Posts Tagged ‘New York’

(smow) blog Design Calendar: November 7th 1929 – The New York Museum of Modern Art, MoMA, Opens

Friday, November 7th, 2014

“The belief that New York needs a Museum of Modern Art scarcely requires apology. All over the world the rising tide of interest in the modern movement has found expression not only in private collections but also in the formation of great public galleries for the specific purpose of exhibiting permanent as well as temporary collections of modern art. That New York has no such gallery is an extraordinary anachronism. The municipal museums of Stockholm, Weimar, Düsseldorf, Essen, Mannheim, Lyons, Rotterdam, The Hague, San Francisco, Cleveland, Providence, Worcester, Massachusetts and a score of other lesser cities provide students, amateurs and the more casual public with more adequate permanent exhibits of modern art than do the institutions of our vast and conspicuously modern metropolis.”1

So announced the trustees of the future New York Museum of Modern Art their intentions in August 1929.

And just three months later on Thursday November 7th 1929 the Museum of Modern Art, MoMA, formally opened its inagural exhibition presenting 100 works by Cézanne, Gauguin, van Gogh and Seurat.

A quadruplet who indicate that at the institution’s opening the MoMA backers’ definition of “modern” had only little to do with the spirit of change sweeping 1920s Europe and more to do with the spirit of change that had swept Europe some 40 years earlier.

But then winds of change take a long time to blow across the Atlantic. At least from East to West.

But arrive it did. On January 18th 1930 the MoMA opened its third exhibition, Painting in Paris, a showcase of contemporary French painting that featured works by the likes of Pablo Picasso, Fernand Léger, Marc Chagall and the Paris based Catalan Joan Miró; and a showcase which proved so popular with the New York public it forced the MoMA trustees to begin, reluctantly, charging entry to the museum. The first two exhibitions and the majority of Painting in Paris had been free; however, two weeks before it was due to close the MoMA announced that on account of the unexpected popular success of the show they had received “innumerable complaints from visitors” who had “come intending to look at pictures and have instead been trampled, with no better compensation than a view of other visitors’ necks.”"2

A fifty cent entry fee between 12 noon and 6 pm was considered the best solution.

moma new york 1929

The original New York Museum of Modern Art, MoMA, home in the Heckscher Building, corner of Fifth Avenue and 57 Street.

Just as it didn’t take the MoMA long to discover European modernism it also didn’t take long for the MoMA to expand its horizon and to embrace modern film, music, architecture and design.

On February 10th 1932 the MoMA presented with Modern Architecture: International Exhibition its first architecture exhibition, quickly followed by Early Modern Architecture: Chicago 1870-1910 in January 1933 and in April of the same year a show looking at some of the more promising and notable young mid-western architects of the day. This passion for contemporary, modern architecture was unquestionably attributable to the hiring of Philip Johnson as the first Director of the institution’s Department of Architecture: and it was Johnson who also curated the New York Museum of Modern Art’s first dedicated design exhibition “Objects: 1900 and Today” which opened on April 5th 1933 and which, as the name implies, presented objects produced between 1900 and 1933. Some 100 in total. And which according to Paola Antonelli contained many objects from the curatorial team’s own homes, and even items from Philip Johnson’s mothers house.3 Which gives an indication of the level of personal interest the MoMA staff had in the subject. And the limited resources the fledgling museum had available.

This inaugural design exhibition was quickly followed by Machine Art in 1934, an exhibition arguably as important as Modern Architecture: International Exhibition and an exhibition which not only established the New York Museum of Modern Art as an important location for presenting, discussing and exploring contemporary design but also marks the establishment of the MoMA design collection.

Curated, somewhat inevitably, by Philip Johnson, Machine Art presented objects “produced by machines for domestic, commercial, industrial and scientific purposes”4 and demonstrated, according to the museum, “a victory in the long war between the craft and the machine.”5 No mean boast. And one they underscored with a display of some 400 objects including ball bearings, propellers, kitchen units, glass vases, copper tubing, steel springs and Poul Henningsen’s PH Lamp from Louis Poulsen, an object listed as retailing for the princely sum of $24.50.

Philip Johnson resigned from his post as Director of the Department of Architecture and Industrial Art shortly after Machine Art closed, being succeeded by first Ernestine. M. Fantl and then in 1937 by John McAndrew. And while under the tenure of these two directors the commitment to contemporary architecture remained unshakable, design, or “Industrial Art” as the MoMA insisted on referring to it, was limited to the occasional handicraft exhibition or as an occasional, additional, feature of an architecture and/or art exhibition; until that is 1938 when the MoMA presented first, Furniture and Architecture by Alvar Aalto, an exhibition in which Aalto’s moulded plywood furniture was given just as much, if not more, prominence than his architecture, before on September 28th 1938 the Museum of Modern Art began what would become their most influential and enduring contribution to American design, the Useful Objects exhibition series.

moma new york 1939

The New York Museum of Modern Art's first permanent home at 11 West 53 Street

Premièred in 1938 with the exhibition “Useful Household Objects under $5.00″, the Useful Objects series, effectively, grew out of a conversation between Philip Johnson and the MoMA’s founding Director Alfred H. Barr in which they discussed their joint desire for an industrial design show “which would discriminate between “good modern design and modernistic cosmetics or bogus streamlining”"6 A desire which in our books makes both men very sympathetic. Running nine years and formally ending with the 1947 showcase “100 Useful Objects of Fine Design (available under $100)” Useful Objects was ultimately about selling products, something it did very successfully, if the reports of the day are to be believed. Which we do.

