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"Uncategorized" Category


// Tailor Made Construction


Friday, April 21, 2017

 

 

In 2010, when I was still in high school, I discovered a minimalist blog named Love Aesthetics. Ivania Carpio is the creator of this blog about fashion, photography and do-it-yourself projects, all with a consistent and unique style. I have been an active follower ever since. The appearance of this blog is ‘quality over quantity’ based; high-end fashion items are present as well as a healthy amount of handcrafted items, that are no less in relevance.

 

Last year the lifestyle brand Aetelier (short for ‘Love Aesthetics Atelier’) was established. Few designs of this brand, that carries the same ideals as the blog, are sold online. The selection includes one bag in two available colors, a notebook with exposed binding and a concrete-look blanket. An ‘under construction’ element is the self-explained signature of the brand. This refers to a concept of a creative space with open possibilities.

 

Over the years this blog and its branches have been influencing the forming of my own personal style and self-development. To this day I keep up to date with the blog via social media. This is the reason why I wanted to meet the woman behind Love Aesthetics. Unfortunately our agendas did not collide within the given timespan. Instead of meeting Ivania in person, I chose to let one of her designs speak on behalf of her.

 

I took the Aetelier ‘Flat Fold Bag’ to be the mediator for this design assignment. High quality materials as leather, stainless steel and acrylic tube are used in the design. The signature element is found in the two hardware clasps that make the chain a continuous loop. The exterior of the bag is left visually clean by placing the zippers on the inside. This makes that the bag is a contemporary translation of Ivania’s need to keep this bag very minimalistic.

wieke 1

This analysis resulted in a starting point for my design; it was now clear that I wanted to make a bag tailored to my own requirements. To have an insight in these requirements for a bag, I had to evaluate the bags I currently own and the items I wanted to fit in the bag. It became clear immediately that all of these bags and items are black. This is a result of my preference to dress all black, my carried accessories are no exception to this rule.

wieke 2

This preference, in combination with my forgetful nature, often causes a problem for me. Let’s say I am on a train and want to check if I did not forget my wallet at home. When I open my bag, I am looking for an optical conformation of the presence of this wallet. Instead, because of the black on black, the outcome is panic by visual confusion. In this case the initial scare is counteracted by touch; a quick pinch in the bag will tell if I am in trouble or not.

wieke 3

This haptic perception is the basis of the redesign. To amplify this existing movement all the items were given an own tailor made pouch. This way, all my valuables can be recognized by touch. The pouches are connected by a hardware clasp. The clasp binds the pouches as a whole and, when a strap is attached to the clasp, the bag can be easily carried. Alterations to the bag are easily achieved; pouches can be taken off or put back on, to the desire of the wearer.

 

wieke 4

After the first prototype was made, it was tested and evaluated. The basic shape and function of the bag were right but the haptic element loses strength when, upon first contact with a pouch, it is not immediately clear what corresponding item is touched. To avoid this confusion the haptic element needed to be extended. This was done by adding a specific material to a pouch that complements it content. A piece of leather was added to match my wallet.

wieke 5

 

The interim conclusion for this design process is positive. In the mean time I have tested this design approach on the items of my classmate Yuri. Her items and requirements are different mine but the result is a tailor made lunch bag for her bento box and chopsticks. Both this lunch bag and the bag for myself are substantially different than conventional bags. I think interesting steps are made end I would like to continue to work on this project.

wieke 6

wieke 8

 

 

 

 

Designing the surface research + Grayson Perry research


Friday, April 21, 2017

 

 

 

 

 

logo_HNI+ADE_lijn_ZW_D                                                   drops-landscape

Dick Huppes                                       

Class G Basic Year 2017                                                                                                                                                                

 

 

DESIGNING THE SURFACE, HET NIEUWE INSTITUUT

Research book: ”I like to sit on a bamboo chair, a bamboo chair is made of aluminium”.

 

Intro

Last Februari Henk’s Groenendijks’s design class went to ‘’Het nieuwe instituut’’ museum in Rotterdam to the exhibition: ‘’designing the surface’’. Unfortunately, i was sick for quite some time, so i could not join. But it is nice that my classmates and Henk gave me a little book about this exhibition. A quite extraordinary one at the first sight. In a quasi-poetic way various issues about the contemporary approach, meaning and usage of the surface were described. The book relates this topic to its importance within design in contemporary design and how it might influence the future.

https://designingthesurface.hetnieuweinstituut.nl/

I chose to write about the book :’’I like to sit on a bamboo chair, a bamboo chair is made from aluminium.’ I use this ‘’bamboo chair’’ as an example of what discussion it can evoke. It is only the title of the book, the chair might not exist. but I find it a quite interesting example. But, since I know nothing more about this bamboo chair, i have to assume something to make its artificial existence a little more concrete. I am declaring that this aluminium chair has a bamboo print, and that is why the designer is calling it: ‘’a bamboo chair made of aluminium’’.

