several years ago, with the debut of the i3, bmw offered the most refined of the electrics and in 2016 presents yet another evolved look, this time of a fully autonomous car.

at ces 2016, the bmw group is introducing a new concept known as the i vision future interaction. the statement, vehicles with highly automated driving are an important milestone on the road to vision zero, the idea of accident-free individual mobility. the i vision future interaction is based on the i8 concept spyder that was shown at the 2012 edition of the beijing motor show, and it was built to highlight what the sports car of tomorrow could look like inside.

above/below> ces16 concept is doorless and topless so you can enjoy the goods

above/below> most new features are centered around a technology called airtouch that lets the driver control the car’s navigation, entertainment, and connectivity functions with simple gestures made with a flat hand. the driver receives pivotal information on the heads-up-display ‘hud’ – a panoramic 21-inch screen, which shows speed and speed limits and navigation within the field of vision on the front windscreen.

there are three driving modes – pure drive, assist and auto. pure drive creates a driver-focused environment while in assist mode, the car is driven manually but the driving aids automatically kick in if they sense that a collision with another car or with an object in the road is imminent and unavoidable. in auto mode the interior creates an opportunity to relax and unwind thanks to innovatively designed seats and expanded content is available on the central information display.

surely the focus is on the i vision future interaction technology as the i8 concept spyder at the show is not equipped with doors. there’s no technical details on engine so we don’t know if this i8 is powered by a gasoline-electric plug-in hybrid.

the concept car combines intelligent lightweight construction with the advanced drive technology of bmw edrive. it is finished in e-copper orange exterior paint, with highlights being accented in frozen grey (kidney-shaped grille, tank cover and front and rear sills), and in high-gloss black below the entrance. the bmw i vision future interaction uses the lifedrive architecture with the carbon-fibre reinforced plastic life module producing a very lightweight passenger cell.

[ official press release ]
“vehicles with highly automated driving are an important milestone on the road to vision zero, the idea of accident-free individual mobility. this increases the aspirations of drivers for the user friendliness of vehicles, for the presentation of information and for digital networking of the information. occupants are increasingly also wanting to communicate with the outside world supported by unrestricted quality and in the scope they are normally accustomed to.

at the ces 2016, the bmw group is using the concept car bmw i vision future interaction to show what the user interface of the future might look like – including support from high-resolution vehicle displays where the content responds to the situation. in order to make the interaction of the passengers with the vehicle as intuitive as possible, all functions are controlled using touch-sensitive surfaces, gestures and voice.

interior compartment responds flexibly to the demands of the future. the vision car is based on the bmw i8 concept spyder. the interior has a thoroughbred, sporty and flexible profile. on the one hand, it supports the driver in manual driving mode with a clearly defined focus. on the other hand, when the vehicle is in its highly automated mode, the interior provides an opportunity to relax in the innovatively designed seats and to make proactive use of the time gained through the expanded content available on the central information display.

just as the vehicle adjusts automatically to drive mode and the surrounding environment, the digital content is optimally presented at any given time. drivers look at data such as the charge status of the vehicle batteries or the routes offered before commencing the journey on their smart phone, smart watch or mobility mirror. these are then automatically transferred to the appropriate menus, map displays and driver information on the panorama display in the bmw i vision future interaction. the transition from mobile device to display in the vehicle takes place seamlessly. innovative instruments, panorama displays, 3d views.

the bmw i vision future interaction

the driver receives key drive information on the high-resolution head-up display, which reflects the most important data such as speed, speed limits or navigation information within the field of vision on the front windscreen. the instrument cluster is located directly behind the steering wheel and information is shown here in three-dimensional display (autostereoscopically). as well as the usual information about speed, consumption and range, the driver is also provided with information here about vehicles on the road ahead or oncoming vehicles which are not yet in his or her field of vision. the driver is consequently able to respond at an early stage to all conceivable traffic situations. this also applies during highly automated driving. if the driver needs to take over command of the vehicle, the system provides an appropriate alert. the technology acts predictively so that the driver has at least five to seven seconds to respond.

information prepared to suit the situation

the central panorama display is the most striking interaction element of the bmw i vision future interaction. it extends from the centre console across the entire passenger side and appears to flow harmoniously out of the dashboard panel. the display height of eleven centimeters means that the dashboard panel is not higher than in the bmw i8 and it permits an optimum view to the front of the vehicle. the high-resolution panorama display in the bmw i vision future interaction is almost 40 centimeters wide while the screen diagonal is 21 inches.

when the driver gets into the vehicle, this panorama seamlessly displays the content which is provided by the vision of the open mobility cloud from bmw and it can also be seen automatically using the bmw connected app on a smart phone or other digital end devices. the display adjusts automatically, in response to the drive mode of the bmw i vision future interaction. in future, for example, the system could switch automatically from pure audio to video transmission during phone conversations, if vehicles are driving in fully automated mode. drivers and passengers also have the option of unrestricted access to web content, mails or audiovisual offerings.

while the driver remains active at the steering wheel, information in reduced scope is displayed on the large panorama display in order to minimise distraction and maintain the focus entirely on what is happening on the road. the number of control elements is reduced to a minimum in the bmw i vision future interaction. the most important of these elements – the drive mode selector switch – is located on the left-hand side of the steering wheel. this is used to select between the three drive modes. the “pure drive” mode meets the typical bmw high aspiration for sheer driving pleasure at all times.

assistance systems are used passively here and they only give warning alerts without actually intervening in the control of the vehicle. the “assist” setting provides optimum networking with the surrounding environment.

the best route is calculated in real time and fed into the navigation system. the vehicle supports the driving performance of the driver and intervenes actively if there is danger of an event such as a shunt accident, or if an obstacle on the road appears to be a safety risk. when the vehicle is in “auto mode”, the vehicle itself takes over control of sideways and forward orientation, accelerates independently, brakes and steers – without the driver having to intervene at all.

in the near future, this could already be permitted on certain approved stretches of road, for examples sections of german motorways or in car pool lanes in the usa.

the bmw i vision future interaction proactively gives drivers an alert if they are in a zone for highly automated driving. the driver can then change the drive mode as appropriate. the steering wheel is illuminated in blue in the highly automated drive mode. the colour scheme therefore provides a visual cue that the driver is in this drive mode. if the vehicle leaves the approved lane for highly automated driving and has to take control of the steering wheel again, a red light signal conveys this requirement. the bmw i vision future interaction is therefore already providing an indication today of what the control functions might look like in the future in highly automated vehicles. interaction with airtouch, sensitive surfaces and voice.

the development engineers are using new human-machine interfaces to control and select the content on the large panorama display, and this offers a large number of new options for interaction. one of them is airtouch, gesture control for all communication, information and entertainment functions in the vehicle. it allows the big screen to be operated like a touchscreen – without actually having to touch it.

sensors are installed in the area of the dashboard panel which responds to hand movements. a movement of the hand can be used to go to a position on the panorama display and the selected icon is highlighted visually. if the hand is moved forward (push gesture), the icon is activated or the menu displays the next level.

airtouch has a second option for carrying out this confirm action. an airtouch switch is located on the steering wheel which briefly illuminates if a menu or icon can be activated. a tap is sufficient to select the desired program in this way or to select a preset. there is also a similar button for the passenger located on the side panel. this enables passengers to use one hand to navigate through the menu and very quickly confirm inputs with the other hand.

the menus in airtouch are not in the form of lists but appear as large tiles. four of these tiles are located beside each other on the display. the system provides car occupants with context-sensitive option menus – for example, if music is currently running on a streaming service, buttons are displayed on one of the tiles that allow you to go forward or backwards to titles, stop playing or start again. the intelligent menu control of airtouch reduces selection steps. airtouch recognizes which control steps are necessary next and shows these in the display. this allows the driver to concentrate on what is happening on the road or offers additional convenient control options if the vehicle is driving in highly automated mode.

touch-sensitive surfaces in the wide and generously proportioned central console offer an additional control element. a sensitive control surface is provided beneath the leather upholstery which can be used by the driver or passenger in order to navigate through the menus or option lists by tapping, swiping or sliding movements – as in a smart phone or tablet. the entertainment and information systems in the bmw i vision future interaction can also be conducted by spoken control commands, in other words by recognition of natural language.

the character of the interior changes depending on the drive mode. if the driver changes to highly automated mode, the color of the steering wheel is not the only thing that changes. when the vehicle takes over control, lots of additional space suddenly becomes available for the people inside. the steering wheel moves forward by several centimeters and this opens up more space. at the same time, the contoured, sculpted sports seat changes its character. elements in the side upholstery give the seats a lounge profile which enables the driver to turn more to the right in order to look at the panorama display in a more relaxed position. the new freedom of movement is also supported by an extended headrest and the generously dimensioned central armrest.

the objective is to enable drivers to make relaxed and effective use of the freedoms offered by highly automated driving – and when drivers want to take the wheel themselves and enjoy sporty driving fun, the ideal enablers typical of bmw are provided in the ergonomic design of the seat and steering wheel. this extends through to support from vehicle technology which shows information like the ideal line or braking points on a selected stretch of road in the bmw head-up display.