Not that the MoMA was selling directly. The MoMA presented the objects in hands on, interactive exhibitions, and provided a list of retailers from whom visitors could purchase those products which interested them. And as such was, if you will, a forerunner of public consumer goods trade fairs. And provided many American consumers with their first contact with contemporary design, a contact which established the notion of “modern culture as modest, down-home, democratic housewares.”7 And thus arguably accelerated and anchored the popular acceptance of post-war American design, and so paved the way for the commercial success of designers such as Charles and Ray Eames, George Nelson or Alexander Girard.

Despite the clear commercial focus of the Useful Objects exhibition inclusion was based on a strict set of criteria; for example when compiling the inagural 1938 exhibition John McAndrew selected objects on the basis of their functionality, material and production processes.8 And this combination of usability and contemporariness was to define the Useful Objects shows under McAndrew’s successors; Eliot Noyes, who in 1939 was appointed the first Director of the newly created Department of Industrial Design, and subsequently Edgar Kaufmann Jr. the man who more than most was to establish the MoMA’s position at the vanguard of what would become known as Mid-century modernism.

A scion of the Philadelphia based Kaufmann department store dynasty, Edgar Kaufmann Jr first began cooperating with MoMA in 1938 as a consultant to the Useful Objects exhibition before in 1940 helping conceive the Organic Design in Home Furnishings competition. In 1946 Kaufmann took over from Eliot Noyes as Director of the Industrial Design department and one his first projects was the now legendary Competition for Low-Cost Furniture Design, a competition which of course ultimately gave us the Charles and Ray Eames plastic chair collection.

Edgar Kaufmann Jr was also responsible for transforming the Useful Objects exhibition series into the Good Design programme, an exhibition series which ran from 1950 – 1955. And which took the commercial connections initiated with Useful Objects to whole new levels. Organised in conjunction with the Merchandise Mart in Chicago – an immense shopping centre geared towards the wholesale and contract trade – the Good Design exhibition featured three showcases a year: in January and June in Chicago and then in winter in New York. The MoMA showcase presenting selected products from the two Chicago shows and thus being, in effect, a “Best of”. As well as of course a museum presentation of the Chicago “in-store” presentation. One could argue an affirmation.

However one must also add that as with Useful Design, and despite the clear commercial nature of the shows, inclusion to the Good Design exhibitions was via a selection process. They were curated shows in a museal sense. Ahead of each Chicago exhibition Kaufmann and two external judges selected exhibits from new products launched in the previous six months and according to strictly defined criteria. Yes Kaufmann unquestionably viewed objects as one with experience in retail, and yes one must query, for example, the predominance of furniture by Herman Miller and Knoll Associates in the Good Design exhibitions; however, as a devotee of Frank Lloyd Wright and a man who busied himself with design and architecture theory, Edgar Kaufmann Jr also had a clear understanding of what contemporary design is, was and should do.

Nor were the MoMA were alone in mixing museal presentation with economic interests, of blurring the lines if you will between the curated and the commercial presentation. The Good Design concept was, for example, greatly influenced by the For Modern Living exhibition Alexander Girard had organised at the Detroit Institute of Arts in 1949, and throughout the 1950s similar shows were being staged in museums and cultural institutions across the USA.

However, and aside from the scale and regularity of the shows, what made the MoMA Good Design shows so important was that in addition to presenting objects and advising where they could be purchased, the Good Design shows also awarded prizes and allowed all selected objects to market themselves as having been in the exhibition. Not only the start of the branding of “Good Design” but also the start of the maxim “MoMA = Good Design”. An association that many producers, designers and retailers still happily and openly play with.

moma good design

The MoMA Good Design logo.

In 1956 Edgar Kaufmann Jr left the museum and was replaced by Arthur Drexler, who would guide the MoMA’s Architecture and Industrial Design department for the next 30 years.

Three decades through which, and as with the years under Fantl and McAndrew, although the reputation of the MoMA’s architecture exhibitions continued to grow, its design department began to wane, becoming an institution much more associated with reflecting on the past than the present and/or the future. In the early 1980s, for example, as the first seeds of postmodern design were being planted in Milan and the Neue deutsches Design movement was starting to break through in Germany, the MoMA presented retrospectives of Eileen Gray and Marcel Breuer. Both valid themes for a design museum. But not exactly cutting edge. Almost as if having caught up with European Modernism in the 1930s the MoMA felt obliged to remain there while the rest of the world moved on.

Although to be fair, and without wanting to sound jingoistic, the years from 1960 onwards were not golden ones in terms of American design, nor did the new design movements sweeping Europe necessarily reach America. And despite its unquestionable international view the New York Museum of Modern Art, rightly or wrongly, tended to focus on themes of interest to America and Americans.

What did however continue was the growth of the museum’s collection, with works by the likes of Enzo Mari, Verner Panton, Jasper Morrison or Maarten Van Severen being added over the decades. Yet these works were never presented in thematic, contemporary exhibitions; instead design became something presented as “Recent Acquisition” or “Design from the Museum Collection” exhibitions rather than in context of current developments, current thinking, current ideas. Modern design.

Of late that has changed with exhibitions such as Contemporary Design from the Netherlands in 1996, the 2008 show Design and the Elastic Mind or the current Design and Violence demonstrating that the MoMA is capable of presenting interesting exhibitions that do explore contemporary design thinking and issues.

However in context of design the MoMA remains largely a place of reflection, a location for grand retrospectives, and, ultimately, in the words of Wolf Von Eckardt the place “which introduced and nurtured” modern American design9

Which to be honest, is no bad claim.