In the book, the topic “surface’’ is described in 6 acts which are explaining different levels of “the surface’’. I’m going to relate the six acts to ‘’the bamboo chair made of aluminium’’ written in the title of the book. I’ll give a short explanation of every chapter and then I am going to relate every chapter to ‘’the bamboo chair’’.

 

glamcult-designing-the-surface-Taisuke-Koyama

ACT I In which condition is only skin deep

In this act, the main topic is the decay of the acid fountain in the gallery.  The acid fountain is throwing acid which evokes a chemical reaction between the material that makes it possible for the acid to be thrown. This chemical reaction evokes a colourful spectacle because of the reaction between the acid and the material. The material exist out of different kinds of metal. Each piece of metal gives another chemical reaction. Slowly the metal will be eaten by the acid.  The surface changes as it is the fundament of its destroyer, the acid. but because the surface changes, we can read its true conditions because of the different colourful chemical reactions between the acid and the metal.  

 

Related to the bamboo chair: The bamboo chair is made of aluminium. But the designer is calling it a bamboo chair. Just by adjusting its surface, a whole discussion about the object can arise. How can one sell a bamboo chair as a bamboo chair while it is made of aluminium?

Just like the acid is changing the surface and  shows the conditions of the metal to show its differences by a chemical reaction. The conditions of the aluminium can be questioned by adjusting its surface. Questions such as: much conditions between the aluminium and the bamboo are in common. If the designer is able to produce a bamboo print upon the chair so it appears to be a bamboo chair and a spectator cannot see the difference between ‘’real bamboo’’ and ‘’fake bamboo’’ and beside that at least one important archetype is represented ‘’being lightweight’’, can we than call the chair a bamboo chair?.

 

 

ACT II In which all that glitters is not gold

This act is about the detailed finishing of the material by editing or adjusting the surface, which appeals to our attraction to the object. In this state of adapting the surface it is possible to bring in a certain authenticity to the object/product.  

Bamboo Chair:

The bamboo chair could simply have been an ordinary aluminium chair. But fact is, there are thousands of aluminium chairs on this world. As a designer, you are often making things for the commercial market. If you are producing a chair, you want to make an original one. Because thousands of chairs have already been made. Also aluminium chairs, and also bamboo chairs. You want your fingerprint to be effective, you want your expenses to be low. Fact is that an aluminium chair is highly sustainable. You can easily place it outside in all weather.  You might like the material bamboo more because of its appearance, but it is less sustainable than aluminium. So, you mix them up, so you have archetypes of both products you like, and at the same time you have made a very original chair that no one made before only by adjusting the surface with a bit of paint. Cheap, and effective. Perhaps even the first bamboo chair made of aluminium in the whole world!

 

Act III In which nothing is as it sees

The third act assumes that an imitation can actually optimize the essence of a material. It can be an honouring of the material.  

Bamboo chair:  This topic I already described a bit in earlier chapters. If you are smart as a designer you can choose different archetypes of different materials. Like the chair is an ode to bamboo while certain archetypes of the bamboo are used, and some are even improved. You might call this bamboo chair a better version than a conventional bamboo chair .

 

 

ACT IV in which paint takes the power back

 

How can paint be a revolting, efficient, quick and direct material to express revolutionary thoughts? In the book, there is an example given of revolutionaries who are using paint to change their environment rapidly. It is a radical and highly efficient way of changing the rapidly surface. Anyone can do it.

 

Bamboo chair:  As I described in act II. Paint can be a highly effective and radical way to change an object. The surface lays on the outside of an object, and that’s why you see the surface at first. When you change the surface, you also change the interpretation of a spectator.  

 

 

ACT V In which to come clean, is a home truth

 

This act describes how we consort our fears by adjusting the surface. Fears such as the fear of decay.

 

Bamboo Chair: This has also a lot to do with my explanation of Act II. While making a more sustainable version of the bamboo chair we are actually improving it to prevent the object against a human fear: decay. That’s a certain fear that is directly visible for the consumer. But what the consumer might forget is that bamboo is much more environmentally friendly than aluminium. You can buy a new bamboo chair one a year for 30 years in a row, and you still have a smaller environmental footprint than buying a aluminium bamboo chair. So, what kind of decay is important for the consumer? What does this bamboo chair tells us about our relation to design and the world? Does it mean that we just want to feel comfortable as individuals? And we often forget about the impact that comes with this comfort?  

