Posted by Kat Bauman
| 11 Mar 2014
Tonight at Curiosity Club we'll talk with Keegan Onefoot-Wenkman, the talented printmaker, artist, and prefix half of KeeganMegan & Co. We'll hear about doing things the hard way by hand, printing with steamrollers, and more. The talk starts at 6pm at the Hand-Eye Supply store in Portland, OR. Come early and check out our space or check in with us online for the live broadcast!
Keegan Onefoot-Wenkman: "My Hands Are Going To Fall Off"
23 NW 4th Ave
Portland, Oregon 97209
Tuesday, March 11, 6pm PST
Time is running out! You only have a little more than a week left to submit your designs to the 2014 Core77 Design Awards! Yesterday, we announced the jury members for the Equipment, Packaging, Educational Initiatives, Speculative and Food Design categories. This time around, we're excited to introduce you to five more teams: Interiors & Exhibitions, Visual Communication, Social Impact, Strategy & Research and DIY. Get to know who you're out to impress and submit your work before the March 20th deadline:
Posted by core jr
| 11 Mar 2014
Still from "Uniqlock" by Koichiro Tanaka
Japanese magazine +81 is pleased to present Graphic Passport 2014 in New York City, featuring two exhibitions—one in Manhattan, one in Brooklyn—and a presentation at NYU's Iris & B. Gerald Cantor Film Center this Friday, March 14. Now in its fifth year, the biannual celebration of Japanese creative culture has established itself as a well-curated showcase of emerging designers and has visited global destinations from Paris to Sao Paulo to Mumbai; following the New York show, the 2014 edition will make its way to Bangkok in late April.
The event kicks off tomorrow evening with the opening reception for a group exhibition at the +81 gallery space in the DUMBO neighborhood of Brooklyn. Starting on Wednesday, March 12, the space will feature Tokyo Graphic Posters, a wildly successful exhibition that launched in 2011; Takeo Paper Show 2008, Fine Papers by "School of Design"; and Tohoku Standard.
On Friday, March 14, the Iris & B. Gerald Cantor Film Center at NYU will host a triple-header of Japanese designers: art director Yuni Yoshida, digital ad wizard Koichiro Tanaka and filmmaker/photographer Seiichi Hishikawa. Given the quality of their work, this promises to be an enlightening evening indeed.
Last but not least, Saturday, March 15, will see the opening of a group exhibition at the +81 Gallery at 167 Elizabeth Street in Manhattan, where work by Shun Kawakami, Gen Miyamura and Syoh Yoshida will be on view. Again, this looks like it will be a very respectable showing from some of Japan's leading young artists and designers.
Both the Brooklyn and Manhattan exhibitions will be open until April 25, from noon until 7pm daily. More details are available on the Graphic Passport New York and +81 websites.
Posted by core jr
| 11 Mar 2014
Following the success of their first New Skins: Computational Design for Fashion workshop, Francis Bitonti Studio recently
partnered with Makerbot and Lagoa for a second session this winter. Hosted at the Metropolitan Exchange in Brooklyn, the New Skins Workshop: Brumal Bodies took place over ten days this January, including an introduction to computational design followed by a hands-on workshop. Using programs such as Maya and Rhino, students worked together designing garments, which were then rendered in Lagoa, a browser-based, hyper-realistic rendering software, as well as experimenting with the Makerbot Replicator 2 3D printer, with their efforts culminating in a collaboratively designed 3D-printed final project: the Bristle Dress.
The 'Bristle Dress' started by exploring different ways and techniques to create volume. The workshop focused on dissolving the silhouette of the body into the atmosphere, with the aim to create a trasitional garment. The upper part of the dress was designed to be printed in the naturally colored (clear) PLA, a material selected for its translucent qualities—specifically, the way it refracted the light greatly helped us achieve our design objectives. The skirt was created using Makerbot's flexible filament material and was lined with synthetic rabbit fur. The result is a flexible yet highly structured garment: 3D printing the skirt allowed us to create an interesting interface, while the texture of the fur lining further aided in the creation of our overall silhouette, combining both artificial and natural textures. This multi-material relationship has been an emerging area of interest for the studio for some time now. The skirt portion of the dress is customizable and will be available for download at Thingiverse.com.
Posted by Coroflot
| 11 Mar 2014
Would you like to work with a great team of people at a rapidly growing company? Join 4moms, a truly innovative consumer products company. They've introduced robotics technology to the juvenile industry with their suite of high-tech baby gear, including the world's first power-folding stroller. How cool is that? Even cooler, they're looking for a passionate and talented Industrial Designer.