And something for which we should all be thankful.

1.”Publicity for Organization of Museum”, Museum of Modern Art Press Release, New York, August 1929 Source: http://www.moma.org/docs/press_archives/1/releases/MOMA_1929-31_0001_1929-08.pdf Accessed 07.11.2014

2.”MOMA to charge admission during last 2 weeks of Painting in Paris because of unexpected crowds” Museum of Modern Art Press Release, New York, February 17, 1930 Source: http://www.moma.org/docs/press_archives/27/releases/MOMA_1929-31_0027_1930-02-17.pdf Accessed 07.11.2014

3.Paola Antonelli “Design: die Sammlung des Museum of Modern Art. Objects of design from the Museum of Modern Art” Prestel, München, 2003

4.”Exhibit of machine art opens” Museum of Modern Art Press Release, New York, March 3, 1934 Source: http://www.moma.org/docs/press_archives/164/releases/MOMA_1933-34_0031_1934-03-03.pdf Accessed 07.11.2014

5.”Machine Art” in The Bulletin of the Museum of Modern Art, Vol. 1, No. 3, November 1933

6.Mary A. Staniszewski, “The power of display: a history of exhibition installations at the Museum of Modern Art” MIT, Cambridge, Mass., 1998

7.ibid

8.Paola Antonelli “Design: die Sammlung des Museum of Modern Art. Objects of design from the Museum of Modern Art” Prestel, München, 2003

9.Wolf Von Eckardt, Forms That Follow Function, Time, Vol. 122 Issue 18, p89, 1983,

5 New Design Exhibitions for November 2014

Friday, October 31st, 2014

It’s now been twelve months since we decided to start recommending upcoming architecture and design exhibitions based on nothing more substantial and reliable than a press release or a PR agency text. A year in which we have recommended 60 exhibitions which sounded good, sounded worth visiting, sounded entertaining. Most of those that we subsequently visited were. A fact that has encouraged us to continue. And so to celebrate “5 New Design Exhibitions” first birthday, 5 New Design Exhibitions for November 2014.

“Oskar Schlemmer – Visionen einer neuen Welt” at the Staatsgalerie Stuttgart, Germany

It’s probably fair to say that very few exhibitions have been quite as long in preparation as the Staatsgalerie Stuttgart’s forthcoming show “Oskar Schlemmer – Visionen einer neuen Welt.” The fact that the museum, and for all the exhibition’s curator Dr Ina Conzen, have spent the best part of a decade working on the show dedicated to the German painter, designer,choreographer and former head of the mural, sculpture and theatre workshops at Bauhaus has nothing to do with the work ethic in Stuttgart, and all to do with conflicts amongst and with Oskar Schlemmer’s family. Conflicts which meant displaying any Oskar Schlemmer works would inevitability be followed by legal action on grounds of violating rights to the works and their use. On January 1st 2014 the copyright on Oskar Schlemmer’s works expired and so the Staatsgalerie Stuttgart can finally present their retrospective, untroubled by threats of legal action. Featuring some 250 paintings sketches, sculptures and photos in addition to the original costumes from Schlemmer’s famous Triadic Ballet, Oskar Schlemmer – Visionen einer neuen Welt promises to be one of the most comprehensive explorations of a genuinely fascinating character ever staged. And because we’ve all had to wait so long, it promises to be even more enjoyable.

Oskar Schlemmer – Visionen einer neuen Welt opens at the Staatsgalerie Stuttgart, Konrad-Adenauer-Str. 30–32, 70173 Stuttgart, on Thursday November 20th and runs until Monday April 6th.

Oskar Schlemmer - Visionen einer neuen Welt

"Der Abstrakte" - "The Abstract" - from Oskar Schlemmer's Triadic Ballet. As to be seen in Oskar Schlemmer - Visionen einer neuen Welt (Photo courtesy of Staatsgalerie Stuttgart)

“How do we pronounce design in Portuguese” at the MUDE – Museu do Design e da Moda, Lisbon, Portugal

We always thought the answer was [pɾoʒeˈtar]; however, in their forthcoming exhibition the MUDE in Lisbon will attempt to highlight and explain the essence of Portuguese design since 1980. And so demonstrate that pronunciation is always a question of dialect. Focussing on traditional genres and materials, such as, for example textiles, ceramics, glass and, inevitability, cork, “How do we pronounce design in Portuguese” aims to present not only a complete review of contemporary Portuguese design but also examine the differences and similarities that exist between the two main centres of Portuguese design: Lisbon and Paredes. We’ve said before and we’ll say it again, and keep repeating it, Portugal is home to a fascinating, and very amiable, design community who not only understand the tradition of the region but also how such can be applied in our contemporary world. They often just need a stronger voice. And that we all understand the numerous ways one can pronounce design in Portuguese. Did we really just write that….? We believe we did.

How do we pronounce design in Portuguese opens at the MUDE – Museu do Design e da Moda, Rua Augusta, nº 24, 1100-053 Lisbon on Thursday November 27th and runs until Monday March 30th

spore vase Paulo Sellmayer eindhoven

Possibly our favourite piece of Portuguese design: Spore Vase by Paulo Sellmayer, here @ Made Out Portugal, Eindhoven

“Constructing Text. Swiss Architecture Under Discussion” at the Swiss Architecture Museum, Basel, Switzerland

The pen is famously mightier than the sword. In architecture however the photo is mightier than the pen.

Or is it?

