Hatching, infographics & gradients. A few of our favourite things, and Adrien Lucca’s too.
Thursday 29 September 2011
Adrien Lucca.
Adrien Lucca.:
Hatching, infographics & gradients. A few of our favourite things, and Adrien Lucca’s too.
Hatching, infographics & gradients. A few of our favourite things, and Adrien Lucca’s too.
Sunday 25 September 2011
abigail edwards
abigail edwards:
Sometimes, great design can make a liar out of me. Just the other day, I was swearing off wallpaper, explaining that I was tired of pattern and ready for something clean, simple and new. Then Abigail Edwards’ new Seascape wallpaper designs came along, and I’m ready to throw that earlier proclamation out the window in exchange for a room full of those gorgeous hand-drawn waves. Abigail is launching these new designs tomorrow at Tent London, and if I were there, I would scoop up at least a dozen rolls of that beautiful brown pattern above. It’s begging to be used in my bathroom; it feels like the perfect thing to be surrounded by when relaxing in a bath. Sadly, I don’t see a lot of “relaxing in a bath” time in my future, but hopefully I’ll see some of this paper instead. It’s gorgeous. Click here to check out (and shop, $93 per roll) Abigail’s latest designs. xo, grace
Sometimes, great design can make a liar out of me. Just the other day, I was swearing off wallpaper, explaining that I was tired of pattern and ready for something clean, simple and new. Then Abigail Edwards’ new Seascape wallpaper designs came along, and I’m ready to throw that earlier proclamation out the window in exchange for a room full of those gorgeous hand-drawn waves. Abigail is launching these new designs tomorrow at Tent London, and if I were there, I would scoop up at least a dozen rolls of that beautiful brown pattern above. It’s begging to be used in my bathroom; it feels like the perfect thing to be surrounded by when relaxing in a bath. Sadly, I don’t see a lot of “relaxing in a bath” time in my future, but hopefully I’ll see some of this paper instead. It’s gorgeous. Click here to check out (and shop, $93 per roll) Abigail’s latest designs. xo, grace
Thursday 22 September 2011
By Daniele Del Nero, haunting and beautiful project called...
By Daniele Del Nero, haunting and beautiful project called...: 
By Daniele Del Nero, haunting and beautiful project called Brockenhaus, looking at all of the tiny paper houses all broken and falling apart is so strange, they have such a realistic appearance almost resembling WWII London in the Blitz. This is the same artist behind the eerie mould spore houses.
By Daniele Del Nero, haunting and beautiful project called Brockenhaus, looking at all of the tiny paper houses all broken and falling apart is so strange, they have such a realistic appearance almost resembling WWII London in the Blitz. This is the same artist behind the eerie mould spore houses.
Wednesday 21 September 2011
The Shadow Construction Project by Marte Haverkamp
The Shadow Construction Project by Marte Haverkamp: 
Marte Haverkamp has captured shadows of different objects and materialized them with her Shadow Construction Project.
Marte Haverkamp has captured shadows of different objects and materialized them with her Shadow Construction Project.
Tuesday 20 September 2011
textile field by the bouroullec brothers
textile field by the bouroullec brothers:
You know that game (which I’ll abbreviate here) FMK? If I was asked to play that game and the Bouroullec Brothers were involved, I would marry them every. single. time. These two brothers are hands down my favorite designers around. They have literally never designed something that I didn’t immediately love and want to either own or explore in person. They approach design with that perfect combination of curiosity, problem-solving and beauty. I can’t say enough good things about them; they’re quite simply the best.
Along with Kvadrat, Ronan and Erwan designed a gorgeous new installation inside the V&A for the London Design Festival. They had free reign to choose any space in the museum, and they decided to create an amazing textile field that’s nearly 100 feet long inside the Raphael Cartoons Gallery.
Their intention was to create a more casual experience for viewers in what is often an intimidating and formal environment. The colorful foam and textile field invites guests to lounge, relax and enjoy the artwork from a more comfortable setting.
I’d love to install something like this in a basement, playroom or backyard, so guests (or children) could have unlimited space to relax. But until the Bouroullecs design an at-home version, I’ll live vicariously through these photos. If you’re in town, you can visit this for the rest of the month at the V&A. Well done, Ronan and Erwan. xo, grace
You know that game (which I’ll abbreviate here) FMK? If I was asked to play that game and the Bouroullec Brothers were involved, I would marry them every. single. time. These two brothers are hands down my favorite designers around. They have literally never designed something that I didn’t immediately love and want to either own or explore in person. They approach design with that perfect combination of curiosity, problem-solving and beauty. I can’t say enough good things about them; they’re quite simply the best.
Along with Kvadrat, Ronan and Erwan designed a gorgeous new installation inside the V&A for the London Design Festival. They had free reign to choose any space in the museum, and they decided to create an amazing textile field that’s nearly 100 feet long inside the Raphael Cartoons Gallery.
Their intention was to create a more casual experience for viewers in what is often an intimidating and formal environment. The colorful foam and textile field invites guests to lounge, relax and enjoy the artwork from a more comfortable setting.