The person in this role will primarily be responsible for the development and guidance of innovative consumer goods and will make effective use of research and reference materials to support idea generation. The right person must be able to use sound problem solving skills to creatively execute solutions for form, usability, and ergonomics to lead innovative products to market from beginning to end. Is this you? Apply Right Now.
While Chuck Close's tool of choice was the pencil, artist Seung Mo Park makes his marks with a very different medium: Stainless steel mesh.
Billed as being "perfect for boats, parties and restaurants," Edmund Scientifics' The Incredible Spill Not is simply a 13-buck gizmo that combines a flexible strap with a rigid arm and base. While at first it may seem somewhat silly...
...you can't deny that this thing would be useful on a boat:
There's a little over one week left to get involved in the 2014 Core77 Design Awards—which means there's still plenty of time for you to enter your design for the chance to win one of our coveted trophies. Previously, we introduced our team of jury captains in two parts (check them out here and here), but what's a leader without a team? Get to know the professionals who will seeing and judging your work in the Equipment, Packaging, Educational Initiatives, Speculative and Food Design categories.
On July 22nd, 2011, Norway suffered two horrific back-to-back attacks on civilians. A lone extremist killed eight people with a car bomb and injured 209 in Oslo; within hours he'd then opened fire at a summer camp at Utøya island, killing 69 and wounding 110. The attacks were particularly personal in relatively tiny Norway, where a reported one out of every four Norwegians knew at least one of the victims.
KORO/Public Art Norway, the government's arm for public art and the largest art producer in the country, subsequently held a design competition to erect a memorial to honor the victims. The recently-announced winner, by unanimous jury vote, was artist Jonas Dahlberg and his beautiful two-part concept seen here. The first part of the memorial, called "Memory Wound," is to be sited on a tiny peninsula of land at the village of Sørbråten, near Utøya island. Explains Dahlberg:
My concept for the Memorial Sørbråten proposes a wound or a cut within nature itself. It reproduces the physical experience of taking away, reflecting the abrupt and permanent loss of those who died. The cut will be a three-and-a-half-meters-wide excavation. It slices from the top of the headland at the Sørbråten site, to below the water line and extends to each side. This void in the landscape makes it impossible to reach the end of the headland.
Visitors begin their experience guided along a wooden pathway through the forest. This creates a five to ten minute contemplative journey leading to the cut. Then the pathway will flow briefly into a tunnel. This tunnel leads visitors inside of the landscape and to the dramatic edge of the cut itself.
Posted by core jr
| 10 Mar 2014
This is the third article in an ongoing series about working with kids by Copenhagen-based architect/designer/educator Moa Dickmark. Her last article was on the Future of Learning Environments.
There are a few things that one should think about when it comes to working on a project using co-creative processes. There are the basics, such as how you develop and structure them, and then there's the small things that make the process go more smoothly. Sometimes these small things end up making a big difference, so I'm going to let you in on some of the ones that my colleague and I use more or less every time we are out working. Most (but not all) of them are applicable also when working with teachers, leaders, politicians etc.
Start the process with a few meetings with the headmaster and school leadership, where you can decide on a common goal and make sure that you are on the same page. A goal for a process can be something along the lines of:
Develop spaces that students and teachers feel comfortable in and that can be used in various ways depending on subject and the individual students needs.
Decide on a timeline, a budget, how many hours you will spend with the students per workshop and ask them to find a class with teachers that are open-minded and up for the project. No point in hitting your head against the wall with teachers who don't want you to be there; the students will probably take on the sentiment of teacher and the process to reach the set goals will not be enjoyable for anyone.
1.) Make sure that everyone involved in the project feels like they are truly a part of the project, and that they have an important role in the process and outcome.
When working with students, invite their parents for a meeting where you tell them about the project, tell them a bit about the basics of co-creative processes and what sort of things their kids are going to come home and ramble about. It's really good to let them try what you are talking about, so let them do one of the exercise—i.e. a quick and dirty model-making session always bring out a lot of laughter—in order to provide a greater understanding of how fun it can be, and so they have something to talk about when their kid comes home from school.
This is also a good way to get them more involved—maybe one of the parents works at a warehouse and can arrange some sponsorship deal with the boss or something of the sort, or that some of them want to spend some of their free time helping out at one of the workshops. The more support you get from the parents, the better.
2.) Also make sure that people who are not directly involved of the project feel welcome.
For example, shortly after starting working with a 6 grade class in a small school in the middle of Jylland, Denmark, the biggest ambassadors for the project and for what the students were working on turned out to be the librarian and one of the cleaning ladies. They showed parents what their children were up to, and talked about the vision developed for the various areas.