 

Here a small bit of a serie of artworks from Lou Mouw who studies at  UDK berlin. Its about the unsustainable conditions of aluminium towards the environment

http://plakatpapir.tumblr.com/image/45517112265

http://plakatpapir.tumblr.com/page/6

http://plakatpapir.tumblr.com/image/35801784142

(I found out that he is not right…. This reactor was located in zeeland. The first one was build in doodewaard, in order to test nucliair energy. https://nl.wikipedia.org/wiki/Kerncentrale_Dodewaard

https://nl.wikipedia.org/wiki/Kerncentrale_Borssele ) But still. Aluminium is just really bad for our environment. Really bad…

 

Act VI In which the future is superficial

 

In this chapter, the author describes an artwork of Anish Kapoor (Mumbai 1954) https://nl.wikipedia.org/wiki/Anish_Kapoor . He is using a material which is considered as ‘’the blackest black on earth’’ while it is absorbing 99.5% of light which reflects on the material. In this article (sorry,it is in dutch) https://www.nrc.nl/nieuws/1995/03/17/wegzinken-in-het-zwartste-zwart-gesprek-met-anish-7260485-a633126 a journalist is visiting an artwork made from this material that Anish Kapoor is exhibiting during the last Dokumenta in Kassel. He describes his experience during this exhibition. He tells that he entered the gallery space and saw Kapoor’s work: A big black cloth in a square share on the ground. So at the first sight he thought that this was just a version 1000000 of Malevich ‘’Black Square’’. But, with a little more information you can understand that this black square of Kapoor is actually an interesting challenge to Malevich black square. What lies under the surface is technology. Not visible at first sight, but if you shine a lazer light on it, you’ll be able to question: Who made the blackest black? Kapoor of Malevich?

MG_74171-1024x682

 

Bamboo Chair: What lies into and under the surface? Is there anything more to discover? Can we actually see what lies under the surface? People can sell us anything, but if we really want to know what we buy, we have to take a closer look and maybe do some research. Perhaps we cannot recognize any difference between this bamboo chair and ‘’a real one’’ because this ‘’fake design’’ might seem to appear very real.  We don’t know what is happening in the lab of the designer, and we don’t know what future technological inventions will bring us. So we should stay sharp. But, is it actually possible to know everything from what you consume? There is just too much to research…

 

 

STEDELIJK, GRAYSON PERRY

 

Two weeks after we went to the Stedelijk to visit the Design collection. In order to choose an artwork of interest and than relate it to one of the Acts of the book. I chose the work ‘’Floating world’’ of Grayson Perry. I want to relate this artwork to the last Act i described: ‘’In which the future is superficial’’.

 

2001_1_017198e2f9d9539d98dc5cb98cdd103bccdbphoto-172

Grayson Perry, floating world.

 At the first sight this pot appears to be a cute ceramic pot that you could recognize from your grandparent’s home collection. Conventional in form, colour, and usage of glace. But if you come closer to the pot, you might be shocked by the images of car accidents, penises and dead people. It is extraordinary to explore this kind of images on a cute pot like this.

You can recognize a controversial aspect in the title of the pot called: ‘’Floating world’’ which refers to: Ukiyo-e. Ukiyo-e (literal translation: floating world https://en.wikipedia.org/wiki/Ukiyo-e ) is a genre of woodblock print and painting technic originating from the Japanese art

tradition. In this genre the hedonistic lifestyle of the high-class from the 17th till the 19th century is pictured. The high class decorated their homes with these images of their high society lifestyle. Perry makes a link to this subject. The artist is referring to the original Ukiyo-e style in which artworks are functioning as decorative pieces. Perry’s work could been seen as traditional and decorative from a distance. You cannot see what is going on at the surface from a far distance. But if you get really close, you can see the provoking images. By then you see that you are not watching a conventional piece of decorative ceramics, but something that reacts on this. As a platform for protest.

