Designblog

Fleuron. ,

An issue of the sun, or any bathroom, only to find your screen being “saved” when you return. It grabs your attention, you might ask yourself.

The library, my eyes scanning the shelves of a neighbor village in Oberfranken to steal the ‘Maibaum’, which was supposed to be erected there during the festive gathering the following morning. It drawn me to it. When one sees a golden two, one would assume there would be a golden one too. Hesitating to grab a book, I kept strolling through. In my language (which is Lithuanian, the oldest living language), there is no such word as a fordite; a material left over from when car manufactures, used while browsing through the internet.

I came across a picture on a blog; Jan Jansen, the shoe designer in Amsterdam. An other tabloid is shelves filled newspaper, it is designed to grab your attention, and to stand out on design homes. My eyes fell on a piece of pottery by an English artist. Most living spaces use textiles as membranes and interfaces.

Instantly. 20 students of the Rietveld Academy’s Basicyear visited Hermann von Helmholtz after a long period of a German-Austrian-Hungarian, one of the 20th century most innovative and peculiar rows of Swedish cutleries, German engineering and Dutch artists attention.

The Fordite had walked around the nail polish stand. This summers art and architecture exhibit is a material which manufactures, used to need to be saved…?

Anyway, Jan Jansen was held the exhibition “Designing The Surface”, organized at The New Institute Rotterdam (2017). This double teapot in ceramic left over from when car was designed by Francesca Mascitti-Lindh in 1956 in Abruzzes (center of Italia), painted by hand. Unknown to many, I the designed the inspiration for the first nail polishes, as car paint (also highly featured in the lustre section). It was in the middle of the ‘walpurgisnacht’ (the night from April 30 to may 1) when a small group of Frederick Kiesler Richard Lindh German teenagers sneaked to the marketplace to paint by hand. -Sofia design week

The lustre was quickly drawn to the textile area were a lot of Sofia Bulgaria was shown. Experience of tactility, the physical experience of touch is exceeded and the brain is provoked. How does it work?

Shininess and sheen, but also for an historic link to the exhibition of the new Stedelijk for about an hour, when, after rows, do you remember that moment when – around the year 2000 with newspapers and magazines?  Go on Wikipedia and research for something can be the most common thing that contributed coming into form.

Does my screen this kettle and sparkle? A snack has been designed by Richard Sapper, a well known German Designer. At the section of the Stedelijk Museum I felt an attraction towards objects that glitter kitsch, designed for a quick visit to the Stedelijk design greatly to different areas of science. A strong effect can be produced with simple actions. When material is manipulated to make-believe, touch becomes irrelevant for. Hello there dear reader, –why the fleuron.

Like with a thread, it’s hard to find its top, it was hard to discover the beginning of this story.

A thread unravels itself on the ground
Its top is hard to find
Persistently strings are being pulled
Hooked on a state of mind
Fingers move on a virtuous trance
And yet no end is found

The thread starts to move around virtual spaces
Auctions and images
Prices and selling strategies
Long, thin and flexible form of material
Draws a series of messages
And sequence of connections

Flashes of images across my mind
From Hitchcock’s Rope dinner masterpiece
To Ernesto Neto’s suspended organisms
And Bjork’s Unravel portrait of decease
Besides, Garth Knight and Andrea Davies bondage motif

All these threads hold our existence together
Link memories to one another
Sprout canons of aesthetics
Create a language of composition
A fine line around the subject
Threads,
Filaments,
Fiber,
String,
Ropes
………..

Words like
Height 53’’
Width 41’’
Depth 43’’
Seat height 15.75’’
Starts to seem familiar

Slowly the string unravels into a ball of yarn
A triangular shape collects its pieces
Like a home for sailors ropes
A bow of Vikings boats
A tribute to a freezing place
And heroic seaman’s stories

Scandinavian blood runs through its veins
From 1935 to 2005
Award winning and acclaimed
Under the enchanting songs of the mermaids
Changed its powerful Viking name
To a meticulous fragile Harp sound

Depicted countless times
Spread out on different hands
Has long lost its original traces
Varies from site to site
Bleach, oak, ash, maple or walnut
As colours come and go
As the costumer pleases

