Seasons Greetings - Text

DESIGN ART? MATHIEU

Design and Art MIT PRESS collective work

Reconciliations between objects produced in the field of Art and Design are currently recorded by different observers. Identify these objects whose status is cloudy, it is implicitly asserting that other objects can be easily identified as falling within one or the other.

But what are the normal procedures of identification?

In the absence of binding or contractual definitions, consensus on the genesis and purpose art and design, only common representations and formalized: the artist creates -useless objects produced by hand-by itself-to be aesthetic and designer-design-aesthetic objects-products industrially-by-third to be useful are able to produce the normative criteria necessary for such identification.

They are therefore proposed definitions of tacit and can usually be attributed to the confusion felt an object to the exemption to one or more terms of these representations, the exemption limit whereby a designer has to be received in the world of art and an artist in the design.

If all these players are not obliged to comply, as is the case for the actors of the scientific community who adhere to a contractual joint project, they must justify their exceptions, to the extent that such representations, certainly not parent, remains the only basis for dialogue between the different currents of each discipline.

Typologies
Using shared representations identified and formalized artist-created- useless objects produced by hand-by itself-to be aesthetic and designer e-design-objects-aesthetic-industrially produced by a third to be useful can draw grids of analysis, allowing to better understand our intuitive classifications of objects in the two classes considered.

analytical normal cases

analytical cases non-normal

The first two sets against producers of articles corresponding common representatives, while the second considers a designer and a group of artists working for a rapprochement between art and design. There is a permutation of positions on all items, except those on the institutional status of the producers of objects.

In this taxonomic approach it is clear that there is no justification for the second grid, the names "designer" and "artist" if the mere authority of the actors in these environments.

So we need to know the reason for these producers object to whether the words "design" and "Art" have different meanings and institutional in their eyes.

start by Maarten Baas.

s Cabinet Erie Smoke burned furniture / epoxy coating

MAARTEN BAAS

Maarten Baas comes from the Design Academy Eindhoven. He was received bachelor in 2002 with, among other things, the series Smoke, a collection of stylish furniture charred with a blowtorch. Smoke joined

enough rapid collection Moiiiii, whose editor was none other than Marcel Wanders and his remarkable presence on major furniture fairs marks the beginning of an international reputation than his other series Demanti not Hey, flesh, needs a bookshelf! , Clay Furniture, Sclupt , Treasure Furniture ...

Maarten Baas presents himself as a designer intuitive. When asked about his motivation, he replied simply that he does what comes naturally and has nothing else to add. His concerns, as can be judged in view of sometimes terse or evasive answers revolve around the question of beauty and unique sending us a priori ... auratic size of the artwork.

I often find that people are fascinated by forms of beauty very standardized: the futuristic-looking cars, aggressive, bright, symmetrical, imposing ... This is not my idea of beauty. I'm looking for other definitions, more personal, more fragile.

His method of working also with the ability to slice projection and delegation which characterized normatively design activity of the designer. He himself performs some objects without precise planning of production.

For "Hey flesh, it's a bookshelf!" I am challenged to make a functional object from any bric-a-brac that had recovered flea. I did it without any regard for the obvious solution: I could cut a foot here, saw a bar there, and rebuild something. But I did not saw, only a roll of scotch, and I assembled it very spontaneously, by stacking flat surfaces, correcting imbalances, once the structure threatened to collapse.

But do not count on Maarten Baas to dispel any misunderstanding between art and design which he seems to ignore its existence. He sees himself as a designer elsewhere uninhibited, absolutely yes, impervious to criticism and if it is satisfied with the reception of his work, he does research in any way.

Many designers do not dare to take artistic risks because they are paralyzed by fear of failure Financial. They correct what is too expressive. And so we end up with a bunch of useless things and poor in the market.

The reasons that led him to leave the territory normative design are justified, therefore, it seems, only by an inner necessity, an attitude, again, historically artistic.

However, we can detect in his words a certain disenchantment vis-à-vis this "normal design" that he considers unnecessary or needless.

