! – link
www.markbrunswicker.dk

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"Design Thinking" – Michael Speaks forelæsning

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“Design Thinking” – se Michael Speaks forelæsning

Arkitekturteoretikkeren Michael Speaks er en true archi-thinker….en af dem man BARE VED hvem er (se hans CV her). Du kan se hans forelæsning “Design Thinking” fra 31. marts 2009 på Berlage Institute. Der er mange innovation forelæsere, men de fleste er designere, og ikke arkitekt som Michael Speaks –  LINK TIL FILM


billede-14spekassMichael Speaks is Dean of the College of Design at the University of Kentucky. He has published and lectured internationally on contemporary art, architecture, urban design, and scenario planning. Former Director of the Graduate Program and founding Director of the Metropolitan Research and Design Post Graduate Program at the Southern California Institute of Architecture in Los Angeles, Speaks has also taught in the graphic design department at the Yale School of Art, and in the architecture programs at Harvard University, Columbia University, The University of Michigan, The Berlage Institute, UCLA, TU Delft in the Netherlands and the Art Center College of Design. Speaks is founding editor of the cultural journal Polygraph and former editor at Any in New York, and is currently a contributing editor for Architectural Record.

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De 2 store konkurrencer i Oslo (A0 plancher)

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Se Konkurrenceforslagene til:
Deichmanske Bibliotek + Munch/Sternersen Museet

Check de afleverede konkurrenceprojekter, som blev indleveret i de 2 store norske konkurrencer, af en god portion internationale tegnestuer. Begge projekter er i Oslo og nabo til operahuset.

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Du har mulighed for at hente en kort, samlet tekstpræsentation af projekterne (Link1 + link2), downloade alle A0 plancherne (Link1 + link2)…og for at se hvilken tegnestue der har tegnet hvad, skal du hente jury rapporterne nedenfor.

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Begge konkurrencer er afgjort - læs om vinderforslagende.

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- Download de 2 jury rapporter nedenfor (pdf)

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Radiohead Music Video Contest Winners 2008

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Radiohead Music Video Contest
I marts 2008 blev der fundet 4 vindere af animationskonkurrencen om Radioheads nye video. Konkurrencen blev afholdt i samarbejde med AniBoom.com , og foregik lidt ligesom en faseopdelt arkitektkonkurrence. Fase 1: 900 storyboards Fase 2: 236 videoklip, Fase 3: 13 semifinalister, Fase 4: 5 finalister.

Endeligt blev det til 4 vindere, som hver især har færdiggjort deres animationsfilm. Hvis du vil se alle runners up filmene, så kan du se dem på dette link. (eller her på youtube)

Nedenfor har vi de 4 vinderfilm!…arkitektkonkurrencer forekommer næsten som et stort sort hul af spildt af tid, hvor kun ET enkelt projekt bliver til noget!!

(husk fullscreen og HQ)
[youtube=http://www.youtube.com/watch?v=sIn_8EZWH7k&feature=channel&w=500&h=350]

se de 3 andre vindere nedenfor:

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PIXELMAPS – New York og lidt CHINA

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PIXELMAPS – New York og lidt CHINA

Det kan godt være at vi har Kraks, GoogleMap mf. men vi har ikke vores storbyer i eBoy stylet pixelmaps, som Kina og New york har det. De startede med Kina; hop selv forbi edushi.com og check deres storbyer ud – alt er på kinesisk, men frygt ikke. De 2 øverste rækker er links til forskellige byer (kig evt på din statuslinje for at se navnet på linket – fx shanghai.edushi.comEngelsk info om firmaet bag). Og senere hen joinede de  med YouCity.com (link til Blog)…og så fik New York også en tur.