open sportiness of the bmw i vision future interaction

the athletic design of the bmw i vision future interaction reveals the qualities of an open two-seater which unites dynamic driving, efficiency and visual elegance with a rather special aesthetic appeal. the concept car combines intelligent lightweight construction with the advanced drive technology of bmw edrive. it is finished in the exterior color of e-copper orange, with highlights being accented in frozen grey (kidney-shaped grille, tank cover and front and rear sills), and in high-gloss black below the entrance. the bmw i vision future interaction uses innovative lifedrive architecture which is structured with separate function units that operate independently of each other.

the life module made of carbon-fibre reinforced plastic (cfrp) forms the very lightweight passenger cell. meanwhile the drive modules, which are primarily manufactured from aluminum – drive train, chassis and safety structure – take over the functions relevant for driving. the characteristic binary division of the lifedrive concept is also reflected in the design and deliberately emphasizes the basic elements. highly expressive surfaces and precise lines create a harmonious transition from one module to another.

the headlamps designed with bmw laser light technology are a defining element at the front. they are configured in the u-shaped design of bmw i. the flat engine bonnet is styled with a v that opens up to the windscreen. it forms the starting point for the typical black belt, which continues on the rear cover and constitutes a characteristic feature of the bmw i models. the side view is defined by the short overhangs typical of bmw vehicles. they combine with the wedge shape of the sills to generate the athletic character – contours and lines create a sense of strong forward motion even when the vehicle is at rest. similar to the front, the rear of the vehicle is flat, while a powerful rear diffusor, air vents in a three-dimensional design and the u-shaped tail lamps with led technology give the impression of exceptional breadth to the bmw i vision future interaction and define its sporting aspirations.

a top priority for designers was to integrate the architecture of the large panorama display into the basic concept of the interior design and to accommodate elements in the surface structure which are typical for bmw i vehicles. the instrument dashboard therefore has a structure which is comprised of overlaid pentagons and hexagons. this design is a hallmark of bmw i and is simultaneously a symbol for the seamless networking of the bmw i vision future interaction.

the interior compartment is styled with a mix of color and material made up of plastic, carbon and leather, which creates an aura of high quality, emotionality and thoroughbred pedigree. the seats are upholstered in leather amido and textile, and a leather core made of natural leather. the same leather is also used on the dashboard, combined with a monofilament technical textile which also provides the floor covering for the bmw i vision future interaction. dark leather amido is combined with semi-aniline leather in ice grey to cover the central console. buttons on the steering wheel made of polished aluminum emphasize the high-tech character of the bmw i vision future interaction.

[ bmw group ]

2016 presenter wendy suzuki Ph.D. thinks everyone should remember to exercise. And exercise to remember.

suzanne hunt on the energy transition, and designing with your heart.

cusp conference 2016 (the design of everything) will be held in the theater at chicago’s museum of contemporary art. 28 > 29 september 2016. [ details ] [ register ] @CuspConference #Cusp2016

synthesis > japanese fusuma photography by kenji wakasugi | ippodo gallery tokyo – ny / 12 e. 86th street # 507 new york city / 212 967 4899
10 march > 22 april 2016 – extended to 29 april 2016

wakasugi combines views of nature he has photographed while traveling the remote regions of the world with fusuma, decorated sliding doors. these particular fusuma have been taken from a japanese room with over four hundred years of history, and his photographs have been artfully inserted into them. this represents a synthesis of opposing worlds-of interior and exterior, light and dark, stillness and motion, film and digital, old and new.

fusuma are a form of spatial device employed in traditional japanese architecture. these sliding doors are comprised simply of wood and paper and although flimsy and have no locks, they represent a spiritual boundary, separating one side from the other, absolutely. japanese rooms are not divided physically with walls, but spiritually, using fusuma; this allows people to interact freely with the space, sometimes removing these fusuma to create a large hall or reinserting them to produce a small room.

fusuma also respond gently to nature, reflecting the four seasons. the pale brush-and-ink paintings illuminated by mid-day’s light reflecting off the tatami mats on the floor; the gold and silver leaf in designs that appear to float in the light of the moon; all transmitting the poetic charm of the period. the 16th century artist, kano eitoku, sublimated these household fittings into art through his magnificent brushwork and the japanese people experience a microcosm of nature through these paintings, in which a unique, two-dimensional expression of the world unfolds. this synthesis of art and nature on the doors dividing a space may be said to spring from the japanese views of life and death.

wakasugi says that poetic sentiment exists in the space between memories. using digital technology to boldly remove the paintings applied to the fusuma by the artists of the past, he carefully replaces them with his own photographs, creating a time and space that does not exist in reality, thereby challenging the past.

it is no exaggeration to say that wakasugi kenji’s photographs inherit the traditions of the gorgeous world of fusuma painting that were developed by such great artists as tawaraya sōtatsu or ogata kōrin.


click on an image to engage gallery lightbox

above> small diamond chair | harry bertoia | knoll | 1952

design episodes: the modern chair / the art institute of chicago
thru 11 september 2016

introducing the first episode of this series of installations are co-curators alison fisher and karen kice. the modern chair focuses on a piece of furniture that has captivated the popular imagination like no other. beginning in the machine age with the promise of industrial production, chair design took off in new directions dynamically engaged with contemporary forms. furniture design moved out of the realms of the carpenter and the decorator as architects and industrial designers took on the chair as a problem of engineering, materials research, and the scientific study of the human body. with this new attitude, one of the most important drivers of modern chair design became new materials—from tubular steel in 1920s europe to the later largely american development of plywood and fiberglass chairs. this exhibition presents iconic examples from throughout the 20th century by makers including le corbusier and charlotte perriand, harry bertoia, and charles and ray eames, all of whose work contributed to the evolution of a new, modern ideal.

in the fall of 2017, the art institute of chicago will debut the museum’s first permanent installation dedicated to 20th- and 21st-century architecture and design. in the months leading up to this major display on the second floor of the modern wing, the space will feature a series of three mini-exhibitions showcasing different aspects of the museum’s design holdings—from an exploration of the modern chair to a look at different expressions of postmodernism to a celebration of typography in graphic design. tying the three installments together is an installation design by amir berbic for the galleries and the windows facing onto griffin court.

the exhibition is made possible by the generous support of the architecture & design society and john h. and neville bryan.

wilshire medical office side chair | rudolph schindler | 1943

below> lcw lounge chair | charles and raye eames | herman miller | 1946/49

below> red blue chair | gerrit rietveld | g.a. van de groenekan | c. 1955

paimio armchair 41 | alvar and aino aalto | artek | 1930/33


below> tulip side chair | ero saarinen | knoll | 1956

small diamond chair | harry bertoia | knoll | 1952

on view through 14 august 2016.

fashion lures architecture and design to the metropolitan museum of art’s costume institute spring 2016 exhibition, manus x machina: fashion in an age of technology. the exhibition explores how designers are reconciling the handmade and the machine-made in the creation of haute couture and avant-garde ready-to-wear. manus x machina features over 170 garments, diverse in their designers, techniques and details.

the credits
manus x machina is organized by andrew bolton, curator in charge of the metropolitan museum of art’s costume institute. shohei shigematsu, director of oma new york, led the design of the exhibition in collaboration with the design department (amo) of oma new york.

the architecture
from the architect> the exhibition is presented in the robert lehman wing, a double-height, octagonal addition on the museum’s central axis constructed in 1975. in order to preserve access to the permanent galleries, the exhibition space is located in the lehman wing’s central atrium and corridors. the space posed a number of unique environmental challenges for the costume institute’s show: excessive daylighting unconducive to textile exhibition, split levels, a corridor condition lacking dedicated display walls and an eclectic material palette.

a white, translucent volume was inserted into the existing brick and stone corridors of the lehman wing, softening its hard geometries. echoing the sectional relationship of a central clerestory and perimeter naves, the resulting ghost cathedral resonates with the classical language of the adjacent medieval art gallery. a raised platform built across the double height atrium provides continuous circulation and a 2,300 square foot central gallery– an unprecedented intervention in the lehman wing. upon arrival, this domed clerestory orients visitor’s with a 2014 chanel wedding dress by karl lagerfeld that embodies the exhibition’s theme. details of the 20-foot train’s baroque pattern are projected on the dome’s black out scrim, recalling the sistine chapel. four chapel-style pochés provide an area to focus on case studies.

exhibition designer shohei shigematsu commented, “the diverse range of garments required a neutral, integrated environment to focus on the pairings of manual and mechanical processes. an armature of scaffolding wrapped with a translucent fabric introduces a unique temporality within a historic institution.”