I think any designer who claims to be "eco-friendly" is hypocritical. Even if a chair is produced under certain environmental standards, the chair itself, is not essential. It is therefore more environmentally friendly not to produce a chair at all.

Maarten Baas This remark shows more clearly how their work is not genealogically design and art. He wonders here, as a designer on the statutory duty which is historically vested in his opinion, that produce objects, and found its expiration.

Haunted by inflation of objects that characterizes our affluent societies, he sees the perpetuation of its designer status in the recycling of objects and the production of objects aurata.

Hey flesh, needs a bookshelf! used furniture / epoxy coating

Hey Flesh, needs a bookshelf is enlightening in this respect. Very functional, since the chairs perform the storage function by "destination" object extension tube, an aggregation of the items left out of the consumer society by giving them unique, ostentation and author signature.

Yellow Dining Chair series Treasure Furniture Falls wood / paint e

Series Treasure Furniture follows the same strategy diversion, but from wood scraps from a furniture factory, from standard panels machined to the same production, and therefore strictly identical. Thus, a Yellow flesh Dining is a serial product from another product series.

Zig-Zag chair G. Rietveld series Smoke burned furniture / epoxy coating

With the series Smoke , Maarten Baas does not guarantee the rebus, but appropriates objects heritage identified through a unified aesthetic appearance ... in the act of appropriation calcinant.Cet, thanks to the intervention of the Groninger Museum, He was then transferred repurchased some of its bottom duly charred furniture extends to the more comtemporary.

If he tries to convince us that this is nothing to provoke, but rather a tribute to his predecessors, we note that they all receive the same treatment and have So other than being as its predecessors.

This is a procedure of double-legitimation (which reflects on the artist and the city citator) common in the world of art (found by example appropriationism Sherry Levine), except that the artistic iconoclasm can never threaten the physical integrity (see case Pinoncelli) of the work, since his will is precisely this uniqueness.

No such scruples here ... these objects are not irreplaceable in the eyes of the law and Maarten Baas.

to Top: Cabinet Series SCULPT

in Netherlands: furniture series Clay Furniture

Series Clay Sculpt series exploring for their production and to constantly object intuitive perspective. Clay is thus to make objects using manufacturing systems used in modeling to validate and Sculpt "finished objects" made of foam blanks.

This brief review of work by Maarten Baas confirms that its methods differ in many respects common methods of the designer. It also demonstrates that there are also conform in all respects with the many common methods of the artist.

is in fact a mere permutation in which there remains only the concept of utility itself undermined, as we noted in our analytical framework.

Nothing in the words of Maarten Baas has not truly informed about the rejection of these common methods, apart from its reserve against consumer society.

It is clear however that his proposals are not intended to counteract this situation, since they are positioned behind the economy "normal" through the lavish production of objects to destination for wealthy and educated elite.

If there's next to the design, regardless of the relevance of its position is because he never gives up completely to the function of use.

We are far from having exhausted the significance of work by Maarten Baas, we analyze more deeply the motives and those of other designers at the border in a more general phenomenon of the art design.

A follow Marti Guixe "ex-designer"

sources:
http://www.letemps.ch/horsseries/dossiersarticle.asp?ID=220754
http://www.usign.com/index.php/outsign/marteen-baas.html
http://www.coolhunting.com/archives/2008/04/interview_with_7.php
http://www.dezeen.com/2008/04/10/studio-baas-den-herder-in-milan/
http://www.lexpress.fr/mag/tentations/dossier/design/dossier.asp?ida=460585&p=2
http://209.85.129.104/search?q=cache:5meL3zHpVvoJ:www.blog.homology.com/deco-design/mon-cafoutche/starck/+maarten+baas&hl=fr&ct=clnk&cd=39&lr=lang_fr&client=safari
http://www.blogg.org/blog-8296-billet-_salon_du_meuble_de_paris__13_01___17_01_2005_-92771.html
http://www.maartenbaas.com/
http://en.wikipedia.org/wiki/Maarten_Baas
http: / / www.maartenbaas.behindthedesigns.com/

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Friday, February 29

I just watched the professional photos of Gaetan on its website.