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Ovenfor: Udvalgte eBoy posters

Kilde:  digitalurban + extra info fra Anders Hartmann ;-)

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5 AXIS CNC

[vimeo 3537093]

Hvis bare man havde sådan en i sin …fabrikshal!!
Der er flere produktionsfilm her, og en lidt længere version af filmen ovenfor på dette link.

www.EEW-maschinenbau.de

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CNC 5

Kilde: core.form-ula.com

David Carson 11

David Carson: "Design, discovery and humor"

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David Carson: “Design, discovery and humor”
Vi er i de tidlige 90´ere – dekonstruktivismen er begyndt at kradse i overfladen, og grafikere som David Carson (m. Ray Gun Magazine) og Neville Brody (m. Face Magazine) var top-of-the-pops. Min affære med David Carson har nok været endnu tidligere, i slut 80´erne, hvor en grafisk action komposition blev lagt for TRANSWORLD SKATEBOARDING Magazine. Et blad som fik mange drenge til at drømme om en fremtid som grafikker, haha! Jeg anede dog ikke hvem DC var på dette tidpunkt. Det var faktisk så sent som i 1996 hvor hans bog, “The End of the Print” var med i tasken den dag jeg startede på arkitektskolen…det var ikke mange lige linier der blev tegnet på det studie, haha!

www.davidcarson.com
www.davidcarsondesign.com

Se et kort Youtube interview (4 min)

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David Carsons grafiske collage teknik har vist også inspireret til filmen SEVENs intro:

[youtube=http://www.youtube.com/watch?v=SEZK7mJoPLY]

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"Apple, I am your father"

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quote11Things wich are different in order simply to be different are seldom better, but that which is made to be better is almost always different”

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Hvis Apples produkter er noget der tænder en ild i dit indre – på den fede måde – så er apples chefdesigner, Jonathan Ive hjulpet godt på vej af BRAUNS über designer Dieter Rams. Se nogle eksempler på Gizmodo.com, eller læs en artikel her på Guardian.co.uk

– Læs mere om Dieter Rams her.
– Link til Dieter Rams´ Flicker Pool (150 billeder)

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[youtube=http://www.youtube.com/watch?v=bOONhFutsrg]

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Arkitektskolen +- Designskolen

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quote11“Lærergruppen er positivt stemt overfor tanken om en fremtidig fusion, ligesom afdelingen byder DKDS velkommen på Holmen. Men af faglige årsager må vi med følgende kommentar fraråde Kunstakademiets Arkitektskole at indgå i en fusion som foreslået i rapporten”.

(uddrag: “Brev til KA rektor fra Designafdeling vedr. fusion “)

Arkitektskolen +- Designskolen
Kulturministeriet offentliggjorde d. 25 februar,  Struktur- og Samarbejdudvalgets rapport, der indeholder en række anbefalinger af fusioner og forpligtende samarbejder inden for Kulturministeriets videregående uddannelser. Rapporten anbefaler bl.a. en fusion af Kunstakademiets Arkitektskole og Den Danske Designskole, samt Glas- og Keramikskolen på Bornholm. Formål er at undersøge mulighederne for mulige fusioner og forpligtende samarbejder mellem de videregående uddannelser, der hører under Kulturministeriet.

Heftige diskussioner:
Ringen er åben og diskussionen er uden handsker - endelig!!  Hvad udfaldet af fusionskursen end vil blive, så er det godt at se nogle holdninger på bordet – hvad synes elever, afgængere og lærer på de 2 skoler.

Arkitektskolen:
Artikel: “Arkitektskole er i oprør over fusionsplaner” (Politiken.dk, 10.marts)

Arkitektskolens Designafdeling:
PDF - “Kommentarer fra tidligere KA Design elever”
PDF - “Brev til KA rektor fra Designafdeling vedr. fusion “

DanskDynamit.dk – artikel og kommentarer fra Designskolens elever:
Læs – “Danmarks Designskole er en fiasko”

LinkUp.dk - debat startet af designafdelingen på Arkitketskolen, som er bekymret over at blive trynet af Designskolens kaos!
Læs – “Skal Arkitektskolens designuddannelse forsvinde?”

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"Parametric Approaches III" (d.13.03 på KA)

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Parametric Approaches III: Digital Crafting – http://cita.karch.dk

Kunstakademiets Arkitektskole/ Auditorium 2 (indgang J)
Philip de Langes Allé 10 , 1435 Copenhagen K

D. 13.03.2009 / gratis

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quote11An international symposium on the development of digital architecture for students and professionals. Organised by Centre for Information Technology and Architecture, Royal Danish Academy of Fine Arts, School of Architecture.