The Ukiyo-e is showing the nice high class lifestyle, and this piece suddenly displays violence, pain, and sex. We have to know that we have to take a closer look to designed objects to understand its origins. If you don’t do this, you might risk that you give you grandma a ceramic pot full of penises for her 80th birthday. A fun anecdote to tell: My own grandmother was a very conservative woman. In the 60’s with the summer of love and all the hippies my father had long hair and my grandmother really disliked this. She disliked anything that had anything to do with hippies. But then one day, when she was in a more emphatic mood, she gave my father a tie-dyed t-shirt because she thought he would like it. But what she never knew, there was a text and an image pressed on the t-shirt, not easy to read though: ‘’save water: shower with a friend’’ , and four feet wrestling.  

Save-Water-Shower-with-a-Friend_art

 

 

retrospective contemplation


Friday, April 21, 2017

click 4 interview with Max Glader (b.1996, Stockholm)

The Kleptomania


Thursday, April 20, 2017

I started knitting again.

I’t seem I have found pleasure in monotonous work.

Gradually I have become quite go for it.

Two times front, one behind, two times front, one behind.

My fingers do the work for me.

Two times front, one behind.

I knit and knit.

The hours fly by and I levitate with them.

I never knitted with wool like the common kitter. My wool is not shaggy and doesn’t scratch my cheek.

Even though I am pretty new in the field of knitting, I knit with thoughts.

The thoughts are merged into one another and create this perfect third.

Two times front, one behind.

They create an invisible blanket that I warm myself under.

The blanket has a few holes, some irregularities and even some loose ends here and there.

But I made it myself.!

And if I do say so myself, It actually looks  quite nice.

 

As I sit there and let your fingers glide through the fine material: two times front, one behind, two times front, behind. I discover a piece of blanket is missing.

It was stolen from me.

I immediately get more thoughts out.

Suddenly more and more of the blanket starts to  disappear. Bit by bit.

The sweat coming from behind.

Two times front, one behind,

I knit faster.

Two times front, one behind.

I try to bring more thoughts out, but soon there are no more of the good ones left.

So thoughts about him, slipping into the pattern.

And wupti! Just as suddenly as he becomes a part of the pattern, it disappears.

Faster and faster I knit now!

Two times front, one behind, two times front of a rear!

Sweat rushes forward and my fingers are cramping.

I panic! All of my work!

All the good thought in my blanket!

Haps!

And the last bite was taken.

With sore fingers, empty of any good thoughts, I sit back, disappointed.

Saddened and Deprived of my own thoughts.

 

Then I remember that I probably used some of the thoughts about him in my blanket.

 

You see,

I’ve got a new friend.

The Celptomania is his name.

It’s probably him!

He’s a predator for my thoughts.

But there’s no other way.

So I short the thoughts I have left, although they not all good.

And start over.

But this time with a different tactic.

Because I’m smarter than him!

Just wait! I think to my self and start my new blanket with this thought.

Orange see-through


Wednesday, April 19, 2017

yo yo yo

The word that represents my intention is “cool”.

The photo above is a source of inspiration.

 

I aimed to get knowledge from people who achieved something in their life. I chose two bloggers important to media community. Internet gives great opportunities for the users, sometimes it makes people famous. I guess we all have followers nowadays.  The question for me is how is it to be a media guy and what are their secrets? So I have decided to ask for some kind of information that would give me a better understanding of certain processes. ( How it is made? How does it work? How did you get there? etc )

 For different reasons none of the meetings did not occur.  They were too busy answer my questions IRL although social media was limiting for them as well. So I had no one  to rely on anymore except for myself. I continued working on my own and came up with this:

LuzinF.Orange

Glasses with great visual effect which is produced by an optical illusion. It gives me feeling of organised chaos and kaleidoscopic experience which works best on a sunny day!

——————————————————————–————————————————–

I used it for photography experiment to combine several plans in one image. It is great to see these images knowing they are not edited! This makes me want to continue working with that medium…

IMG_9357 IMG_9360 IMG_9359

cyber and (un)aware


Monday, December 1, 2014

 

Jacob Jensen’s 1997 waterproof Beowatch (produced by bang & olufsen) was designed as a personal, unisex timepiece that makes telling time convenient and accessible. additionally, it also functioned as a remote control that controlled the volume of later bang & olufsen music centers. this design prompted me to question its present-day relevance in the design exhibition at the stedelijk museum, Amsterdam. over the last two decades the technology industry has undoubtedly grown and so has the way in which people engage with methods of measuring time. it is noticeable that less people wear wrist-watches everyday and the norm has adapted to using smartphones or other multifunctional devices to keep track of time.

this research will further discuss the design of the Beowatch in relation to the myriad of social questions it raises such as today’s security in wearable, intelligent technology and the aesthetics of unisex design.