as a high-performance theatrical scrim, the perforated membrane material of the ghost cathedral offers the tensile flexibility required for the dome geometries as well as varying degrees of transparency. when lit from the front, the scrim appears opaque enough to function as a projection backdrop for garment details. lit from behind, the scrim appears transparent, exposing a sense of the lehman wing’s existing material palette and language. the unexpected spatial depth of the scrim allows for visual connections to the wedding dress from all quadrants of the lehman wing, while also revealing silhouettes of the temporary scaffolding framework housed within. in the lower level, scrim enfilades provide a permeable divider for each technique. as an integrated system for lighting, signage and projection, the scrim seamlessly serves multiple curation needs that would otherwise rely on overpowering media screens.

technical information
manus x machina: fashion in an age of technology
location: new york city usa
year: 2016
status: completed (commissioned 2015 / completion may 2016)
program: 18,300 sf exhibition
scrim surface area: 23,000 sf
architect: oma
lead architect: shohei shigematsu / oma nyc
team: scott abrahams, wesley ho, nicholas solakian, sergio zapata, daniel rauchwerger, lawrence siu, darby foreman, matthew haseltine, christine noblejas
engineering: arup
lighting: dot dash
media: 3 legged dog
membrane: newmat
scaffolding: ubs
masonry: cw keller
photography: albert večerka

the fashion
andrew bolton’s brilliant new exhibition at the metropolitan museum of art’s costume institute – the costume institute began as the museum of costume art in 1937, merged with the met in 1946, and reopened its space as the anna wintour costume centre in may 2014 – explores the relationship between the handmade and the mechanized in fashion. bolton’s vision pays homage to craftsmanship, innovation and the role designers play in the creative process.

the show’s galleries are divided into tenets of design outlined in diderot’s 1751 encyclopedia: embroidery, featherwork, artificial flowers, lacework, leatherwork, pleating, tailoring, and dressmaking. another interesting counterpoint emerges: haute couture versus prêt-à-porter.

alber elbaz succinctly explained why “manus x machina” is so important at a lecture prior to the opening: “it was almost an exhibition that was done for designers and with designers’ work. it was about workmanship, about know-how, about time, and the one thing that impressed me the most was that it was almost silent. . . . please go and see it.”

this is an exhibition for true fashion lovers.

manus x machina

louis vuitton / spring-summer 2016, prêt-à-porter

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above> skyville @ dawson 2007 > 2015

singapore-based firm woha announces their contribution to the xv international architecture exhibition—la biennale di venezia (28 may-27 november 2016), as part of the gaa foundation’s collateral exhibition time space existence. located at the palazzo bembo, fragments of an urban future answers to the most pressing issues facing megacities today—unprecedented urbanization, accelerating climate change, and the need for preservation of tropical biodiversity. a selection of woha’s most recent work shows how the firm’s vertical ecosystems transform these challenges into inspiring models for sustainable building.

three projects selected from woha’s innovative portfolio are the centerpiece of the immersive multimedia exhibition, designed to draw visitors into the vertical environments. among them is parkroyal on pickering (2013), an innovative hotel that has been celebrated for its topographical architecture and the blurring of boundaries between building and landscape; skyville @ dawson (2015) boldly redefines the model for social housing development with its sky villages and lush gardens on multiple ground levels; and the oasia downtown hotel (2016), enveloped by a living green façade, embraces the notion of breathing architecture and reimagines urban ecosystems for both humans and living creatures alike.

above / below> skyville @ dawson is a public housing project that addresses the themes of community, variety and sustainability. three 47-storey towers are designed with breezeway atria that are cooled and ventilated by horizontal and vertical breezeways. every dwelling unit belongs to a ‘sky village’ that comprises 80 homes. a total of 12 villages are stacked in four layers across the 3 inter-connected blocks. to maintain a sense of human scale, every village shares community spaces and a communal terrace. a publicly accessible park on the roof, and extensive public parkland at ground level, further contributes to the high-density high-amenity development.

above / below> based on the concept of a hotel-and-office in a garden, parkroyal on pickering investigates the potential of green intensification in a dense metropolis and transforms the abstract building-as-silhouette into one with rich detail and tactility. its topographic architecture podium is designed as a land form for landscape that extends the green of the adjacent public park vertically into the building as one continuous sweep of urban parkland. facilitating the public life of the city, the building’s porte-cochere opens up as a gateway that physically and visually links singapore’s business and historical districts.

above / below> a verdant tower of green in the heart of singapore’s dense central business district, oasia downtown is a prototype of land use intensification with a tropical approach. instead of a fully glazed and air-conditioned building, the tower contains three well-ventilated atria surrounded by l-shaped blocks of hotel rooms and offices. these provide naturally cross ventilated spaces and dynamic internal views. each elevated ground level is treated as an urban scale veranda, sheltered by the one above. landscaping forms a major part of the development’s material palette, creating an alternative image that is distinct from the surrounding curtain-walled towers of the cbd.

[ woha ] in 1994, architects wong mun summ and richard hassell founded singapore-based woha. as one of southeast asia’s preeminent architectural offices, woha integrates environmental principles at every stage of the design process. their strategies champion biodiversity, sustainability, and the local vernacular to design responsive building solutions for the city of tomorrow. the firm’s awareness of context and tradition is intertwined with an ongoing exploration of contemporary architectural questions, uniquely fusing practicality and invention.

woha’s architectural repertoire—throughout southeast asia, china, and australia—ranges from residential towers and hotels to transportation hubs and public institutions. their designs reconfigure the elements of a building, breathing smart design into the dense landscape of the megacity. woha’s blueprint for sustainable development imagines a biophilic future where towering structures evolve in harmony with native ecosystems and urban communities.

underscoring woha’s contributions to the advancement of architecture, the practice has received numerous international awards, including the international highrise award (2010), the prestigious aga khan award for architecture (2007), the renowned riba lubetkin prize (2011), and most recently, the urban habitat award (2015). the firm’s most acclaimed projects have been featured in many international publications, including urban environment design (ued) magazine (2015), dense + green: innovative building types for sustainable urban architecture (2015), greening asia: emerging principles for sustainable architecture (2012) and the phaidon atlas of 21st century world architecture (2011). in 2011, a traveling exhibition devoted exclusively to their work opened at the deutsches architekturmuseum in germany. garden city mega city (2016) follows the publication of four substantial monographs—woha: selected projects vol. 1 (2011) and vol. 2 (2014), woha: breathing architecture (2011), and woha: the architecture of woha (2009).

blending practice and pedagogy, hassell and wong also teach at the national university of singapore and the singapore university of technology and design (sutd), and have lectured widely at universities around the world such as the harvard university graduate school of design, the university of hong kong and the university of western australia.

above/below> psyche, 2015. marble and bronze. marble: 39 3/8 x 196 7/8 x 39 3/8 inches, bronze base: 27 1/2 x 102 3/4 x 27 1/2 inches. courtesy of the artist and paul kasmin gallery.

saint clair cemin: psyche / paul kasmin gallery / 297 tenth avenue (corner of 10th avenue & 27th street) new york city / thru 19 august 2016

internationally renowned sculptor saint clair cemin will unveil the ethereal sculpture psyche, a large-scale marble boat that appears to float atop its bronze cradle. measuring over 16 feet in length and carved from a single piece of sichuan marble that began as 30,000 pounds, the work alludes to its namesake psyche, goddess of the soul, and her true love, eros. though the viewer is drawn into antiquity, the sculpture transcends its legendary inspiration as it becomes a fully functional boat, capable of floating on water.

inspired by the original tale in which psyche and eros are reunited and married by the gods, cemin gives rise to the mysticism of this classical story of love and desire. in this portrayal of the myth, psyche serves as the vessel (the soul) for eros, who is symbolized by a long snake that stretches along the length of the boat and embraces both the bow and the stern in a highly stylized fashion.

saint clair cemin was born and raised in the rural town of cruz alta, brazil, and went on to study at the école nationale supérieure des beaux-arts in paris. cemin’s extensive sculptural lexicon presents a bold array of work exhibited widely throughout the united states and abroad and is included in the collections of the whitney museum of american art, new york; fonds national d’art contemporain, paris, france; fisher landau center for art, long island city, ny; rooseum, stockholm, sweden; the broad art foundation, los angeles, ca; the museum of contemporary art, los angeles, ca; and inhotim, minas gerais, brazil, among many others. cemin currently lives in new york and has studios in beijing and red hook, new york. this will be the artist’s fourth exhibition at paul kasmin gallery.