Following on from the 2012 exhibition “Building images”,”Constructing Text. Swiss Architecture Under Discussion” will seek to explore the role the written and the spoken word plays in architecture; principally the role architectural criticism plays in how projects are both developed and also received and perceived by the specialist and the lay public. And so by extrapolation seek to investigate how relevant architecture criticism is. To this end the exhibition explores 15 projects from the past 40 years, including the Kaiseraugst nuclear power plant, the Europaalle area development in Zurich, and the Roche Tower Basel (Bau 1), which stand as examples of the interaction between words and architecture.

And although as the exhibition title succinctly explains the focus is Swiss architecture and Swiss architects, the conclusions reached and arguments presented will of course be globally applicable. We assume.

Constructing Text. Swiss Architecture Under Discussion opens at S AM Swiss Architecture Museum, Steinenberg 7, CH-4051 Basel on Saturday November 1st and runs until Sunday February 22nd

Constructing Text. Swiss Architecture Under Discussion opens at S AM Swiss Architecture Museum

Roche Tower Bau 1 (Photo: Marcel Rickli, Courtesy of S AM Swiss Architecture Museum)

“Making Music Modern: Design for Ear and Eye” at the Museum of Modern Art MoMA, New York, USA

Not only have design and music always enjoyed a very close and mutually beneficial relationship but the parallels between the two are remarkable: a variety of genres which you are free to like or not, regardless of your position on other genres; regular development of new movements which challenge existing norms; adoption of previous styles but younger generations; a dangerous hang to kitsch; a completely uncritical acceptance by a mass of the public of a few widely known works as being the most important and genre defining “classics”; their ubiquity. We could go on. In fact just about the only perceivable difference between the two is that where as music is a strictly reactive medium that can comment on a given situation and suggest that an alternative may be required, design allows one to not only comment but pro-actively react to and create an alternative. To celebrate these fraternal bonds the New York Museum of Modern Art have plundered their own archives to curate an exhibition exploring designs contribution to music in context of, for example, instruments, marketing, auditoriums, phonographs. etc, etc. In addition to works by the likes of Hans Poelzig, Dieter Rams, Hiroshi Ohchi and, somewhat inevitably, Sir Jonathan Ive, the exhibition also promises works by Charles Rennie Mackintosh and Lilly Reich. No idea what, but certainly very intriguing.

Making Music Modern: Design for Ear and Eye opens at the Museum of Modern Art MoMA, 11 West 53 Street, New York, NY 10019 on Saturday November 15th and runs until Sunday November 15th. That’s twelve months. Not a typo.

Hans Poelzig. Concert Hall Project, Dresden, Germany, Interior perspective of preliminary scheme

Hans Poelzig. Concert Hall Project, Dresden, Germany, Interior perspective of preliminary scheme (Photo courtesy of Museum of Modern Art MoMA, New York)

“Vanity of Object: Tom Vack – Design Photography” at Neuen Sammlung – The International Design Museum Munich, Germany.

Much as in the 1950s and 60s Aldo and Marirosa Ballo helped establish the enduring tradition of commercial furniture photograph, so to has Tom Vack helped shape and define product, and for all furniture, photography since the 1980s. Yet whereas for the likes of Aldo and Marirosa Ballo the object was the focal point of the photo and the aim of the work was to set that in the most opportunistic light, Tom Vack’s focus is the photographic composition itself. The photos happen to contain a product, often one feels more by chance than intention, and indeed in many cases one has to look twice to actually see the product in question. Following his move from America to Milan in the 1980s Tom Vack quickly found himself collaborating with the likes of Michele De Lucchi and the experimental, postmodern Milan scene of the period, before beginning a ten year collaboration with Philippe Starck as his personal photographer: a collaboration which in many ways was responsible for establishing Philippe Starck’s medial success. In addition Tom Vack has cooperated closely with designers such as Ron Arad, lngo Maurer and Marc Newson. The result is a portfolio ranging from shots with the sober fantasy of Romantic art over works endowed with the experimental freedom of the early computer age and onto images that look more rendered than photographed; and an enviable client list that includes manufacturers such as Magis, ClassiCon, Flos, Thonet and Nils Holger Moormann. And yes Tom Vack has photographed a Tom Vac. We’re not going to claim to be the biggest fans of all Tom Vack’s work: however, we do have a lot of respect for the work he has produced, the artistic and aesthetic ideas he has developed and for all the influence he has had on the genre. Presenting as it will some 200 Tom Vack photographs from the past three decades “Vanity of Object” promises to offer a wonderful opportunity to better understand and appreciate Tom Vack’s oeuvre and importance.

Vanity of Object: Tom Vack – Design Photography opens at the Neuen Sammlung – The International Design Museum, Barerstrasse 40, 80333 Munich on Saturday November 8th and runs until Sunday January 25th

Tom Vack Tom Vac

Tom Vac by Tom Vack (2004, for Ron Arad)(Photo © Tom Vack, courtesy Neuen Sammlung – The International Design Museum Munich)

(smow) blog compact: O.M. Ungers – Morphologie – City Metaphors at Ungers Archiv für Architekturwissenschaft Cologne

Sunday, September 7th, 2014

Following the assimilation of the Cooper Union Design Museum in New York into the Smithsonian Institution as the Copper-Hewitt Museum, founding director Lisa Taylor wanted an opening exhibition which reflected and celebrated not only the museum’s new status but also its new direction and which visually translated the “philosophy of the Smithsonian Institution’s new National Museum of Design”1

To this end in 1974 selected designers and architects, including Richard Saul Wurman, Charles and Ray Eames and George Nelson, were asked to submit exhibition proposals; the commission ultimately being awarded to the Austrian architect and designer Hans Hollein and his MAN transFORMS concept which opened on October 7th 1976. According to Hans Hollein MAN transFORMS was conceived not only as an exhibition which presented design but which in itself was “a statement about what Design is” and above all was intended to be “a show on life and situations of life”2

Aside from the main exhibition which included, amongst other exhibits, a table presenting different types of bread, a room presenting different forms of hammers and a detailed look at the multitude of uses for a simple piece of cloth, MAN transFORMS presented specially commissioned contributions by Peter M. Bode, Arata Isozaki, Ettore Sottsass, Richard Buckminster Fuller, Richard Meier, Nader Ardalan/Karl Schlamminger and Oswald M. Ungers.