I’d love to install something like this in a basement, playroom or backyard, so guests (or children) could have unlimited space to relax. But until the Bouroullecs design an at-home version, I’ll live vicariously through these photos. If you’re in town, you can visit this for the rest of the month at the V&A. Well done, Ronan and Erwan. xo, grace
By Debbie Smyth, I have been to see her work before when she was...
By Debbie Smyth, I have been to see her work before when she was...: 
By Debbie Smyth, I have been to see her work before when she was the feature artist and it is mind boggling how many nails and threads go into constructing one. The clean inner lines are great when compared to the squiggly outer edges, I love the loose threads that hang from each image.
By Debbie Smyth, I have been to see her work before when she was the feature artist and it is mind boggling how many nails and threads go into constructing one. The clean inner lines are great when compared to the squiggly outer edges, I love the loose threads that hang from each image.
Sunday 18 September 2011
Doctor 3D prints a model of a bone for surgery preparation
Doctor 3D prints a model of a bone for surgery preparation:
3D printing for a hospital on a limited budget.
Mark Frame, an orthopedic surgical trainee in Glasgow Scotland, made a 3D print of a patient’s forearm himself for a thousand dollars less than the hospital.
He used the data from a CT scan and open source software OsiriX (medical imaging) and MeshLab to produce a printable 3D model. He then uploaded that model to Shapeways. After he received the model, he checked it for accuracy and was happy to discover it was a near-perfect replica of the bone. He spent 77 pounds sterling (roughly $120) in total. I think we can safely call that a significant savings compared to $1200.
Read more about this story on the Shapeways blog.
Via Shapeways
Posted in 3D Printing, Open Source, Taylor Gilbert by Taylor Gilbert | No Comments
3D printing for a hospital on a limited budget.
Mark Frame, an orthopedic surgical trainee in Glasgow Scotland, made a 3D print of a patient’s forearm himself for a thousand dollars less than the hospital.
One day in surgery an opportunity arose, a patient needed a 3D model created of their fractured forearm to plan their surgery to realign it. This had already been done via a university department and the model produced was out of proportion and only a truncated portion due to cost issues. Even with this it was still north of $1200 for the small model. I then realized I could do better and for less and challenged my self to produce a model.
He used the data from a CT scan and open source software OsiriX (medical imaging) and MeshLab to produce a printable 3D model. He then uploaded that model to Shapeways. After he received the model, he checked it for accuracy and was happy to discover it was a near-perfect replica of the bone. He spent 77 pounds sterling (roughly $120) in total. I think we can safely call that a significant savings compared to $1200.
Read more about this story on the Shapeways blog.
Via Shapeways
Posted in 3D Printing, Open Source, Taylor Gilbert by Taylor Gilbert | No Comments
Designing Postmodernism, Part 8: Coup de Grace
Designing Postmodernism, Part 8: Coup de Grace:
Postmodernism opens in one short week and we've now finalized the exhibition, ready for press previews. I thought I'd write one last post on the exhibition-making process, focusing on the installation of the objects themselves. This may seem like the most straightforward aspect of the project - just set the chairs on plinths, hang the drawings on walls and put the pots in cases. But seeing the V&A team (led by Andy Monks) at work, and seeing the formidable organizational powers of Rosie Wanek and her team of Exhibition Officers, has been a constant education in the precise arts of object handling and display. You don't realize what is involved in a show of this scale til you've seen these folks handling objects of every shape and size.
I've already covered many of the design issues that we think about when installing: creating an overall impression composed of 3D and 2D elements, and ensuring that the lighting is at its optimum (a game of angles). But when the objects actually arrive - about half of them are loans - there are always surprises. Usually these are pleasant ones, as you're reminded of the visual charisma of each work (often I haven't seen them for years, or in a few cases am seeing them for the first time). Of course, just seeing these objects up close and personal is a wonderful experience - it's not too often you get to examine an original Michael Graves architectural model, or for that matter David Byrne's footwear, at such close quarters.
The safety of each object is paramount in the installation process. Every object in the show has a thin sheet of "Melanex" under it, which prevents it from sticking to the painted surface of the exhibition set over the course of 4 months - these need to be carefully cut out by hand to match the feet of chairs and the bottoms of teapots. Mount maker Roger Murray hand-crafts specialist props for jewelry and other delicate objects.
All loan objects are exhaustively 'condition checked' by conservators when they arrive, so we can ensure that no damage has occurred en route and know exactly what shape the objects were in when they came through the door. Here are two of our team, furniture conservator Carola Scheuller and paper conservator Victoria Button at work. Victoria is condition-checking one of the detergent boxes from Haim Steinbach's sculpture 'supremely black.' She reckons that was a career first.
We keep direct handling of the objects to a minimum, in a few cases even using props to establish a location before putting a particularly fragile item on the plinth.
Objects are always carried on carts in baskets, or on trolleys, never by hand - which results in some pretty amazing sights as great artworks roll by on wheels.