AND STILL ON VIEW THRU 18 JUNE 2016…

bernar venet: angles / paul kasmin gallery / 515 west 27th Street (between 10th & 11 avenue) new york city / thru 18 june 2016

the conceptual artist’s inaugural solo show at the gallery unveils a brand new series of large-scale angles. the exhibition features four cor-ten steel sculptures, each an assemblage of acute angles of varying heights and differing angular degrees, some extending across the horizontal axis and others stretching vertically. intended for indoor or outdoor installation, the sculptures work to define the spaces in which they are positioned. the scope of the new series is further articulated with the inclusion of smaller sculptural maquettes, offering the viewer insight into the artist’s thought process as he expands the vocabulary and points to new directions in this body of work.

below > bernar venet, disorder: 9 uneven angles, 2015. steel. 25’. © 2016 bernar venet/artists rights society (ars), new york

venet’s disorder: 9 uneven angles on view at union square plaza on east 17th street and broadway, manhattan thru 22 june 2016 in collaboration with union square partnership.

commissioned by new york city’s department of transportation art program, the program enables artists to transform city streets with unexpected interventions. venet transforms the highly trafficked north side of union square plaza with a 25-foot sculpture comprised of nine intersecting steel beams from his 2015 series entitled disorder.

women in design: patrizia moroso / luminaire chicago / 301 west superior / tuesday 14 june / 6:30p

patrizia moroso is the creative director of the company her parents founded in 1952. from its beginning, the company had an artisanal approach to product manufacturing and an extraordinary creativity in the design process. fostering new talent as well as working with established names in the industry, ms. moroso is known for “working with designers she loves” and it is this exact vision and passion that has led the company to great success.

synonymous with forward thinking design, moroso has collaborated with patricia urquiola, ron arad, konstantin grcic, marcel wanders, tokujin yoshioka, doshi & levien, nendo, daniel libeskind, front, and others. now, more than 60 years later, moroso remains a company distinguished for its quality, innovation and creativity .
a long time contributor and good friend of patrizia moroso, the prominent spanish designer patricia urquiola created unique pieces such as fjord and smock that reflect their special relationship. patricia urquiola designed patrizia’s personal home in udine, italy, a 10,000 sq. foot eclectic abode that was also used for moroso’s catalogue campaign in 2015 that underscores the deep and personal relationship between the designer and the creative director.

women in design is a series that aims to recognize, empower, and inspire female design thinking. luminaire hosted its first women in design edition may 12th at luminaire lab in the miami design district by recognizing the late zaha hadid and lina bo bardi with an exhibition of select design pieces from their collection.

please join the conversation with luminaire on twitter @luminaire_ and on instagram @luminaire_ using the hashtag #womenindesign.

themart river drive

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this year’s neocon attendees will be the first to experience the first major renovation at the mart in 40 years. the cost: $40 million. a new name too: themart.

this transformation centers around the grand stair, a communal space connecting themart’s first and second floors, and includes a large multi-purpose space atop the grand stair on the second floor, a modernized, urban food hall and an expanded riverfront park with alfresco seating. attendees at the upcoming neocon 2016 event (june 13-15, 2016) will be the first to experience the new 1st and 2nd floor layout and amenities, including a specially curated lounge furnished with product from themart showrooms.

dynamic elements of the renovation include:

• the grand stair: a monumental new portal of themart, the 50-ft wide majestic staircase creates a connection between the first two floors, and also serves as a meeting or workspace with stadium seating, a large projection wall and free wi-fi.

• the lounge: a multi-purpose space with views of the chicago river and skyline, located atop the grand stair, will feature food-service and provide various areas to meet, work and socialize. during neocon, the lounge will offer food service provided by lettuce entertain you restaurants and be a convenient meeting place for all participants. comfortable seating and complimentary wifi will offer a welcome respite from the busy showroom and exhibit hall floors. lounge furnishings include casual and dining furniture by allermuir, bernhardt design, davis, hbf, herman miller and stylex, and floor coverings by masland carpets.

• the food hall: a reconfigured, reinvigorated and dramatically designed seating area with more natural light will engage visitors beyond dining and offer additional space for lounging, socializing and working.

• river drive park: a 5,000 square-foot outdoor green space along the riverfront connects tenants, visitors and pedestrians to themart’s main entry, and includes seating and shaded areas with dramatic views of the river and chicago skyline.

• reception/information desk: a new greeting point for the building located at the base of the grand stair.

vornado realty trust, the property’s owner, engaged innovative new york-based architecture, strategy and design firm a+i to lead the design process throughout the three-year capital improvements renovation project.

“rather than creating a port of entrance and exit, the architectural features of themart’s new lobby allow for a new kind of engagement by slowing down the pace of passage,” states brad zizmor, principal and co-founder of a+i. “the grand stair and reception area create a spectacular architectural landscape conducive to reflection, thinking and socializing. in keeping with a+i’s reinvention of the lobby as a programmatic space to dwell in, as opposed to pass through, we designed a colossal stair with a physical structure that is 80% meant to be lingered on as opposed to being walked on.”

other building upgrades neocon participants will find include:

• enhanced wifi service on the first and second floors
• A NEW BANK OF AUTOMATED ELEVATORS ON THE FAR WEST SIDE OF THE BUILDING SERVING ALL FLOORS
• a completely renovated seventh floor exhibit hall featuring new floor coverings, wall system, lighting, wayfinding, and enhanced wifi service

about themart: one of the largest commercial buildings in the world, the 4.2 million sf merchandise mart (themart) is located in chicago, il along the chicago river. completed in 1930, the building continues to meet the changing needs of the office and showroom businesses it serves. as a gold-eb oem leed certified building, themart is committed to creating and maintaining sustainable environments.

can you feel the love?

above/below> the bits & crafts basel installation

joris laarman: bits & crafts / friedman benda booth g31 / 14 > 19 june 2016

joris laarman is the focus of a solo gallery show entitle bits & crafts for friedman benda at design miami/ basel / 14 > 19 june 2016.

this is unparalleled expression of art, design and technology.

known for blending cutting-edge technology with traditional means of making, laarman will present a survey of research in digital fabrication which he spent six years creating. the new body of work includes pieces from microstructures, dragon bench, and the maker series.

established in 2004, joris laarman lab has now grown to tackle almost every aspect of production to support their thematic explorations. the basel show follows the opening of laarman’s mid-career survey exhibition at the groninger museum in his native netherlands. the retrospective will travel next to the musée des arts décoratifs in paris from 15 march > 3 july 2017 and then to multiple locations in the usa.

[ designmiami/ basel ]

[ icff ]
The 29th annual [ ICFF NYC ] North America’s platform for global design, will map the newest frontier of what’s best and what’s next at New York City’s Jacob K. Javits Convention Center, May 21-24, 2017. Registration is now open. No cost registration for industry professional ends May 18th, after May 18th the cost is $60.

North America’s premier showcase for contemporary design, the ICFF annually lures those in determined pursuit of design’s timely truths and latest trends to an encyclopedic exhibition of up-to-the-moment offerings, as well as a series of fascinating, fun, edifying programs, and a packed schedule of exhibits and features.

2017 Dates-Trade
Sunday, 21 May 10:00 am > 5:00 pm
Monday, 22 May 10:00 am > 6:00 pm
Tuesday, 23 May 10:00 am > 6:00 pm
Trade and General Public
Wednesday, May 24 10:00 am > 4:00 pm

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duravit icff kickoff party.

19 May @ 6:00 pm - 9:00 pm EDT

105 Madison Avenue New York City, 105 Madison Ave
New York City, NY United States

kick off icff and celebrate duravit’s 200th anniversary with a festive party featuring food + drink, live music, and an exclusive first look at the 2017 news…all in the heart of the thriving nomad design district.

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aperitivo with gaspare asaro-italian modern.

22 May @ 4:00 pm - 6:00 pm UTC-5

251 E 60th Street, 251 E 60th Street
New York, NY 10007 United States

join gaspare asaro-italian modern for an italian aperitivo to celebrate nycxdesign.

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above> 2018 bentley continental gt

our criteria in no particular order > alternative fuel > aesthetics > fun > innovation > performance > technology.

[ technology ] 2018 mercedes e-class coupe
this is as close to an autonomous car as you can get. wish they would 86 the polished chrome.

[ aesthetics/technology ] 2018 mercedes amg gt
exterior very un-mercedes-like in a good way. a lot of knobs to look at in the cockpit though rave reviews on user friendliness.

[ performance ] 2018 bentley continental gt
touted to be fastest four-seater on the road though… 0-60 in 4.3 seconds not so fast but tops out at 198mph.

[ function ] audi q8 concept
this car is very close to production. there’s some controversy on a suv hybrid of this size and price point but we like audi’s pushing the envelope. time will tell. an aside, almost removed the q8 from this list in favor of the kia stinger but we felt a need for stylish function.

[ alternative fuel / innovation ] vw id buzz concept
electric, driverless. the first fully-electric vw is scheduled for 2020. stay tuned.