In context of the Plan 14 Architecture Festival the Ungers Archiv für Architekturwissenschaft in Cologne will present a paired down version of Oswald M. Ungers’ contribution: Morphologie – City Metaphors. Transforming a corridor on the ground floor of the Copper-Hewitt museum into an idealised street, Morphologie – City Metaphors juxtapositioned cityscapes, urban plans and built environments with natural organisms, natural networks and images of everyday life; the two images united under one common term, for example “Intersecting”, “Regularity” or “Backbone”. With his installation Ungers hoped to motivate and inspire visitors to new perspectives on not only the world around them and how that was to be understood, but also the ways and means by which things could be created, styled and realised.

Themes that fit in very nicely with Plan 14′s central motto: Architektur im Kontext – Architecture in Context.

In addition to a scale model of the original New York installation the exhibition in Cologne will feature a selection of the original photos and presentation boards, and thus hopes not only to inspire and motivate as the original installation once did but also help elucidate on the way Oswald M. Ungers thought and worked.

O.M. Ungers – Morphologie – City Metaphors can be viewed at the at Ungers Archiv für Architekturwissenschaft, Belvederestrasse 60, 50933 Cologne from Friday 19th until Friday 26th September 2014.

Full details can be found at www.ungersarchiv.de

1. Hans Hollein Design MAN transFORMS Konzepte einer Ausstellung Concepts of an Exhibition, Löcker Verlag, Wien, 1989

2. ibid

O M Ungers Morphologie  City Metaphors Ungers Archiv für Architekturwissenschaft Köln

O.M. Ungers - Morphologie - City Metaphors at Ungers Archiv für Architekturwissenschaft Köln (Photo courtesy UAA)

5 New Design Exhibitions for July 2014

Monday, June 30th, 2014

Tradition being the predictable beast that it is, July and August tend to be quiet months in the design universe – most everyone taking themselves off to their Gîtes, Dachas, Ferienwohnungen, Vakantiehuis and lakeside bungalows for a few weeks of quiet reflection ahead of the autumn trade fair and design week season.

Most. But not all.

A few hardy souls remain, stocking the furnaces of creative culture with architecture and design based exhibitions intended to inspire, excite and entertain.

Our five hot coals from the new offerings opening during July 2014………

“Disobedient Objects” at the V&A, London, England

In recent years “social design” and “critical design” have become increasingly present as ever more people realise that design isn’t a profession, but a way of thinking, and a force for change. Or at least can serve as an impetus for change. And something that is much more effective than songs or poetry. Such concepts however are nothing new and from July 26th, and as far as we are aware in the first exhibition of its kind, the V&A in London is presenting an exploration of the role of art and design in social and political change. Looking at, for example, objects created in context of direct action and solidarity protests, the architecture and planning of protest camps and methods of communication designed to avoid censorship, Disobedient Objects also promises to present case studies of specific protest actions including Guerrilla Girls masks and an action by the Barbie Liberation Organisation in which GI Joe and Barbie voiceboxes were switched to highlight gender stereotyping. Especially interesting is that many of the items on show have been loaned by activist groups themselves, making Disobedient Objects not only a unique exhibition but an institutional acknowledgement of the activists efforts.

Disobedient Objects opens at the Porter Gallery, V&A, Cromwell Road, London SW7 2RL on Saturday July 26th and runs until Sunday February 1st.

Disobedient Objects at the V&A London

Inflatable cobblestone, action by Eclectic Electric Collective in co-operation with Enmedio collective during the General Strike in Barcelona, 2012 (Photo: © Oriana Eliçabe/Enmedio.info)

“NYC Makers: The MAD Biennial” at the Museum of Arts and Design, New York, USA

In a similar vein to the V&A’s exhibition the New York Museum of Arts and Design is devoting its summer 2014 exhibition to 100 New York “Makers”: that sub-genre of creative who ignore traditional rules, institutions, definitions and models and simply……. make.

The 100 Makers presented in the exhibition were selected by the museum’s Director Glenn Adamson and exhibition curator Jake Yuzna from a long list nominated by a “selection panel” comprised of 300 figures from the New York cultural and creative scenes. At this point we should really write something along the lines of: “Featuring a who’s who of the New York maker scene…..”; but we recognise hardly any of the names on the list.

Which is one of those things that makes the exhibition so interesting for us: the chance to explore, discover, not like, learn, not understand, adore….

And to discover exactly how Gaetano Pesce, the Metropolitan Opera and Yoko Ono Plastic Ono Band fit into the melee.

In addition to a presentation of projects by the 100 Makers the exhibition also features an accompanying fringe programme of performances, culinary events and fashion shows, and thus promises to provide an interesting, informative and for all accessible introduction to the current maker scene in New York.