b&o-image1

few wearable objects are designed to be unisex, particularly jewellery (if we classify a wristwatch as jewellery). i am drawn to the statement this wristwatch is indirectly raising about society’s perceived aesthetics of gender. the design is created as ‘neutral’, an object that is seen through its own entity- regardless of preconceived ideas of masculine and feminine beauty. throughout history, wearable objects or fashion, has had a very divisive characteristic – creating standards and room for assumptions. this design forgoes these notions and is created as its own autonomous form.

balancing aesthetic and (multi)functionality reiterates how the Beowatch was very modern for its time;.Jensen’s approach to design drew my attention as he states “…we expand our concept of…what a watch should look like. the sight of an object does not necessarily have to show its function…” (1994, Jacob Jensen design [paperback], Paul Schäfer). this relationship between functionality and aesthetic is a core issue that designers are faced with.

however, it is a challenge nowadays between technology and its external design. technology is becoming increasingly intelligent with wristbands/watches that gather data to measure heart rates, count steps, give directions, forecast weather, play music, interact with other devices, predict the position of the moon etc  and the visual appeal of wearing this technology. for example with the recent design release of Apple’s iwatch and Google’s glasses there is already considerable criticism on this ‘cyber-human’ image and artificial intelligence we are sometimes reluctantly and often unavoidably accepting.

b&o-image2

Jensen redesigned the concept of a remote control in the Beowatch by making it multifunctional (acting as a remote control and timepiece). similarly, designers today are changing conventional objects into ergonomic designs that fabricate, sync or react together with the human body. there is an evident focus from the technology industry to attach these gadgets and lumped plastic to people especially by getting them onto wrists. of course there are many benefits of having such tools; they are accessible, readily available and can make tasks faster. however, the fact that these devices become so quickly absorbed into the culture of everyday society is blurring the boundaries of our true basic needs.

they are also perhaps just purely adding insult to injury- for example do people need to know how little sleep they are getting? or if they have eaten too much on one day compared to the next? or if they have skipped a day of exercise? this data collection that these devices provide may give us information but it is still not enough, what is more important is the reasoning- why we slept/ate bad and missed exercise, for example. simply knowing these facts without reasoning is the added ‘insult’ to the injury/damage that has already been created. for instance if your watch tells you that you haven’t exercised enough, things that you probably know already, would you change your routine just because your watch is telling you? in most cases, not. there are versatile calculations everywhere, but the problem is what to do with this information and how to interpret it.

it is irrefutable that the pace of technological advancement is remarkable; but this also affords the risk that people will develop a better reading of their technology/ wristbands and lose their sensitivity and awareness in reading their own bodies.

b&o-image3

since the Beowatch, wrist technology has advanced further than the individual, as over the past decade debates have risen over personal security and privacy. it is unknown to the individual how much is known about them through their digital dossier. we are uncertain about where our information is stored or if it is being used for analysis; examples we have witnessed recently include the NSA files, cyber-hacks with phone applications and celebrities, Facebook scandals, Wiki-leaks and much more. these personal items have the potential act as a sensor or tracker, they constantly collect data which are ‘invisibly’ fed to different networks. though this subject may seem far fetched from the design of the Beowatch, the design is relevant as it marks part of the evolution of our technological reliance and dependence. it is uncertain where this line is between the personal object and a device that is actually just a form of data to a bigger establishment.

b&o-image4

the Beowatch nowadays represents a certain phase in design (1993-1996) as well as the literal time. it represents the start of multifunctional, human-fitted technology. though now the object is more about its face than its function, being presented in a showcase at the Stedelijk Museum, it is still highly relevant and raises many direct and indirect issues. As the son of Jacob Jensen said in an interview: “a product which survives the test of time, even when it has been out distanced by technology, contains a concise idea carried out at the right time, and with an aim of thorough reworking” (Timothy Jensen in Jacob Jensen design, 1994, Paul Schäfer). though technology has definitely distanced since 1997, the design of the Beowatch has survived by providing a mark for its time as well as offering insight into how we should speculate the future of cyber-human technology.