[ detroit auto show / 8>22 january 2017 ]

above das haus (concept): the installation reimagines a home as three zones for dining, hygiene and rest. hall 2.2 image courtesy of todd bracher studio

new york designer todd bracher is the guest of honor for the sixth edition of das haus. “for me, design isn’t an art or a personal matter— it’s an experiment. my work is based on the desire to reduce something down to its essence. my job is to look for what’s really important to people and give it to them.” todd calls his reduction theory essentialism.

above> light installation: “time drifts cologne ii” by philipp geist. images courtesy of imm cologne

during the trade fair duo imm cologne and livingkitchen, koelnmesse will presents the light installation “time drifts cologne ii” by the berlin-based light artist philipp geist. the installation can be seen in the vicinity of cologne cathedral on 15 and 16 january 2017 from 6 p.m. to 10 p.m. this event will be an extension of the artist’s media performance “time drifts cologne” on new year’s eve 2016 into the 2017 trade fair year.

above> pure talents contest / hall 3.1 /// the copper olfactory clock by patrick palcic, allows the user to experience the passage of time in a different way. at hourly intervals, a drop of essence trickles down onto the pre-heated copper dish and leaves behind a very delicate trace. a new fragrance can thus be assigned to each hour // collecta by alberto bellamoli. images courtesy of imm cologne

now marks the fourteenth year, the pure talents contest was conceived exclusively for designers who are still pursuing their studies or have just left university. each year at imm cologne, prizes are awarded by koelnmesse. the internationally recognized jury consisting of:

sophie lovell (journalist, berlin)
rianne makkink (designer, studio makkink & bey, rotterdam)
tobias lutz (managing director and founder architonic ag, zurich)
sebastian herkner (designer, offenbach)
harry paul van ierssel (designer, studio harry&camila, barcelona)

the finalists // alberto bellamoli, italy / ulrike becker, germany / roee magdassi, israel / patrick palcic, germany / pieter peulen, belgium / susanne tesche, germany / vera aldejohann, germany / philipp hermes & dustin jessen, germany / christoph buomberger & tobias pfister, switzerland / david ciernicki, germany / pierre-emmanuel vandeputte, france / bernhard osann, germany /guillaume morillon, france / enzo zak lux, germany / simon diener, germany / thélonious goupil, france / christoph hauf, germany / jona messerli, switzerland / bar gantz, israel / martijn rigters & fabio hendry, the netherlands/switzerland / robert hahn, germany

above> sofa kerman by philipp mainzer and farah ebrahimi for e15 presents a canvas to project awareness and aspirations. like in lewis caroll’s novel “through the looking glass” (1871), the visitor dives into another world behind the mirror. halls 3.2 and 2.2

the “featured editions” curated by stylepark for the imm cologne 2017 furniture trade fair center around the key theme, “textiles”. the other installations are courtesy of alias (designer renato stauffacher & andrea sanguineti), cappellini (giulio cappellini), création baumann (benjamin thut) / nanimarquina (nani marquina) / thonet (nya nordiska & sebastian herkner) / ton (studio de form) / uli budde (ulle budde) and vitra (anina koch).

above> cappellini hall 2.2

[ imm cologne ] [ DesignApplause instagram ] [ post in progress ]

22 > 25 september 2017 / navy pier / chicago

the chicago architecture biennial along with artistic directors, sharon johnston and mark lee from la-based firm johnston marklee, announce the first round of artists and architects selected as participants of the 2017 chicago architecture biennial.

the 2017 exhibition will feature work from more than 100 architects, artists and designers from over 20 countries, building on the initial list below. stay tuned for additional developments related to participants’ projects, exhibition venues and information to help you make you plans to visit us in chicago in the fall.

[ 2017 chicago architecture biennial first round participants ]
51n4e (brussels, belgium; tirana, albania)
6a architects (london, uk)
ábalos+sentkiewicz (madrid, spain; cambridge, usa; shanghai, china)
adamo-faiden (buenos aires, argentina)
agenda agencia de arquitectura (medellin, colombia)
aires mateus (lisbon, portugal)
andrew kovacs (los angeles, usa)
angela deuber architect (chur, switzerland)
ania jaworska (chicago, usa)
arandalasch and terrol dew johnson (new york, usa; tucson, usa)
archi-union (shanghai, china)
architecten de vylder vinck taillieu (ghent, belgium)
arno brandlhuber and christopher roth (berlin, germany)
atelier manferdini (venice, usa)
awp office for territorial reconfiguration (paris, france; london, uk)
bak gordon arquitectos (lisbon, portugal)
barbas lopes (lisbon, portugal)
barkow leibinger (berlin, germany)
baukuh and stefano graziani (milan, italy; genoa, italy)
besler & sons llc (los angeles, usa)
bless (berlin, germany)
bureau spectacular (los angeles, usa)
caruso st john and thomas demand (london, uk; zurich, switzerland; berlin, germany)
charlap hyman & herrero (los angeles, usa; new york, usa)
charles waldheim (cambridge, usa)
christ & gantenbein (basel, switzerland)
daniel everett (chicago, usa; salt lake city, usa)
david schalliol (chicago, usa)
dellekamp arquitectos (mexico city, mexico)
design with company (chicago, usa)
diego arraigada arquitectos (rosario, argentina)
dogma (brussels, belgium)
drdh (london, uk)
ensamble studio (madrid, spain; boston, usa)
éric lapierre architecture (paris, france)
estudio barozzi veiga (barcelona, spain)
fala atelier (porto, portugal)
filip dujardin (ghent, belgium)
fiona connor and erin besler (los angeles, usa; auckland, new zealand)
first office (los angeles, usa)
formlessfinder (new york, usa)
frida escobedo (mexico city, mexico)
gerard & kelly (los angeles, usa; new york, usa)
go hasegawa (tokyo, japan)
hhf architects (basel, switzerland)
iñigo manglano-ovalle (chicago, usa)
j. mayer h. und partner, architekten and philip ursprung (berlin, germany)
james welling (new york, usa)
jesús vassallo (houston, usa)
jorge otero-pailos (new york, usa)
june14 meyer-grohbrügge & chermayeff (new york, usa; berlin, germany)
karamuk * kuo architects (new york, usa; zurich, switzerland)
keith krumwiede (new york, usa)
kéré architecture (berlin, germany)
kuehn malvezzi (berlin, germany)
luisa lambri (milan, italy)
lütjens padmanabhan architekten (zurich, switzerland)
made in (geneva, switzerland; zurich, switzerland)
maio (barcelona, spain)
marianne mueller (zurich, switzerland)
marshall brown (chicago, usa)
mg&co. (houston, usa)
monadnock (rotterdam, the netherlands)
mos (new york, usa)
norman kelley (chicago, usa; new york, usa)
nuno brandåo costa arquitectos ida (porto, portugal)
office kersten geers david van severen (brussels, belgium)
pascal flammer (zurich, switzerland)
patrick braouezec (paris, france)
paul andersen and paul preissner (chicago, usa; denver, usa)
pezo von ellrichshausen (concepción, chile)
philipp schaerer (zurich, switzerland)
productora (mexico city, mexico)
real foundation (london, uk)
robert somol (chicago, usa)
sadar+vuga (ljubljana, slovenia)
sam jacob studio (london, uk)
sami-arquitectos (setubal, portugal)
sanaa (tokyo, japan)
sauter von moos (basel, switzerland)
sergison bates (london, uk; zurich, switzerland)
serie architects (london, uk; zurich, switzerland)
shingo masuda+katsuhisa otsubo architects (tokyo, japan)
so-il and ana prvački (los angeles, usa; new york, usa)
stan allen architect (new york, usa)
studio anne holtrop (muharraq, bahrain; amsterdam, the netherlands)
studiomumbai (mumbai, india)
sylvia lavin (los angeles, usa)
t+e+a+m (ann arbor, usa)
tatiana bilbao estudio (mexico city, mexico)
tham & videgård arkitekter (stockholm, sweden)
the empire (verona, italy)
the living (new york, usa)
the los angeles design group (los angeles, usa)
thomas baecker bettina kraus (berlin, germany)
tigerman mccurry architects (chicago, usa)
toshiko mori architect (new york, usa)
urbanlab (chicago, usa; los angeles, usa)
urbanus (shenzhen, china; beijing, china)
veronika kellndorfer (berlin, germany)
welcomeprojects (los angeles, usa)
workac (new york, usa)
zago architecture (los angeles, usa)
zao/standardarchitecture (shanghai, china)

[ biennial statement ]
the act of looking to the past to inform the present has always been central to architecture. while different eras saw the imprint of history more strongly than others, one of the most dramatic ruptures in the evolution of architecture in the last century took place between history and modernity. spawned from a revolutionary and positivist climate, early modernism’s repression of history severed architecture’s future from its past. while measured and moderate attempts to incorporate historical models before and after the apotheosis of modernism brought about movements ranging from novecento, rationalism, neoliberty, postmodernism, and tendenza to various modes of revivalism, the zeal of modernism prevailed, obscuring these short-lived episodes. the insistence on creating works that are unprecedented and unrelated to architectures of the past reached new heights at the beginning of the millennium, as more and more architects became reluctant to view what they do as being part of a larger collective project or architectural history.

today, history represents neither an oppressive past that modernism tried to discard nor a retrograde mind-set against unbridled progress. instead, at a time when there is too much information and not enough attention—when a general collective amnesia perpetuates a state of eternal presentness—understanding the channels through which history moves and is shaped by architecture is more important than ever. a generation of architects has noted a renewed interest in precedents of architecture. committed to progress, but always from within an architectural tradition, these architects are producing innovative and subversive works grounded in the fundamentals of the discipline, and rooted in the fabrics of the cities where they are built, without feeling pressured to keep up with micro-trends or being accused of cultural appropriation.