NYC Makers: The MAD Biennial opens at the Museum of Arts and Design, 2 Columbus Circle, New York, NY 10019 on Tuesday July 1st and runs until Sunday October 12th

NYC Makers The MAD Biennial at the Museum of Arts and Design, New York

NYC Makers The MAD Biennial at the Museum of Arts and Design, New York

“The Good Cause: Architecture of Peace – Divided Cities”, at the Architekturmuseum der Technischen Universität München, Germany

Much like sports officials never tire of telling us how positive their particular sport is for the development of a peaceful, healthy, stable society, so to are architects always available for a quick quote about how their constructions make the world a better place. But how much truth exists behind such sound-bites? And given the nagging suggestions that war, famine, suffering and poverty may in fact be rife on our planet, what can architecture actually do for society?

No honestly, what?

The TU Munich Architecture Museum’s exhibition may not directly answer such a question, but does aim to show the positive that can be achieved when projects are developed in close co-operation with the local community, their needs, histories and traditions. Rather than just parachuted in by a headline hungry st*r architect.

The first part of the exhibition presents examples of reconstruction projects in Afghanistan, South Africa, Israel, Palestine, Rwanda and Kosovo which in the curators opinion show the positive, healing, powers of architecture. The second part of the exhibition is more specific, looking as it does at the problems associated with divided cities, in particular Belfast, Nicosia, Mitrovica and Mostar.

Sounding very much like a conflict specific version of the excellent Netherlands Architecture Institute exhibition “Testify! The Consequences of Architecture”, The Good Cause promises to provide some interesting perspectives on the role of professional planning and architecture in post conflict situations.

The Good Cause: Architecture of Peace – Divided Cities opens at the Architekturmuseum der Technischen Universität München, Pinakothek der Moderne, Barer Straße 40, 80333 München on Thursday July 17th and runs until Sunday October 19th

The Good Cause Architecture of Peace Divided Cities at the Architekturmuseum der Technischen Universität München

Visitor Centre, Pamir-i-Buzurg, Afghanistan (Photo: AFIR Architects / Anne Feenstra)

“Pierre Charpin” at L’Appartement 50, Marseille, France

In 1952 Le Corbusier completed construction of his La Cité Radieuse project. A 165 m long, 24 m deep and 56 m high block of 337 apartments in the southern quarter of Marseille, La Cité Radieuse represented Le Corbusier’s vision of the future of urban living.

In 2008 Jean-Marc Drut, resident of Apartment Number 50 invited Jasper Morrison to furnish said apartment with a selection of his works, and works by others which Morrison felt complemented his own works, the apartment and Le Corbusier’s intentions with La Cité Radieuse. And then opened the display to the public.

A sort of positive antithesis to George Orwell’s (in)famous Room 101.

In 2010 Jean-Marc Drut repeated the exercise with Ronan & Erwan Bouroullec and in 2012 with Konstantin Grcic.

The 2014 edition of the L’Appartement 50 Biennale, as we believe it now deserves to be called, sees Paris based Pierre Charpin take on the challenge.

Promising a representative collection of Charpin’s works for clients as varied as Galerie Kreo, Ligne Roset, Post Design and Venini, and thus an excellent opportunity to get know more about the designer and his oeuvre, the exhibition is also a wonderful opportunity to get to know, and understand, one of the most interesting moments in the story of European modernist architecture.

Pierre Charpin at L’Appartement 50 opens at Unité d’habitation Le Corbusier, Appartement 50 / 5ème rue, 280 Boulevard Michelet 13008 Marseille on Tuesday July 15th and runs until Friday August 15th

Pierre Charpin at L'Appartement 50, Marseille

Pierre Charpin at L'Appartement 50, Marseille

“Unter Zwischen im Ampelhaus”, at Ampelhaus, Oranienbaum, Germany

If Berlin’s star as the most creative centre in Germany is waning. And if Leipzig’s star as the most creative centre in Germany is ascending. Then Oranienbaum, positioned as it is half way between the two, is obviously the celestial source of all creativity in Germany.

A fact we suspect the Oranienbaum based galley Ampelhaus will ably prove this summer.

Following on from 2013′s King Size: Art and Design fit for a King, and 2012′s Use it Again, Ampelhaus’ 2014 exhibition sees them explore the underbelly of contemporary art and design. Or at least their own cellar. The artistic intervention that last year saw the first floor of the gallery be transformed into an exhibition space despite strict fire regulations restricting public use to the ground floor, being inverted to allow access to the cellar. Thus turning the gallery, in the organisers words, into een levensgrote kijkdoos, “a life-size diorama” in which the presented objects are largely viewed from afar through gaps and openings.

Which sounds more like een levensgrote Zwitserse kaas to be perfectly honest.

And that, at the moment, is all we can say about Unter Zwischen im Ampelhaus. For we have no further information. Other than it will feature works by Dutch and German artists and designers. But something in the bottom of our collective stomach tells us it will be well worth visiting.

Unter Zwischen im Ampelhaus opens at Ampelhaus, Brauerstraße 33, 06785 Oranienbaum on Saturday July 12th and runs until Saturday September 20th

King Size Art and Design Fit for a King Ampelhaus Oranienbaum

Ampelhaus, Oranienbaum

Ron Arad: No Discipline

Tuesday, August 4th, 2009
Bad tempered chair by Ron Arad through Vitra.

Bad tempered chair by Ron Arad through Vitra.

Since Saturday the Museum of Modern Art (MoMa) in New York has been showing their new exhibition Ron Arad: No Discipline.