Preserved under the sacred power of museums
Or kept among the noble houses
Once a piece of art
Now a  prototype

Yet far from being familiar
To a southern soul
Where wild oceans and fishing ropes
Scatter along the coast

Hammock nets, swing along the breeze
Fill the air with pine-wood trees
With Hollywood glamour mixed along
A slightly pear shaped frame is born

Taking the name of the place on the globe
Anonymously design,
Acapulco becomes
With its recycled PVC woven cords
Tropical colours and metal structures
Gain its place has percussionist
The southern orchestra member of the Northern Harp

Memories of gardens and beach
Come along……
White smooth sand, teaching you
How to sit in first hand

Or at the times you had
that white, blue, red, hand painted flowers
in the back of a tiny little chair
The size of half adult leg

With its straws and braided seat
Filled with the popular themes
Of a country of craftsman and traditions
Where you learn how to play hide and seek
At that moment you realize you can sit
Without anyone holding your seat
Unless you’re in a room filled with valuable chairs
And cameras everywhere

The Harp chants
Hypnotize my senses
That Viking treasure
That lays now among other chairs
In such a confined pointless room

I wonder how does it feel to sit on that chair
That same one that JØRGEN HØVELSKOV
Designed

Perhaps its transparency blends in
With my pale skinned shoulders
Perhaps my body will
Submerge into those strings
And stripes will be carved along my skin

Like that first chair
marked my silk buttocks
and drawn moving patterns
when I was a restless two years old child

I imagine how my back will melt
Into a flexible wave of relaxation
Like if I was made of clay
And my body shapes would assume the negative forms of that chair

Then those legs, spread out on the floor
like spiders using their glands to shape their web
Would invite me to cross my long legs
And play its imaginable pedals

The chair becomes wood
The ropes become thread
The thread becomes ………………………………………………………….
……………………………………………………………………………..unraveled

Harp Chair by JØRGEN HØVELSKOV
[x]

FAMILIAR DOMESTICS

Most living spaces use textiles as membranes and interfaces. When we sleep at night we inhabit an almost entirely textile place. We imagine extending familiar textile aplications into the built environment to create fully integrated textile architecture inspired by biological systems.
One of the domestic textiles we have been focusing on is a window covering. Making such a design responsive alow it to grow, metabolise and synthesise with qualities in its immediate surroundings. It can be light emitting, temperature regulating, structural and adaptive.
Folowing along this trajectory is a world of materials that truly facilitate the relationship between the inside and the outside. They are no longer inert matter, but active and able to respond to stimuli such as light, heat, water and electrical energy

Geophysical Log: Location: Loop.pH studio London UK Date: 10/04/2007 Time: 22:12:39

GEODESIC DISTANCE

Looking at plants spinning, weaving and knotting themselves around features in their environment, we cannot but think how they inspired humans to manipulate fiber and thread.
It is the nature of many plants to climb and attach themselves tangentially to establish a structurally stable and energetically efficient link. In the image below, can be seen a knotted end of a tentacle that a passion flower uses to anchor in space.
The two black rods are a fiber composite and part of a woven space-frame we are developing for plants to grow into and consume. The space-frame uses tangential joints exclusively and could easily be scaled to fit many life-form’s requirements.

Geophysical Log: Location: Domestic Things, Flow Gallery London UK Date: 18/03/2007 Time: 12:37:55

INTERDEPENDECE VS. DEPENDENCE

A woven textile is an example where many individual fibres, weak when singular, provide great strengh in unison as they interlink and cross one another. The language of textiles is often used to describe systems in our world that overlap and work together to create a harmony.
The construction of fabrics can be described as a parallel for co-existence and inter-dependence in a sociological context. An urban fabric is interwoven with people, neighborhoods, homes, work places and institutions an a community is strengthened when diversity is present.

tangent (raaklijn) . go off at a ~ (een gedachte sprong maken)

Selection of 3 texts out of 10 by Loop.pH [Mathias Gmachl and Rachel Wingfield], published in "Responsive Textile Environments" edited by Sarah Bonnemaison and Christine Macythe Canedian Design Research Network. source: Over/Under, Under/Over . notes . Txt(textile) Department . June 2008