Contemporary building practice is increasingly computer controlled allowing for a new production more efficient techniques but also of increasing complexity and variance. This symposium invites researchers and practitioners to discuss how computational systems in the design and manufacture of architecture introduce a new nearness to craft, material and making in architecture. The symposium asks: how can we use these technologies to develop a new adaptable architecture production, how do they affect the way we think about material specification and how do they challenge design?

CITA presents an afternoon of speakers from the fields of architecture, computation, engineering and craft discussing individual approaches to digital design, craft and material showcasing work-in-progress research studies and built projects.

Everybody is welcome

Program:

13.00 Intro and framing of Digital Crafting as research topic – Mette Ramsgard Thomsen
13.25 Roland Snooks (kokkugia.com – New York / London)
14.10 Harald Kloft (Office for Structural Design – Frankfurt)

15.00 Coffee break

15.30 Michael Silver (Cornell University, New York)
16.15 Christoph Schindler (www.schindlersalmeron.com / founder of Design to Production)

17.00 Discussion
17.45 End of Seminar

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The Art of Röyksopp

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FUCK CONTENT – Michael Rock

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“A movie is not what it is about, it’s how it is about it.”

Michael Rock, NY, prof. Yale School of Design
Koolhaas bad grafisk designer, Michael Rock, 2×4 INC, om at skabe grafiken til OMA´s kommende IIT student campus center. Resultatet var en nyfortolkning af den gotiske tradition indenfor kampus arkitekturen, hvor  små dæmoniske statuer ville lave sjove ansigter, som kommenterede det akademiske miljø. En påmindelse om at vi bevæger os mod at være mere billedorienteret end text baseret! (kilde). Resultatet kender vi med de små ikonografiske karakterer, som indgår i billeddannelserne af IIT´s historiske personligheder (link).

Jeg var ikke lige klar over at det var Michael Rock der var manden bag IIT – det var teksten, The Designer as Author , 1996, jeg kendte ham for. Og på hans eget website, 2×4 INC, er han senere kommet med en opfølgeren Fuck Content, som reaktion. Læs texten nedenfor:

Fuck Content, 2005

quote11A few years back (1996) I wrote a now widely distributed article entitled, The Designer as Author (PDF). In it I argued that designers aspire to be authors because we are insecure about the value of our work. We often feel if our work were more significant, we would garner more respect. We envy the power granted artists and authors. It is this deeply-seated anxiety that was behind a movement pushing designers toward the origination over the manipulation of content.

Remarkably, this critique of the “designer as author” has been turned almost completely on its head. I can’t tell you how many times I have heard that article referred to as my call to arms, my call for designers to become authors. The misreading of the argument is evidence that the anxiety identified therein rages unabated. I attempted to argue that design itself was content enough, it didn’t need to be supplemented. Apparently that argument didn’t take.

The issue comes down to one of Content. Content is the holy grail of beleaguered designer. The misconception is that without content, design is simply a hollow shell of dubious “gestures”, wholly without value. In addition, a century of modernist mantras have hammered home, in one variation or another, the notion form follows function. Its only a slight variation to say: form follows content. And so content is seen, invariably, as the source of form making, always preceding it. Form without content then is some kind of bastard child, unloved and unloving, cloying, sallow and craven. 

The apotheosis of the anti-form campaign came perhaps in the oft-repeated Crystal Goblet metaphor: i.e. that design (the glass) should be as transparent a vehicle for the transmission of content (the wine) as possible. Anyone who favored a more ornate vessel was clearly a cad or an oaf (and probably both). This example has been taken up ad nauseum by hysterics on both side of the ideological spectrum: those committed to clean, simple classical or modern forms have embraced it as a manifesto; those expounding more elaborate typologies have decried it as a fascist rant. But both camps have accepted its basic truth, that the wine is where it’s at.

This false dichotomy has circulated for so long, we have started to believe it ourselves. It has become a central tenet of design education and the essential benchmark against which all “good design” is judged. So a strange transformation has taken place: designers think, as it is the authority that lords over their work, that the control of content, or the development of it, is a more essential act than the shaping of it. Designers search out good content as a measure of good design.