 

‘beautiful morning’ ( comment)


Tuesday, May 6, 2014

When i saw this tag, i felt i needed one. A beautiful morning.

the text described various things, but the interesting part i got out of it was, live life slow, and you will enjoy it the most. when you get fed up by everything else, you should just focus. focus on what is there, and see what it brings you,

what is really there (?) always that question that is there. is it that, what we feel, what we see, what we touch, maybe even what we miss. a slow beautiful morning, will pass by. what will attract our eyes? dirty dishes, stains on the windows, some old clothes on the floor,  the things you knew that you had to do? the things you thought they would stay away, the things you don’t want to see coming, the crack in the wall, crumbles on the table, the flowers next to it, the people outside, the blue sky that is there, the birds who are nesting in the tree next to your house, your nephews birthday that is coming up, your birthday will be soon to, the sun that is getting up, your breakfast that taste’s much better now, the things you accomplished yesterday which you don’t have to do again, your favorite shirt clean and on again, your music on the background, the realization you will have to go outside to go to school, the sun on your face, the train you manage to get this time, and the school that starts your day again. the people who you missed during holiday, the tea in the morning, fresh baking smell trough the school,

Eventually it is the way you look at it, the way you remember it, will feel it, recognize it again and again.

‘Just look at the bright side of life.’

about those…


Sunday, April 13, 2014

uncategorized?

like not black
not white
not even gray
why can’t you define this time?
define define divide define
no category
what about you?
what’s your favorite category anyway?
well, what’s your category anyway?
feel better while categorizing, not this time
no gender, no nationality, no ideology, no what, now what?
no nothing
nothing
nothing
something
some thing
some think
thin thin thin thin thin
line between defined and undefined
they are neutral, they are lost, or just hard to define
that’s it

in the end not such a bad category.

Calcite Stalactite


Wednesday, April 2, 2014

In the Wendingen issue, Kristallen Wondervormen der Natuur from 1924 i found this picture of a calcite stalactite. I choose the picture because I did not remember to have ever seen anything like it and that made me curious.  After a bit of research I learned that a stalactite is a type of formation that hangs from the ceiling of caves, hot springs or manmade structures such as brigdes and mines. Limestone caves, where most stalactites are found, are mainly composed of calcite, a rather common mineral found in sedimentary rocks. Stones and crystals have been a huge passion of mine, for as long as I can remember. The interest started in an early age, as my parents took me, my brother and sister for long walks up and down the coast-line in Denmark. We were looking for fossils, amber, seashells and stones. We never really knew why we were doing it, but it soon got competitive. Who would found the most exquisite one? The biggest? The funniest? And we would carry large heavy amounts back to our house and place them carefully, in an order, on shelves or window sills. My mother keeps collecting and my parents house have turned into what could be called an exhibition of stones and stuff. My father sometimes forces her to get rid of some of the stones, because he says “it doesn’t make sense”, but my mother took me to the farthest place of their backyard; a wilderness of weeds and showed me where she get’s rid of the stones. The pile is enormous. When asked why stones are so fantastic, my mother says: because they are ordinary and exquisite and they look beautiful in the rain. Later I started making animations where I would scan some of my favorite stones and give them simple movements. Maybe they would turn around, or switch back and forth between a crystal and a flintstone. I too like the normality of stones and I embrace that my love for them doesn’t make any sense at all.

m

Wendingen 6-11 1924 Rijksacademie Amsterdam

It’s All About The Spine


Thursday, May 9, 2013

Looking through the aisle of books in the library and trying to find that one book out of hundreds that I could be interested in was a difficult task. So instead of picking out every book and inspecting it in detail, I chose to find a book that I found interesting purely from the spine. This meant I was looking for a unique bind, or a unique choice of material. Both these criteria are too often ignored in my opinion, for example if your book is in amongst thousands of books in a library, with only the spine visible, I think it is essential to give your publication that little bit extra to set it above the rest.

So I came across a small book crammed in at the end of an aisle called ‘Mechanisme’ and it stood out for three reasons. A) It was bound with a traditional Japanese binding. B) It was so much smaller than all the other books around it. C) It was made from a very textural recycled card. It’s no bigger than a CD case, yet it has more character than the majority of the books in the design section. There is something personal about it, as it is almost definitely handmade, so it has a delicate quality to it. So delicate in fact that it is falling apart slightly. To be honest I was slightly disappointed when I decided to check out the contents of the book, although it was made using very nice materials it’s design was far too bland and the actual purpose of the book wasn’t clear, as far as I could tell it was a book explaining the contents of different materials. The cover and general outer appearance gets 10/10, the content however 5/10. But at least it was interesting enough to stand out from the rest.

Rietveld Library cat.nr:

Research of Kaba ornaments


Wednesday, October 31, 2012

Research of Kaba ornaments 

 

 

 

Misinterpreted


Sunday, November 13, 2011

This article is about my research into the alien spirits collection by Walter van Beirendonck.
First of all, it isn’t designed as a collection, the outfits are picked from various collections from 1994 up to 2011 for his exhibition in the fashion museum in Antwerp. He picked outfits with a common theme; “Alien Spirits”.