During the past couple of weeks we've also finalized the AV and lighting - I have posted on this before, and to really appreciate it you have to be in the space. But here is a terrific animation by our AV designer, Lol Sargent, which gives an impression of the timed video display in our 'club space' eaturing Klaus Nomi, Grace Jones and David Byrne.
And I can't think of a better way to round out this series of 'behind the scenes' views of the show than a few images about the one-and-only Grace Jones, who we've adopted as the icon of the exhibition. Her ex-partner and design guru Jean Paul Goude has been the highlight of the installation process; with his team of specialist fabricators and lighting designers, he came to put the reconstruction of the now-famous 1978 'Neo Constructivist Maternity Dress' in place. Originally this was made of cardboard and only meant to last a few hours - Jones wore it for her own baby shower, at 4am in a New York gay club. (File that one under wish you'd been there.) Goude re-designed the outfit for this reconstruction, working with fabricator Rob Whittle - a British craftsman who has lived in France for over twenty years - to create a more permanent version in felt-covered aluminum. Here's are Goude and Whittle assembling the ensemble after uncrating.
Goude couldn't have been more charming and helpful in providing this final piece de resistance for our exhibition. Thanks to him, and to everyone else who helped with this amazing project. See you at the exhibition!
Postmodernism opens in one short week and we've now finalized the exhibition, ready for press previews. I thought I'd write one last post on the exhibition-making process, focusing on the installation of the objects themselves. This may seem like the most straightforward aspect of the project - just set the chairs on plinths, hang the drawings on walls and put the pots in cases. But seeing the V&A team (led by Andy Monks) at work, and seeing the formidable organizational powers of Rosie Wanek and her team of Exhibition Officers, has been a constant education in the precise arts of object handling and display. You don't realize what is involved in a show of this scale til you've seen these folks handling objects of every shape and size.
I've already covered many of the design issues that we think about when installing: creating an overall impression composed of 3D and 2D elements, and ensuring that the lighting is at its optimum (a game of angles). But when the objects actually arrive - about half of them are loans - there are always surprises. Usually these are pleasant ones, as you're reminded of the visual charisma of each work (often I haven't seen them for years, or in a few cases am seeing them for the first time). Of course, just seeing these objects up close and personal is a wonderful experience - it's not too often you get to examine an original Michael Graves architectural model, or for that matter David Byrne's footwear, at such close quarters.
The safety of each object is paramount in the installation process. Every object in the show has a thin sheet of "Melanex" under it, which prevents it from sticking to the painted surface of the exhibition set over the course of 4 months - these need to be carefully cut out by hand to match the feet of chairs and the bottoms of teapots. Mount maker Roger Murray hand-crafts specialist props for jewelry and other delicate objects.
All loan objects are exhaustively 'condition checked' by conservators when they arrive, so we can ensure that no damage has occurred en route and know exactly what shape the objects were in when they came through the door. Here are two of our team, furniture conservator Carola Scheuller and paper conservator Victoria Button at work. Victoria is condition-checking one of the detergent boxes from Haim Steinbach's sculpture 'supremely black.' She reckons that was a career first.
We keep direct handling of the objects to a minimum, in a few cases even using props to establish a location before putting a particularly fragile item on the plinth.
Objects are always carried on carts in baskets, or on trolleys, never by hand - which results in some pretty amazing sights as great artworks roll by on wheels.
During the past couple of weeks we've also finalized the AV and lighting - I have posted on this before, and to really appreciate it you have to be in the space. But here is a terrific animation by our AV designer, Lol Sargent, which gives an impression of the timed video display in our 'club space' eaturing Klaus Nomi, Grace Jones and David Byrne.
And I can't think of a better way to round out this series of 'behind the scenes' views of the show than a few images about the one-and-only Grace Jones, who we've adopted as the icon of the exhibition. Her ex-partner and design guru Jean Paul Goude has been the highlight of the installation process; with his team of specialist fabricators and lighting designers, he came to put the reconstruction of the now-famous 1978 'Neo Constructivist Maternity Dress' in place. Originally this was made of cardboard and only meant to last a few hours - Jones wore it for her own baby shower, at 4am in a New York gay club. (File that one under wish you'd been there.) Goude re-designed the outfit for this reconstruction, working with fabricator Rob Whittle - a British craftsman who has lived in France for over twenty years - to create a more permanent version in felt-covered aluminum. Here's are Goude and Whittle assembling the ensemble after uncrating.
Goude couldn't have been more charming and helpful in providing this final piece de resistance for our exhibition. Thanks to him, and to everyone else who helped with this amazing project. See you at the exhibition!
Friday 16 September 2011
On the wall.
On the wall.:
Canvases painted the same colour as the wall on which they hang is a good look. These ones are by Claude Retault.
from present and correct
Canvases painted the same colour as the wall on which they hang is a good look. These ones are by Claude Retault.
from present and correct
Thursday 15 September 2011
Frank Lloyd-Wright
Frank Lloyd Wright, 1946 | Source
A sheet of architect Frank Lloyd Wright’s personal stationery; a much larger version of which is here. His studio letterhead has been featured on Letterheady previously.
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