the chicago architecture biennial 2017 will showcase the diversity of work from around the world to examine the underpinnings of this resurgence of historical interest. titled “make new history,” this second edition of the biennial will focus on the efforts—across registers of building and discursive production—of contemporary architects to align their work with versions of history. through the lens of architecture, the biennial aims to examine the interplay of design and the broadening access to, as well as recall of, historical source material. in the realm of building practice—from new construction to adaptive reuse to conservation—it will investigate the ways in which the architect’s encounter with a site is, in fact, the act of interpreting and responding to a prior accumulation of state and government regulations, social conventions, and markers of personhood. considerations for architecture in the context of history include the regulation and management of power and identity; what prevails and what does not; and how to recognize the significance of untold narratives. now, more than ever, the assumptions embedded in cultural exempla and civic imaginaries require examination and discussion.

with a legacy that is embedded equally in the buildings and fabric of the city and in a lineage of media and cultural production, chicago will provide a backdrop to typify disciplinary concerns around the continued importance and value of history in architecture. a calendar of events, emanating from the chicago cultural center outward to biennial partners, will create comparative encounters with various sites across the city. the biennial will foreground questions and ideas regarding the making of a new history: what political role has history played in the regulation of buildings and the city? how can buildings speak to history without being nostalgic or pastiche? and how might we build connections to the past that are relevant and valuable to our present?

architecture’s entry into the domain of the art biennial, almost 40 years ago in venice, was marked by a reflection on the relationship of history and memory in architecture. during its inaugural edition in 1980, the venice architecture biennale showcased an expanding repertoire of theatrical devices and scenographic modes of display. today, the role of history in the field of architecture has changed, as has the role of the exhibition. on the one hand, the biennial format lies at the core of architecture’s cultural and exhibitionary project: a forum to reach and produce new audiences. on the other, it replicates the enduring question of how to showcase and tell stories about absent buildings. this question has been addressed by a suite of new modes to express and mine architecture’s own traditions. often, these new methods of communication reflect an intensified engagement with media and approaches traditionally seen as art practices. this sort of overlap has served to blur the expertise and responsibilities of distinct disciplines.

the relationship between art and architecture is a historical narrative unto itself. both practices have evolved around the changing nature of public space, in the function of specific sites, and in the expanding definitions of national and civic identities. to continue the unity of architecture and the exhibition format of the biennial is to acknowledge these commingling histories. it also becomes—in its very act and existence—a nod to the past, which stands to strongly influence both the present and future of design depictions. at stake is the furthering of diverse identities and cultural politics, and the way in which these identifiers shape the changing representations of the architectural practice.

at-a-glance examples of the 2015 chicago architecture biennial below…

[ NYCxDESIGN ]
NYCxDESIGN, New York City’s official citywide celebration of design takes place each May. Spanning all disciplines of design, NYCxDESIGN creates a collaborative platform for cultural and commercial opportunities, elevates established and emerging design practices and increases awareness of and appreciation for design by all audiences.

Hosted in New York City, NYCxDESIGN brings together all the disciplines of design, commerce, culture, education, and entertainment with a full, varied program, including exhibitions, installations, trade shows, talks, launches and open studios. 2016, the fourth year of the celebration, featured over 500 events across the 5 Boroughs of New York City and included topics from graphic design to architecture, technology and urban design to fashion and product design, interiors to landscape, furniture to design thinking, and more. Click here to view a recap of NYCxDESIGN 2016.

For an overview of NYCxDESIGN 2017 and inspiration for events that you could put on this year, click [ here ]

also check out happenings at [ icff 2017 ] between 21 > 24 may 2017

above > cusp conference big dogs / andy eltzroth, kelly komp, kevin krueger and dave mason

DesignApplause and dave mason agree to meet right after his 2016 cusp conference – after dave takes a few days off to do whatever one does after a ninth annual iron man of sorts.

[DesignApplause] first question that comes to mind: where did the cusp conference come from?

[dave mason] it really came out of my experiences going to other conferences. early in my graphic designer career i went to a lot of graphic design conferences and they were hugely valuable. after a while it seemed i was hearing the same kind of things over and over. it’s not a knock on those conferences per se but graphic design is a narrow vertical. so i ended up going to different types of conferences. for example i went to ted several times way back when when it wasn’t quite as out of reach financially. eventually ted spawned a spinoff in toronto called idea city. kevin krueger and i would take six or seven of our employees to idea city every year because of how much we got out of attending as a group.

both ted and idea city had addressed design to some extent. those elements were presented in a very broad sense. as time passed kevin and i realized we were investing a significant amount of money taking our team to these events.

so over time we began to look around for more design-centric options. since we couldn’t find anything treating design in the broad/focused way we were looking for, like idiots we decided to take a shot at creating such an event ourselves. after about two years of planning and thinking and designing, the 2008 recession hit and we decided to do it. like i said, idiots!

that’s really where cusp conference came from. because we view anything that’s been created by humans as being designed, we position cusp as a conference about the design of everything, with design as a big broad idea that allows us to invite anyone we want. that’s the genesis of cusp.

[da] that’s awesome. did you ever make the international design conference in aspen?

[dm] i have not been to the aspen conference.

[da] cusp reminds me a lot of aspen where physicists, writers, social workers, ceo’s and just a mix of speakers that somehow weaved design into their deal without much difficulty. of interest richard saul wurman attended aspen then became a board member and when in the mid 80s aspen’s star began to fade richard founded ted.

[dm] we are fortunate enough to know richard and he’s been a cusp speaker, so it kind of came full circle. cusp gives us the opportunity to bring together different like-minded people within the construct of ‘the design of everything’. you’ve been to it a few times so obviously you know it creates this weird thing that happens, which is kind of exciting and energizing for us.

[da] you dovetailed into my next question — why you do it. please tell us if cusp ties into your day jobs at multiple.

[dm] we’ve evolved from taking a few employees to a team building event to involving everyone in our company to our own conference. granted some are backstage working their butts off, but it dovetails perfectly with what we do in our day jobs, designing in a dynamic, ever-changing world.

cusp is a very energizing and a galvanizing force for the company, bringing us all together, and from a strictly business standpoint, it doesn’t hurt our brand either. it’s a very positive thing all around.

[da] no question about it. you and i made a plan immediately after cusp 2016 to have this chat after you took a vacation. now you’re back, are you starting to think of next year?

[dm] well i never stop thinking about next year. i was thinking about next year last year. this thing is with me 24 hours a day. my radar is always on. it’s amazing how many times a day i bump into something and i make a note of it. two years later, that note i made has translated into someone standing on the cusp stage talking about something. it’s sort of become part of my dna for want of a better term.

[da] i recently talked to people who went to an annual design conference and they mirrored what you said earlier regarding repetitive topics. the rookie attendees were a lot more inspired than the seasoned attendees. this speaks to your eclectic group of speakers. so what do you look for in a speaker?

[dm] that’s a very popular question. we have a trivial phrase and i’m sure you’ve heard it: cusp worthy. we don’t invite people because they’re public speakers or ‘thought leaders’. we invite them because they’re involved in something that fits the essence of the conference. sometimes i may send a prospective presenter information about the conference. on a follow up they’ll say, ‘i’m not a designer, i think you’ve got the wrong person.’ but when i explain to them that the way we see it, if for example, they’re endeavoring to re-conceive the u.s. criminal justice system. that maybe they’re trying to redesign it. that maybe this process does make them a bit of a designer. and they often go, ‘i never thought of it that way, ok, i’ll come and talk.’

i find people. i contact them. i invite them. i talk to them. if they say yes, they come. and that’s it. and the process rarely comes up short.

[da] i’m a bit conflicted with the design label though when it’s in everyone’s vocabulary, both good and bad and especially when it’s not tied to a process. but to your point, historically, cusp has curated a great and inspiring body of work. and design does feel comfortable in many settings.

[dm] that’s a good way of looking at it. there’s something special that takes place at cusp…the speakers can only talk about themselves and what they know and what they do. a product designer and a comic book writer may find a common thread in their, let’s call it design, process. and the attending sales manager, or librarian, or student, realizes that thread and takes it into their own world. that’s pretty cool. we think everyone has a design gene which they wittingly or unwittingly use to solve their problems. as a species, in a relatively short time we’ve gone from stone tools to putting a vehicle on mars. you don’t do that unless you are designers by nature or by instinct.

[da] not everyone, but evenly distributed amongst all passions and whatever disciplines. there’s a nice sprinkling of someone who can visualize things and folks who can create a process and folks who can execute this stuff. in that sense, we’re all designers. no question about it. cusp’s main theme is clear. is there a sub-theme?