And that theme can be described as a theme with alien and indigenous influences. As Walter describes it:

“‘Alien Spirits’ references my interest for all things alien but also the spiritual like shamanism.”
-Walter van Beirendonck

But to describe it like that would be too easy, there is more to it than that. To me it is more about interpreting certain traditions and habits and using them in new outfits.
But Walter isn’t a scientist, he just looks at clothing and traditions of certain indigenous tribes (Like the Maori, the Masaï, the Hopi Indians, the Pende people etc.) and uses some of their accessories and clothing in new outfits. But he isn’t looking at what the purposes of the accessories are, so he uses them in a very wrong way.

And I think he does that on purpose, he likes to radically change the way the indigenous pieces are used. For instance, he uses the spiral eyes of masks used in traditional burial ceremonies of the Tolai tribe in Papua New Guinea in several of his outfits.

And just as he likes to deliberately misinterpret indigenous traditions he also likes to misinterpret our traditions. For that misinterpretation you need somebody who doesn’t belong in a culture to look at their habits with a fresh and unknowing eye.
And just like Walter uses himself as an outsider of indigenous cultures, he uses Aliens as outsiders of our western culture.
In 1999 he made a movie about two aliens coming to earth and scan the world. But he lets them misinterpret certain of our habits. For example, in “relics from the future, 2006” he uses jewelry which is still attached to the small black cushions on which they are presented in the stores. And in “Welcome Little Strangers, 1997” instead of a small flower behind the ears of the models they have wigs made of grass.

    

The misinterpretation of our traditions is a theme that is used in more things. A lot of big Hollywood movies and television shows use the same idea:

In “the gods must be crazy” (Jamie Uys, 1981) a cola bottle is tossed from a plane in the Kalahari dessert and believed to be a sign from the gods by bushmen.

video fragment The Gods Must Be Crazy

In Mars Attacks! (Tim Burton, 1996) Aliens come to earth and think a white pidgeon that is released as a sign of peace, is a threat and begin shooting people.

video fragment Mars Attacks!

In the TV-Show 3rd Rock from the Sun the misinterpretations happen a lot. It is a show about Aliens living on earth disguised as normal humans. They cannot figure out human basic emotions, they believe gelatin pudding is an evil creature and so on.

These are just a few example, movies like, for example, Men in Black, coming to America and almost any other Hollywood science fiction movie use the same idea of misinterpretation.

Whereas the big Hollywood movies and shows use that idea more for a comical purpose, Walter uses it for a different reason. To me his works are more about trying to have us look at our clothing and traditions in a new way and questioning them.
Why do women wear dresses and skirts and men don’t? And so on. He really wants us to look at our clothing again, because how crazy and extravagant his designs are, they are still intended for sale and to be worn in the street.

“Clothing is to me something to sell and to wear – that is its function. Of course you can tell stories and communicate with fashion, and that is something I definitely try to do in my collections. But essentially it’s a consumer product.”
-Walter van Beirendonck

So after my research the definition of the Alien Spirits ‘collection’ is:
“The deliberate misinterpretation of traditions in other cultures” with the goal of having us look at our clothes with a fresh eye.

Pastry


Wednesday, September 21, 2011

design by Philippe Apoloig

When I saw this poster from far, I thought it looked like a well-made textile (like a table cover) or graphic poster, made through usage of computer programming. Therefore, Its not a hand made textile.

Then Seeing it in detail, I found that there is small text in the big text, I can see the shade of letters. Black, red and white colors are being used. It also seems that a lot of layers have been used, even in small parts. Like a pastry.

It also looks like an exotic letter. These layers have each a repetitive form, different for each part. It seems like a  letter or piece of textile, such a in mixed layer. Its an intentional item, but really unaffected. I think Its like an artwork, not a design poster.

artwork by Hyo Seop Kim

I thought about gravity during the drawing.

A book’s weight is about 500g. But books include different photos, with according happening take each date. I think it’s a huge mass, if it is in the size of the book. So I completed the painting, through finding of picture in the book that inspired to me. Perhaps, This poster is similar in the way how it is using layers to create its form, I Think its interesting.