Until October 19th visitors have the opportunity to view a varied selection of Arad’s work.

Or in the organisers words:

“…celebrate the designer’s interdisciplinary and “no-disciplinary” spirit. Physical concepts are traced through works in different materials and scales, and objects are grouped in families based on a shared form, material, technique, or structural idea. The exhibition culminates in Cage sans Frontières, Arad’s giant structure that cradles all the other works.”

Bookworm by Ron Arad for Kartell

Bookworm by Ron Arad for Kartell

No Discipline includes, in addition to Ron Arad’s designer furniture and sketches, impressions of his architectural and sculptural works.
And perhaps most impressively the whole exhibition is housed in one, huge Arad creation Cage Sans Frontièrs.

Full details of the exhibits can be found in the checklist pdf.

For all who are or will be in New York this autumn the show looks like being worth the trip. We’ll be back in New York in September and will certainly report back on how we found it.

Tom Vac by Ron Arad for Vitra (Here at CeBIT)

Tom Vac by Ron Arad for Vitra (Here at CeBIT)

For those of you not in and around NYC, at smow.com you can get a taste of what the “Ron Arad: No Discipline” curators call Arad’s “daredevil approach to form, structure, technology, and materials” in work such as Bad Tempered Chair, Tom Vac or his truly iconic Bookworm. All of which are featured in the exhibition.

Ron Arad: No Discipline runs at MoMa New York from 2nd August through October 19th 2009 . The accompanying monograph is published by The Museum of Modern Art and is at MoMAstore.org for $45.00

smow design spring: aufgetischt

Sunday, June 21st, 2009
The NYC Post Police - tailed our every move and word

The NYC Post Police - tailed our every move and word

Your (smow)blog team didn’t become the internationally feared and monitored crew we are simply because we travel the world fearlessly attending opening night parties.
Oh no! We achieved our notoriety on account of our excellent network of contacts among designers, producers, critics and delivery drivers. Nothing but nothing passes us by.

As observant readers may have noticed, during our visit to the ICFF we did spend quite a lot of time complaining about the lack of tables in the press room.

And now we must admit that during ICFF we did solve the riddle.
Magis had of course delivered tables for the press room.

Piggyback by for agis

Piggyback by Thomas Heatherwick for Magis

In addition to supplying Chair First by Stefano Giovannoni Magis also supplied their wonderful Piggyback tables by Thomas Heatherwick.

Magis are serious and reliable partner, why would they not supply tables?

Only the Piggyback tables became damaged during set-up and spent the show stowed in a store room deep in the bowels of the Javits Centre.

And no-one from the ICFF organisation sought to seek replacements.

Behind the scenes there was a lot of talk of unions and “official processes”, but for us the fact of the missing press room tables summed up ICFF beautifully and underlines why for us it was the weakest and worst organised of the events we attended as part of the smow design spring.

Which isn’t to be interpreted as direct criticism of those who are responsible for the press work, they are also merely a partner of the organiser, and it is they who carry ultimate responsible for the shoddiness: Along with the Javits Center management.

Tints by Jason Miller - one of the true stars of ICFF 2009

Tints by Jason Miller - one of the true stars of ICFF 2009

The word on the street in New York was that next year ICFF may do away with the press room all together, which is truly a sad indictment on the show and how seriously it is taken. In addition to the established critics amongst the traditional media – alone the vicinity to the New York Times must, must count – America is home to some excellent design blogs, we name alone Core 77 and design milk as two that we follow and read with interest and which amuse and entertain.

When we think of, for example, Milan where from early morning to late evening texts are written, interviews carried out, pictures edited and videos cut in a dozen languages. And then New York where all too often we sat alone on the floor, or when we had company it was inevitably executives from some B2B publication deciding who to sell advertising space to.

Tablefights  - we know just how they feel

Tablefights - we know just how they feel

Instead of further discouraging reports the ICFF should be actively recruiting those who can bring the products to the masses and so encourage other producers to book space. Or should that ugly, dirty and unkempt space at the back of the hall grow even larger?

We will be back in New York next year, not least because we  want to kick Ami timber at the 2010 Table Fights Championships – if we attend ICFF, however, remains to be seen.

We made a few fantastic discoveries at ICFF not least Jason Miller, Blu Dot and Iglooplay; three discoveries that more or less justified the air fares. But if that alone is worth struggling with a barely functioning Internet and inadequate facilities to promote an event run by an organisation who lack the ability to place two tables is a room – and that despite having rented some 145,000 net square feet to furniture producers – that remains to be seen.

smow design spring: Review

Sunday, June 14th, 2009
Summer on the balcony ... unbeatable

Summer on the balcony ... unbeatable(Photo: Christin Bargel)

Before we start slowing down and head outdoors to enjoy the summer we want to take the opportunity over the next couple of weeks to look back on the smow design spring; namely our trips to Milan, New York, Brühl, Basel and Berlin … as well as to start looking forward to the forthcoming smow design autumn.

And no we won’t just be re-visiting old ground, we have saved a few treats from USM Haller, Vitra, ICFF, DMY Berlin and Salone for those long summer evenings on the balcony with a good beer.

smow design spring adieu ...

smow design spring adieu ...

With the experience of the five very different trips, and the slight pause afforded by the summer, we want to take stock, analyse a little more deeply and for all highlight  those innovations and products that really caught our attention and which we believe are of interest.

There may also be some really, really  weak humour … but we hope not.

In addition we want to  preview a little of what can be expected during the smow design autumn

Not the (smow)blog garden ...