WHAT TALENT! For me it is part of every major, professionals do not make a mistake, what size.

I do not understand why you are unable to mobilize the arts and especially that of fashion. This is not a criticism of course.

Unfortunately, it is still a taboo subject which certainly scare some people, so they do not want to "tarnish" their image by engaging and mobilizing to defend GAETAN.

I believe and I'm afraid you're right about the holding of Gaétan, it is both of incompetence, corruption, bribe, jealousy toward the West, ill will and certainly a lack of courage to some, heart, conviction and passion to defend GAETAN and that a financial interest that may be drawn from this case.

Also from what you say around him would not be of any trust, which is serious

Money has no smell, is not it. It is the leprosy of our society and will destroy us.

the West End is near, we're on the downward slope.

Meanwhile, your brother, cousin, loses hope and feels increasingly alone and abandoned and languished in an Indian prison. GAETAN POOR, poor us, powerless against this terrible tragedy.

Time is short, now is it out of this nightmare, otherwise it will fall into oblivion like so many others, alas!

Unfortunately, I think as the consul that it could take months or even years. There are enough examples in non-Western world.

I also find you like what ... I praise your courage and your fortitude your sacrifice, you're a real fighter and I am proud to have as a cousin you. You do not give up. BRAVO. I'm thinking I'll go with you and with you in your fight against this great injustice. I was glad to hear you the other night.

hope for better news soon, we can dream.

Take care of yourself, you're the lifeblood of the family.

I kiss you and your mom that I often think that I will write soon and regret not being able to be with you for the Pentecost, to support you and help you with the best of my ability

Bernard.

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Beste Myriam, I
hebt Gelijke, inderdaad but everyone is waiting. So many valuable and critical time lost, the reasons for certain Gaetan. The only thing proven here is surely the laxity of a consul who apparently do not know what to do with such situations! From the government there are apparently no response. Is this country, people and peace ...? It just makes me angry and tired of politics. Apparently late Belgian diplomats were, however, a heavy drain. However, it appears our country is to have good diplomatic relations with India, especially after the visit of rich Indian industrialists with our royal family, and our own Prince Philip was seen screaming at all these guys!? We can only conclude that not every Belgian citizen living abroad who emergency wrong to count on full support from our government. They are talking about legal and human rights of a fellow countryman. A respectable person with no criminal record or previous convictions, someone who simply innocent trapped, a person whose right to freedom declined, without pardon. I say this frankly, from further police investigation found the evidence still zero.
It seems appropriate to you personally speak with you sometime to discuss further action. Meanwhile I'm writing a letter now to our consul in mombay and one to Gaëtan.
My patience is at an end!
With a sincere and best regards, Andy

On 7-May-1908, at 18:04 Myriam has Vandelanotte het volgende geschreven:

To all
Here, the Court of Mumbai takes vacation from May 9, so they will still be there tomorrow, and then finished for a month. Normally
vacation that lasts one month! One more month to lose! Gaetan
still waiting in jail and nobody moves. He is sick, he is alone.
Are there "mal-intent" of the police station as he thinks Daniele? Then she said they were so nice to her and they want the good of Gaetan?
corruption there and waiting for your money under the table? Is there jurisdiction in the matter? Are there any ill will toward the West and its mentality "rotten"?
Is Justice? A lawyer who is too patient? the consul who is too cautious?
Is it just business as usual in India??

Anyway

Could we all write in mass Consul Mark Neely and the counsel Vijay asking them to do the impossible to get out even now, at least temporarily, from there?
it does not stay another month or two or three in this prison? in this hell?
The consul told Daniele (suddenly ????) that could take years !!!!!!
It still does not continue to wait and do nothing all this time? A Mark

you can write and anglais ou en français. A l'avocat If, Vijay Hire Math, and simple anglais seulement.
mark.neel @ diplobel.fed.be

l'avocat
vijhir@hotmail.com


If anyone wish to continue and improve, do not hesitate to ask me.
You can always look to Gaetan's blog: http://helpfrancoismatthys.blogspot.com/

I collect money in my account which makes it easier for those who have no credit on the number 001-2054011-15 with
words "for Gaetan.
I will keep you informed of any income and the sum that we have and what we need and what we spend.

send a mail with info from this mail to your friends. WRITE
and mass to the consul, Mark Neel and the lawyer Vijay Hire Math.
address above.
Soon we would organize a parade, it is spoken of, along with several former colleagues from Gaetan here in Brussels.