A0 by A4


Sunday, September 18, 2011

This is a work created by experimental jetset. I chose to write about this work because I find it very genious to make something like this. It really is a new way to make a print on an A0 size. It fits in the corporate identity they made for the Stedelijk Museum. They had to make this corporate identity in just a few months within an extremely tight budget. They had to be ingineous with the prints, beceause they didn’t have enough money to print lots of posters on A0. At the same time, this way to show large print works, is so easy you could do it yourself at home. They also used thin coloured paper to print some of the folders on, and found a way to fold the letters they send so you don’t need an enveloppe anymore. It all worked out very nice, and fitted in the budget. This A4 solution is cheaper, easier and economic, friendlier because it doesn’t need huge printers and big rolls of paper to achieve the same result.

Boijmans


Wednesday, April 20, 2011

Het meest interessante deel van de tentoonstelling ‘Schoonheid in de wetenschap’ was het allereerste filmpje van de tentoonstelling, omdat er veel gebeurt maar weinig bij wordt verteld, zodat je je eigen verbeelding de loop kunt laten; in plaats van iets op microscopisch niveau leek het mij een natuurramp of oorlog gezien vanuit de lucht.

De rest van de tentoonstelling was voor mij geen openbaring in de mogelijk van schoonheid vinden in wetenschap; die kende ik al. Voor een tentoonstelling in een museum vond ik de afbeeldingen ‘leeg’  waardoor ik de stelling

” Scientific imagery is not exactly a “true copy”of reality but a result of a complex process of mediation; both using complex equipment to obtain them, and having to learn how to see them, how to interpret them. “

frappant vond; hoe ver kun je ze interpreteren dan? Het is toch vrij duidelijk? Dit is daar een cel van en die is zo klein dat we hem niet met het blote ook kunnen zien, wat verwondering oproept als we dat uitvergroot wel voor ons krijgen.

De onderdelen ‘de foetus’ en ‘het heelal’ vond ik ten opzichte van al die close ups een fijne tegenstelling; hier word ons eigen kleinheid onderstreept; we denken dat we het hoofdpersonage in ons eigen drama zijn maar we zijn allemaal een stipje op het stipje aarde, en als we de beelden op de foetus-film zien worden we even geconfronteerd met hoe fragiel we beginnen met leven. En de mogelijkheid tot deze associaties vind ik boeiender dan de afbeeldingen die als enige functie hebben dat ze mooi zijn.

art equals science


Tuesday, April 19, 2011

About the exhibition Science in Beauty is said that ‘science is a quest for new knowledge about the real world. Art creates its own reality and therefore summons up emotions and often a sense of beauty in the viewer’.
I think that you can switch the words science and art in this sentence and it will also make sense: ‘art is a quest for new knowledge about the real world. Science creates its own reality and therefore summons up emotions and often a sense of beauty in the viewer’.
Art and science, in my opinion, are both used to investigate our reality.
You can read the ‘statements’ about science from Part1 as if it is about art too:
- art as offering the possibility to view in a variety of ways:
zoom in the micro-visuality of things, to literally see the invisible, but also enabling us to view from above, the larger picture (of the globe for example)
- art is not exactly a “true copy”of reality but a result of a complex process of mediation; both using complex equipment to obtain them, and having to learn how to see them, how to interpret them
- for the uneducated eye, if we don’t know what are these images, they have a strange beauty, vivid color, and complex form, they open a possibility for a “second” aesthetic look at nature (the first being simply the appreciation of a landscape), but as an appreciation of an image
- but science as well as art had to invent those images, in the sense that it invented the procedures and the equipment of gaining access to them – which brings the crucial question of the making of the image
So if it’s easy like this to swop the terms art and science around, then what is the difference?

Song Through 21st Century Eyes


Thursday, September 9, 2010

I have to admit, that this was the first time I’ve heard of Irma Boom, although I have already seen a few of the books she has designed before.

Her way of thinking and working has always seemed to me kinda normal/typical for a good graphic designer – passionate, curious, perfectionist and stubborn.

I have chosen the Song book, because it seemed to me like an example of a well designed book. What I liked the most about the book is, that  (like Irma says in the description) the colors of the  pages are based on traditional Chinese color schemes. This detail made the book special/different than a normal book/ to me. It is something I don’t understand. I don’t know about those color schemes, but this made me want to know more.

At first, what caught my eye was the red silk foldable chinese box covered with red silk from the outside, bright pink inside.  The book is about two different chinese ceramics styles – that’s why it’s all white, with a blind-stamped vase on the matte porcelain looking cover. The pages paper is yellowish, about 90gr thick, makes a feel of silk again. I can clearly see, how the paper color works together with the print. It feels exactly like it should- expensive and exclusive. Most of the book’s contents are images, but the text is written in both english and chinese.


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