“There is no such thing as bad content, only bad form.” Paul Rand famously remarked, “This explains the place of form in art.” Rand was not, of course, defending hate speech or schlock or banality; he was simply making the point that the purview of the designer is the shaping of form, not the authoring of content. In a way, it doesn’t matter what the work is about, the designer’s hand is visible in the treatment, not the writing.

So what else is new? This seems to be a rather mundane point. But to fully recuperate design from its second-class status under the thumb of content you must take another step. You must say that treatment is a kind of text itself, equal to, and as complex and referential as, traditional forms of content. The materiality of a designer’s method is his or her content and through those material/visual moves, a designer speaks.

The example I used in Designer as Author is still apt. The film director is held in esteem as the auteur of a film that he didn’t write, score, edit or photograph. What makes a Hitchcock film a Hitchcock film is not the plot but the way he manages to make every film, no matter what the content, about filmmaking itself. His great genius is that he is able to create critique in a genuinely popular and entertaining form. He speaks through his profession.

The auteurship, and the meaning of the work, of the director’s work is embedded not in the story but in the storytelling. Similarly a designer trades in storytelling. And so the elements that must be mastered are not the narratives themselves but the devices of the telling: in this case, typography, line, form, color, contrast, scale, weight, etc. So a designer speaks through his or her assignment, literally between the lines.

If you look at the span of graphic design, you discover, not a history of content but a history of form. Those evolutionary changes in form suggest a profession that continually revises and reshapes the world through the way it is rendered. The stellar examples of graphic design are often in service of the most mundane content possible: an ad for ink or cigarettes or machinery. But despite the banality of the content, the form has an important, even transformative meaning. The difference between designers is revealed in the unique way each individual designer approaches content, not the content they generate.

This signature treatment reveals a whole range of issues both personal and contextual. A designer is intimately connected to the work her or she produces. It is inevitable that work bears their stamp. The choice of projects in each designer’s oeuvre lays out a map of interests and proclivities. And the way those projects are parsed out, disassembled and reorganized, and rendered may reveal a philosophy, an aesthetic position, an argument and a critique.

So the trick for the designer is to find ways in which to speak through treatment—a whole range of rhetorical devices from the written to the visual to the operational—to make those proclamations as poignant as possible, and to consistently return to central ideas and repeatedly re-express. It is in this way that a designer builds a body of work and that body of work starts to become a kind of organized content in itself. The content is in short, always Design itself.

Recently after giving a lecture on a similar topic I stopped by Starbucks to pick up a coffee on my way home. In America Starbucks has a program to print provocative quotes on their paper coffee cups. My cup that day happened to sum it up quite nicely. There, attributed to film critic Roger Ebert, my cup announced: “A movie is not what it is about, it’s how it is about it.”

© Michael Rock 2005

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Engineering Koolhaas (ARUP)

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Engineering Koolhaas

“Who says that structure should not be reinvented?. . . Who says that reinventing structure cannot be creative?”

(Rem Koolhaas, 2003)

ARUP Journal har siden 2005 udgivet 3 gode artikler om deres arbejde med OMA i forbindelse med CCTV. Og jeg synes det er super fedt at få historien fra ingeniørens tekniske vinkel. Læs alle 3 artikler nedenfor…

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Structural engineering design and approvals – Issue 2/2005
“The winning design combines administration and offices, news and broadcasting, programme production and services – the entire process – in a single loop of interconnected activities. The specifics of the structure evolved in tandem with the specifics of the building as they in turn evolved, a notable example being the placement of doubleheight studios within the Towers and Base, which significantly influenced the structural form”. (Download PDF)

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Building the structure – issue 2/2008
“Erecting two massive leaning Towers, and connecting them with a 9-13 storey Overhang suspended 36 storeys in the air, presented the structural engineers and contractors with unprecedented design and construction challenges. This is the third Arup Journal article about the CCTV (China Central Television) building in Beijing; it covers the construction of this unique project”. (Download PDF)

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Services engineering design – Issue 3/2005
“The CCTV Headquarters’ three-dimensional layout is designed to break down the ‘ghettoes’ that tend to form in the process of making TV programmes. The building’s ‘loop’ form encourages staff to mix, creating a better end-product more economically and efficiently”. (Download PDF)

Kilde: www.arup.com/arup/Journal.cfm