We can also write to Karel De Gucht: karel.degucht @ skynet.be ceci est le mail du ministre des affaires étrangères, ecrivons en masse!
Même s'il ne savent rien faire remuons lesson, Seron nous au plus nombreux, plus the chance nous avon Bouger de faire quelque chose. Charles
J'ecrirai demain à une version epuree the celle-ci.


I collect a sum Gaetan out of prison on my account 001-2054011-15 with words like "to Gaetan.
I will keep you informed of everything that comes from and what exactly we will use that money. I

TENSLOTTE Indian Kunt, schrijf deze avond nog een mail naar Gaetan via Mark Neel
If you can write again tonight via a letter to the consul Gaetan Mark Neel
Address: mark.neel @ diplobel.fed.be

An appointment is made with Louis Michel on Monday. He already knows quite some time.
I do not know if this will help. To me it is the pressure that can help. And the pressure is the mass, the people, the street noise ..

I also write to all the press the same message and I invite them to come and hear what happens. A

you read or hear you, I embrace you all who want to help us

Myriam

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Lehanneur writer

Minority Report Steven Spielberg's Dreamwork 2002

House hypnosis Mathieu Lehanneur polyurethane foam, LCD TV, Film hypnotist Francis Roustand 2005

OBJECT TO LIVING

In 1989, Albert Ducrocq published "The living object," a popular book on cybernetics, the science that was formalized in 1947 by the mathematician Norbert Wiener and will then designated as "mastered the science of analogies between organisms and machines."

Sixty years later, Matthew Lehanneur offers Elements , intelligent household objects, "like a skin," the body that interface with its environment, to assure maximum well-being. The analogy goes beyond the status here merely symbolic and architectonic it occupies in the art nouveau and its fascination in the architecture metabolism and cybernetics, to embrace all these dimensions simultaneously in a new type of objects.

CYSP 1, cybernetic sculpture autonomous Nicolas Schoffer, presented on the roof of the Radiant City in Marseilles during a Ballet Maurice Bejart (1956).

Lehanneur Mathieu, of course, not only accomplishes this syncretism, drawing on the short story, certainly, but already rich artificial intelligence, nano-technology and bioengineering. His work is nevertheless a channel to learn about these discoveries and their possible applications and what they commit the fate of the human condition.

HUMAN DESIGN

By his own admission, his work has no social issue. It seems to give only task is to accompany a new stage of human evolution made possible by technology. He responds with current resources, needs immemorial.

"There I think no notion of "social progress" in my work. Needs and necessities remain, only our means and tools to meet evolving reality. "
Archistorm, March / April 2007. interview with Lucia Pesapane

These means and tools led him to propose objects communicating, intelligent and interactive as many units of current research and development. Let's recall for the record that since 2002, micro-controllers, the chips that make our cars, appliances and other machine tools more intelligent, have become more numerous than the people human and relational objects such as pets bots ( iBot , Nintendog ) have their place in our lives.
Bel Air is an air freshener with a living filter, composed of plants identified in the 80's by NASA for their filtering properties. Stale air, toxic gases responsible for the objects of domestic space (solvents, formaldehyde, trichlorethylene ...), is sucked under the Pyrex bell and forced to go through the sheets and cleaned out by the roots .

The specificity of the work of Mathieu Lehanneur is to put these technologies in rituals, the nearest of the human body. Already in his dissertation Therapeutic objects, he said his interest in the physiological well-being, above all social imperative. As a designer, his job is not to be a vehicle for social progress and even fewer participate in aestheticism of life, but to reduce psychological and physiological stress inherent in the condition of being alive. In this sense, it proposes a new definition of comfort, even as homeostasis, regulation or harmonious exchanges between our body and its environment.