[dm] we want to introduce design to everyone and introduce it early when possible. for example, if we can get high school kids to cusp, we want to reinforce design as a concept in their minds, that they can design things too. that they don’t have to accept the status quo. that things can be redesigned as well as designed.

american democracy is not the same as canadian democracy. and that’s by design. but these systems can be redesigned if they’re not working. that’s the essence of cusp. by saying it’s ‘the design of everything’, we mean everything.

[da] good point. i was exposed to jazz in high school and it’s served me well in all sorts of ways. what do you look for in an audience?

[dm] i think the audience self-selects. and cusp is unusual. we have lifers who have attended 6, 7, 8 years. when asked how they would describe cusp, they’re like ‘i don’t know.’ it’s a hard thing to describe, which makes marketing a little difficult! in the beginning cusp came from and was of the design world. the attendees were design-centric professionals we knew — our peers and our colleagues — our friends — mostly practitioners of design. over the years the mix has evolved to less than 40% being design practitioners. the rest are composed of chief innovation officers and company founders, etc., who know that design matters and they should be thinking about it and learning about it all the time. and that’s why they’re there.

[da] i like the daily schedule – cramming a lot of stuff in 2 days. especially the second day. i like the music each morning to get the head straight and i’ve become accustomed to death topics after lunch. this year someone talked about the prison system and the guy i was sitting next to was saying ‘boy, this is really heavy stuff.’ and i said, ‘a couple years ago a woman talked about planned (designed) assisted death.’ so i’ve come to expect and anticipate that messaging after lunch.

[dm] ha! good to know but that’s not intentional! here’s a little secret, ron. we don’t ask people what they’re gonna talk about. we invite them because of who they are and what they’re involved in — for example someone might get invited because they’re the greatest widget designer in the world — but they’re free to talk about whatever gets them up in the morning or keeps them up at night. and then they don’t talk about just widget design. they talk about something that matters relative to the design of everything. like i said, people have been there 6, 7, 8 years. they can’t describe cusp per se but each year it’s a new life learning experience.

[da] so is there anything you want to do that’s been a real challenge to make happen?

[dm] i don’t think so. because we’re not trying to grow this into a worldwide thing. we like exactly what it is. it’s small, intimate and everyone gets to meet everybody. it’s got a great reputation now, to the point that when i invite someone now, they take a look at the site and say that they’d love to be a part of it. it’s got some momentum i guess. it’s not our day job. there’s nothing that we sit around and go ‘i wish we could do this, but we just can’t get there.’ ya know? it is what it is and we’re thrilled with it.

[da] sounds right. is there anything we didn’t talk about that you wish talk about?

no, but here’s a refrain. these days, through algorithms that think they ‘know’ us, we get lot of programmed content, keeping those things we inquire about in our faces. cusp can’t pretend it knows you or what you might find interesting. if you go to a graphic design conference as a graphic designer, you have a reasonable graphic design expectation. but we hear it over and over: folks don’t know what to expect when they attend cusp conference. numerous people have said ‘i really didn’t know what to expect, but i was flipped out or blown away by it.’ people came away with so much because they literally had no clue what they were going to experience.

so ultimately it’s that unknown that becomes valuable, the serendipity of it all. i think that’s what i hear over and over. ‘wow. i work in this field. i never would have experienced what this guy from this field completely different from me had to say, but what he said applies to me.’ and there lies the magic of: the design of everything.

lecture > tuesday, 13 june 6pm | museum of contemporary art chicago | 220 east chicago avenue [ RSVP ] /////
exhibition opening reception > tuesday, 13 june 7pm | luminaire chicago | 301 west superior street

[ luminaire ] continues its commitment to viscerally connecting the public with contemporary design by hosting muti-disciplinary italian architect and designer antonio citterio for a lecture and exhibition in chicago. on tuesday, june 13th, citterio will present a lecture at the museum of contemporary art chicago which will be followed by an opening reception for the inauguration of a month-long exhibition of the designer’s work at luminaire chicago showroom. aiming to uncover the connective stories between process, product, and design, the exhibition will feature iconic pieces designed by antonio citterio for renowned brands b&b italia, vitra, and flos.

antonio citterio’s design philosophy has always been focused on a method, not a style. the metamorphosis of an idea or an intention, into a project or a product, takes place by means of the alchemy that is the relationship between him as an architect/designer and the client. his all-encompassing design sensibility is reminiscent of the total environments created by arne jacobsen. a proponent of rational design, citterio has produced truly innovative furniture design while paying homage to influences such as eileen gray, charles and ray eames, and george nelson. winner of the compasso d’oro award in 1987 and 1995, his products are part of the moma permanent collection in new york and the centre pompidou in paris.

the month-long exhibition showcases a curated selection of citterio’s iconic designs for an array of manufacturers. included in the installation is the mart lounge chair (b&b italia, 2003), charles sofa (b&b italia, 1997), ac4 task chairs (vitra, 2008), grand repos armchair (vitra, 2011), kelvin led lighting (flos, 2009), a.b.c. lounge chair (flexform, 1996), citterio e bathroom fixtures (axor, 2014), battista trolley (kartell, 1991), and design-focused gym equipment from technogym. throughout the showroom, additional products by citterio will be on display. the exhibition will also display multi-media presentations that share the stories and methods behind the featured products. these visual aids will additionally showcase the designer’s architectural works from around the globe which compliment and enrich the storytelling experience of the exhibition.

luminaire has shared citterio’s unique insights about architecture and design with audiences in both miami and chicago on several occasions throughout the years. in june 2004, luminaire was the first to present citterio’s stunning new lighting collection for flos. he also discussed his architecture and design projects at the opening of luminaire’s superior street location in chicago in november 1992, and luminaire welcomed antonio citterio and terry dwan as guests of honor at “milan in miami,” an evening gala and exhibit that celebrated luminaire’s 21st anniversary in june 1995.

to help luminaire in the quest for fighting cancer, citterio also participated in puppylove 2006, transforming a 3d white plastic puppy designed by eero aarnio in a fuschia-colored, curly-tailed gift of love that was sold at auction to raise funds for the university of miami’s sylvester comprehensive cancer research center. in 2008, citterio celebrated the magical properties of paper with luminaire, creating in-out,’ a simple yet eye-catching single piece of white paper with four neat columns of pyramids spread across the white page and five rows leading down. a simple concept, but intriguing enough to explore for hours. ‘in-out’ was auctioned to raise funds for cancer research during the exhibition paperlove.

2017 marks the 20th anniversary of antonio citterio’s iconic creation for b&b italia, the charles sofa. 20 years on from its debut, charles remains a reference model in the world of design worldwide.

charles | b&b italia | 1997

during neocon week, luminaire will also unveil the newest lighting installation by the creative director of bocci, omer arbel. a cluster of sculptural lighting consisting of 61 pendants of bocci 87 series creating a matrix of stretched and folded glass and trapped air that give the piece a pearlescent optical quality. the bocci 87 was recently debuted at euroluce during milan design week. luminaire believes that design is a language, and as such has the power to transform lives. part of our fundamental value is to spread our passion for design through education, and we are honored to strengthen design awareness through Antonio Citterio’s creative process.

a.b.c. divano | flexform | 1996

flat | b&b italia | 2008

frank | b&b italia | 2012

mirto | b&b italia | 2014

belvedere clove | flos

kelvin edge | flos | 2009

grand sofà | vitra | 2017

[ neocon’s 49th edition ] since 1969 neocon continues to serve as the world’s premier platform and most important event of the year for the commercial design industry. below are events with the merchandise mart as well as off-site satellite offerings.

neocon at the merchandise mart | 222 west merchandise mart plaza chicago [ directions ] /
[ show info ] /
monday 12 june 9am > 5pm
tuesday 13 june 9am > 5pm
wednesday 14 june 9am > 3pm

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150 media stream at 150 north riverside.

21 April @ 8:00 am - 31 December @ 10:00 pm UTC-5

150 north riverside, 150 north riverside plaza
Chicago, IL 60606 United States

chicago’s largest multimedia art installation, 150 media stream, opened to the public on 21 april at 150 north riverside, an innovative award-winning 54-story office tower located along the chicago river. a swimming pool-like device within the tiny foot-printed building keeps things stabilized.

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in keeping with the theme of this year’s isda international design conference: design IS business, we asked conference speakers three questions.