Not the (smow)blog garden, and that with good reason. Details later (or at flickr)....

We will certainly be at the London Design FestivalDesigners Open in Leipzig, Design September in Brussels, Copenhagen Design Week and we also fancy the Cardiff Design Festival, if they ever get round to confirming the dates :)
Further shows, trade fairs and especially trips to smow partner producers and designers may follow.

But don’t think we’ll be slacking off over the summer … although there may be a couple more posts about outdooor furniture, barbecues and seat coverings that are good for sun-burnt backs than normal, we will still be actively searching for – and finding – the very best in designer furniture.

(smow)offline: Thonet 214 x 214

Thursday, June 11th, 2009

To celebrate the 150th birthday of Michael Thonet’s “chair of all chairs” Thonet are running a photo competition: 214×214.

The rules are ridiculously simple; whoever submits the best photo of a Thonet 214 wins a 3 day trip to New York. For the second best there is a trip to Thonet in Frankenberg and the chance to build your own 214.

If you don’t own 214, you could always buy one – or more – from smow.

Alternatively, keep your eyes open when your out and about, 214′s crop up a lot more often than you’d think.

All relevant information can be found at on the Thonet homepage.

Thonet 214 - stable and well balanced

Thonet 214 - stable and well balanced

Thonet 214 - seating and decoration in one

Thonet 214 - seating and decoration in one

Thonet 214 - collapsable, though not recommended

Thonet 214 - collapsable, though not recommended

(smow)offline: Reuse, Recycle, Pollute

Tuesday, June 9th, 2009

Every month Jasper Morrison sends a photo to the Vitra Magazine. And every month Vitra publish it.

Every month we send a photo to the Vitra magazine. And every month they don’t.
Whereas the good Jaspers photos are always entertaining, this months entry was a lot more thoughtful and thought provoking.

PET Chandalier in Pondicherry, India. Photo: Jasper Morrison

PET Chandalier in Pondicherry, India. Photo: Jasper Morrison

Taken in Indian Pondicherry the photo shows a chandelier made from old PET bottles and Christmas lights. “If this was an exhibit at the Salone del Mobile in Milan I wouldn’t give it a second look” comments Morrison, before adding “but far removed from the temptations of designer dreams in Pondicherry, it holds a very different meaning and purpose.”

We don’t know how often Jasper Morrison was out and about in Milan, but we saw at least two lamps made from recycled bottles in Italy, then a couple in New York and yet another at DMY Berlin (in addition to the re-appearance of one we’d already seen in Milan)

Not only that but in Berlin we also found a lamp made out of broken umbrellas.

Discarded consumer goods as lighting is a current topic in contemporary design.

Pendant Lamp made from umbrellas

Pendant Lamp made from umbrellas

Except of course the materials aren’t discarded; rather, they’ve been used out of context to create the impression of a recycled product and so make a statement about first world consumption.

Only the product themselves automatically become an abuse of the uncontrolled consumption we in the north practice. We just call it “the temptations of designer dreams” in order to justify the unjustifiable.

For everyone who knows how much natural resources and energy goes into making one PET bottle also knows that tying it to another dozen to create a lamp is irresponsible waste.

And those who don’t know, should consult the videos by MSLK or check-out the film Tapped

And so where Morrison focuses on the Pondicherry Chandelier as demonstrating the intrinsic quality of good design, for us the more important message is: Stop pretending your recycling. Please.

If you live and work as an industrial or product designer in Europe you have almost limitless possibilities as regards raw materials and production processes. If you genuinely care about creating “green” or “sustainable” design make sure your materials and production processes reflect that concern and minimise impact.

Or actually use recycled products such as with Abfallprodukt by Bastian Müller from Burg Giebichenstein University in Halle.

A PET bottle lamp at DMY Berlin

A PET bottle lamp at DMY Berlin

And if you don’t care about creating “green” or “sustainable” design, then build a chair from asbestos.

When Morrison states “…in Pondicherry, it holds a very different meaning and purpose” he means, and we believe understands, that it is “genuine”. Isn’t created as an artistic exercise by someone with access to libraries, internet, machines and materials in a scale beyond the grasp of most people; rather, by someone who needs to solve a problem, and that with the limited resources that physically lie before him.

There’s a verse in “Holiday in Cambodia” by the Dead Kennedys that goes:

Play ethnicky jazz
To parade your snazz
On your five grand stereo
Braggin that you know
How the niggers feel cold
And the slums got so much soul

The world doesn’t need designers demonstrating to the the worlds poor how clever one can be with a few old plastic bottles and a bit of electric cable. As the Pondicherry Chandelier beautifully demonstrates, the skills exist, the innovation exists, the understanding exists.

And the unfair global distribution of resources exists.

The world needs designers who improve our situation and who understand that PET bottles are part of the problem and incorporating them into designs doesn’t actually help.

We need fewer PET bottles, not more.

Abfallprodukt by Bastian Müller, Burg Giebichenstein

Abfallprodukt by Bastian Müller, Burg Giebichenstein

Sustainability and fairness don’t mean puritan abstinence; they can be fun, aesthetically pleasing and comfortable. And as far as we’re concerned should be. We positively appeal to the designers of the world to make the future for comfortable and safe; and that for all of us from Tipperary to Pondicherry and from Copenhagen to Harare.

Just don’t pretend your recycling for the benefit of the over-fed and the over-paid. And especially not with PET bottles.

And so thanks to Jasper Morrison for the photo, and more of the same please.

More weak, and potentially unfunny, humour about dogs driving delivery vans tomorrow :)