>> name a business book that you feel every industrial designer should read and why?

max burton idsa / ceo and chief designer / matter / 18august 2:00-4:00 rapid fire sessions

i don’t think industrial designers should read books on business, it distracts them from what they need to focus on – being creative. as a successful business owner, i empower my very experienced managing director, who has an mba and 25 years running businesses to advise me.

ti chang idsa / co-founder and vp of design / crave / 18august 2:00-4:00 rapid fire sessions (8 min talks)

i do not read business books. only use it as a reference when you come across problems that you need to solve, otherwise they will just overwhelm you with problems you do not yet have.

david dombrowski idsa / director, industrial design & innovation / pfizer consumer healthcare /
17aug 5-6pm panel / business of corporate design studios

life is good: the book by bert jacobs and john jacobs. in this entrepreneurial and start up world we live in, industrial designers are poised to want a piece of designing it. we must all stay optimistic as life throws challenge after challenge at us. i found this book to keep me grounded with its beautifully crafted whit around 10 superpowers. the book is the autobiography of the company life is good as told by the two brothers that started the company. as they put it “how to live with purpose and enjoy the ride”.

liam hawry / director of industrial design–packaging / studio one eleven / 17august 2:00-4:00pm rapid fire sessions

creativity, inc. describes the story of and methodology at pixar. it’s filled with messages about how to prioritize and champion and manage the creative process, of course with amazing results to prove it.

chris kaye idsa / vp of research & technical innovation / us endoscopy / 17august 9:00-9:30am the dichotomy of design and business

i don’t know if it qualifies as a business book, per se, but one i recommend is thinking fast and slow by daniel kahneman. it is an excellent insight into our perceptions and what influences our decision making processes. improving both our self-awareness and the thought processes of others can assist greatly as we try and determine needs and their optimal solutions. another more traditional business book is dealing with darwin by geoffrey moore. i like the way it deals with types of innovation and markets opportunities and how they are judged and prioritized from a business perspective which can be a significant assistance to designers.

tsai lu liu, idsa / department head, graphic and industrial design / north carolina state university / 17august 2:00-4:00pm rapid fire sessions

designing for people by henry dreyfuss, one of the founders of american industrial design and the first president of idsa. the human/customer-centered design/business philosophy established in this book is as relevant and refreshing today as 60 years ago when the book was written.

evan macdonald / branding and design / freefly systems / 17august 2:00-4:00pm rapid fire sessions

creativity inc by ed catmull. he’s the president of pixar and disney animation studios and talks about how creativity should function in business. pixar is a nearly flawless example of how creativity and business should work together.

lisa marks idsa / assistant professor of technology and applied design / berea college / 17august 2:00-4:00pm rapid fire sessions 

it may be cliche, but i love how to win friends and influence people by dale carnegie. at its root, it talks about how external stimuli effects human behavior, something that is great to know as a designer. i’m also a bit of an introvert, so advice on networking and meeting people effectively is always welcome.

john suh /
 vice president
 / hyundai ventures / 17aug 5-6pm panel business of corporate design studios

creativity, inc. by ed catmull. great stories about pixar and how they grew from a small group to a major animation studio. of the many stories, tells of the need for leaders to be surrounded by a group of trusted peers whose role is to be a truth teller. ed calls this group “the brain trust.”

nate young / svp of design and ideation / newell brands / 17aug 11:30-12:00 the best way for design to become a brand is not to force it

the fountainhead by ayn rand. why: on one hand, it challenged common orthodoxy surrounding design and creativity at the time. it is a timeless struggle. on the other hand, it demonstrated the stupidity of a philosophy taken too far.

>> name an industrial design book that every business executive should read and why?

ti chang idsa / co-founder and vp of design / crave / 18august 2:00-4:00 rapid fire sessions

art of innovation by tom kelley / the user experience is key. this book helps people of the design industry view innovation from high level user experience perspective.

max burton idsa / ceo and chief designer / matter / 18august 2:00-4:00 rapid fire sessions

the nature and art of workmanship by david pye / this book was required reading for students for my undergraduate degree in england. the book communicates that good design requires an understanding of making, materials and craftsmanship. this is important not only for the quality of the end result , but also for the process of getting there. throughout my career i have made sure that i involve making and prototyping as an intrinsic part of my design process. executives need to value creative exploration and understand that with most great products, the early stages are fuzzy… introducing physical prototypes early on in the creative process turns abstract ideas and thinking into something tangible and actionable. it also allows all key contributors including executives to influence the creative process.

tsai lu liu, idsa / department head, graphic and industrial design / north carolina state university / 17august 2:00-4:00pm rapid fire sessions

designing for people by henry dreyfuss / one of the founders of american industrial design and the first idsa president. the human/customer-centered design/ business philosophy established in this book is as relevant and refreshing today as it was 60 years ago.

chris kaye idsa / vp of research & technical innovation / us endoscopy / 17august 9:00-9:30am the dichotomy of design and business

designing for people by henry dreyfuss is a little dated, but remains a classic. it covers a multitude of markets and helps drive home the design thinking, problem solving approach, and focus. there are numerous examples of project successes, challenges and even some ironic twists and mistakes along the way.

liam hawry / director of industrial design–packaging / studio one eleven / 17august 2:00-4:00pm rapid fire sessions

the design of everyday things by donald norman / classic little book that exposes how much impact the interactions we have with man-made objects have on our overall experience of the world and perceptions about them.

nate young / svp of design and ideation / newell brands / 17aug 11:30-12:00 the best way for design to become a brand is not to force it

beautiful thing by robert clay / why: perfect design primer.

evan macdonald / branding and design / freefly systems / 17august 2:00-4:00pm rapid fire sessions

my previous answer – creativity inc by ed catmull. that book would be a big help to opening business execs to the power of creativity in business. in the interest of not recycling my previous answer, lets go with the design entrepreneur by steven heller. or the classic from don norman: the design of everyday things. is that a cop out?

david dombrowski idsa / director, industrial design & innovation / pfizer consumer healthcare / 17aug 5-6pm panel / business of corporate design studios

let my people go surfing by yvon couinard and naomi klein. a brilliant book about the growth of the privately held company patagonia. the growth of culture within a company in which design played a major role in the development of its products. the book is complete from all aspects of how patagonia became the company it is today.

lisa marks idsa / assistant professor of technology and applied design / berea college / 17august 2:00-4:00pm rapid fire sessions

lightness: the inevitable renaissance of minimum energy structures by adriaan beukers and ed van hinte. while at first glance this book is primarily for giant design nerds like myself, it also speaks to how material and design decision can influence the way the world works, from transportation to business decisions.

john suh /
 vice president
 / hyundai ventures / 17aug 5-6pm panel business of corporate design studios

the physics of life by adrian bejan. while this may not be a traditional industrial design book, it does deal with design in nature. it deals with a law of nature, called the constructal-law, which states that for a finite-sized (not infinitely large and not infinitesimally small) to live (to persist in time), it must change its design (configuration) to allow greater access to the things moving through it.

>> steve jobs was influenced by calligraphy. what surprising class or practice has influenced your work?

ti chang, idsa / co-founder and vp of design / crave / 18august 2:00-4:00 rapid fire sessions (8 min talks)

furniture design was incredibly helpful in honing my aesthetic sensitivities and my design values. a chair is just a chair until you have to figure out what makes that chair your chair that defines you as a designer. talk about soul-searching and personal design life crisis!

max burton, idsa / ceo and chief designer / matter / 18august 2:00-4:00 rapid fire sessions (8 min talks)

many industrial designers i know also play instruments and i play the classical guitar. i find the physical interaction with a physical instrument a visceral experience that refreshes my enjoyment with the tangible world in a digital era. the act of playing well requires skill, artfulness and interpretation, similar skills to being an industrial designer. a good guitar itself is a piece of fine craftsmanship. there is a symbiotic relationship between the guitar maker, the guitar and the player. great guitars can cost a small fortune and perhaps ironically the best ones are still made completely by hand by one person.

[ idsa ] [ #idsa17atlanta ]

above > image courtesy of chicago architecture biennial

the second edition of the chicago architecture biennial (cab) is the largest architecture and design exhibition in north america, showcasing the transformative global impact of creativity and innovation in these fields. this year’s biennial features over 141 practitioners from more than 20 countries addressing the 2017 theme “make new history.” artistic directors sharon johnston and mark lee have selected architects and artists whose eye-opening creations will invite the public to explore how the latest architecture can and will make new history in places around the world. the main exhibition is free and open to the public from september 16, 2017 through january 7, 2018.

the make new history exhibition extends to off-site locations and is amplified through six community anchor exhibitions in the neighborhoods and two special project sites – plus installations, performances, talks, films, and more hosted by over 100 local and global cultural partners.

chicago architecture biennial | chicago cultural center 78 east washington street chicago 312.854.8200

neocon at the merchandise mart | 222 west merchandise mart plaza chicago [ directions ] /

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upcoming events › CAB

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150 media stream at 150 north riverside.

21 April @ 8:00 am - 31 December @ 10:00 pm UTC-5

150 north riverside, 150 north riverside plaza
Chicago, IL 60606 United States

chicago’s largest multimedia art installation, 150 media stream, opened to the public on 21 april at 150 north riverside, an innovative award-winning 54-story office tower located along the chicago river. a swimming pool-like device within the tiny foot-printed building keeps things stabilized.

Find out more »

past forward: architecture and design at the art institute.

12 September 2017 - 12 January 2018

art institute of chicago, 111 south michigan avenue
chicago, IL 60603 United States

showcasing the art institute of chicago's seminal twentieth and twenty-first century holdings of visionary architectural drawings, inventive furniture design, and powerful graphic and industrial designs, past forward: architecture and design at the art institute marks the grand opening of the museum's newly reinstalled permanent collection.

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