With his "Health Angels, he intends to eliminate the boundary between inside and outside the body. But is it a broader corporeality? Not really ... because the objects do not mix our flesh, but the wrap at a respectable distance, offering us a new anthropology soothing and welcoming, the antithesis of the post-human cyborg.

Mathieu Lehanneur Man is not "master and possessor of nature", it is inscribed, and cooperates with it, without "distorting", ie without reducing it to a simple technical operator or active principle. So its air purifier Bel Air, exposes you it's active in her bodily integrity. The plant is there, clearly visible under his bell.
O. 2006. Glass, aluminum, micro-organisms, magnetic stirrer, white LEDs, oximeter probe, 47 x 42 cm.
O. oxygen generator is a native. A microorganism photoreactive, spirulina platensis, is activated by a light source connected to an oxygen, when oxygen levels drop significantly.

dB , 2006. ABS, mini speaker, motor, charger, 19 cm in diameter.
dB. is a mobile system operating on domestic noise nuisances. Able to identify and approach the noise source, then it emits a white noise, the sum of all the frequencies audible to the human ear brought to the same intensity, which creates a protective band sound.

C. 2006. Elastomer, shape memory alloy, thermal camera, infrared heating, 25 x 66 cm.
C. Smart is a radiator capable of identifying the occupants of a room and the heating of localized portions of the body, rather than the whole piece.

K. 2006. Aluminum clad optical fibers, photocells, white LEDs with high brightness, presence detector, 30 x 28 x 28 cm.
K. Light therapy is an instrument of shock. Able, using photocells to raise too low light, it emits its approach to intense light of 10000 lux, which restores our melatonin secretion and thus keeps us awake.

Q. 2006. Steel with PVC coating, system diffision by pumps and nozzles, presence detector
Q. Diffuse serum fortifying our immune system's approach.

SIGNATURES

In general, the appearance of objects Lehanneur Mathieu is also an aesthetic of ostentation, distantly inspired by the theory signatures, after the 16th century, he quotes explicitly reference Liquid Bone (one of its therapeutic objects, an effervescent sticks evoking a bone for the treatment of osteoporosis). It seeks to make her immediately identifiable objects, producing forms analog functions. This is particularly evident desire for objects that involve invisible features, like its Elements.

"I was indeed" undress "enough devices and systems in place (emission of oxygen, diffusion of white noise, fogging Quinton) so we understand them immediately."

This theory of signatures, described by Michel Foucault in words and things, based on the concept of similarity to justify the principle of causality (eg nuts are good for headache and because a kernel looks like a brain). Episteme in this (way of thinking, the Foucauldian sense), the signature is a key, available to men by God's providence, so they can enjoy the benefits of nature. Mathieu Lehanneur exploits this principle of signing up in relatively recent work. Thus Q his spray Quinton, discusses the ramifications of the bronchi called to inhale this serum. It should be noted however that our modern episteme can not tolerate a purely allusive use of signatures and never take them for real. The placebo effect, expected on this basis in the therapeutic objects can not take place, which perhaps explains Mathieu Lehanneur have failed to put on the market, despite his insistence. It is they allowed to keep intact the meaning of medical practice, integrating the conditioning dose of the drug analogy, reminding the place where the treatment was acting, which is not nothing.

Liquid Bone effervescent sticks prescribed under a treatment of osteoporosis.

THE CABINET OF CURIOSITIES Lehanneur

Besides a more or less rational use of the theory of signatures, Mathieu Lehanneur also draws some of its discursive or aesthetic codes in the same 16 century.

First by an explicit reference to alchemy in its draft wAter , spring water laden with gold food, but also by the bell that caps the plant Bel Air or forms of its Elements , referring to both shells, breastplates, coral, forms Pythagorean or Platonic shapes reminiscent artificialia (human creations) and naturalia (creations of nature) that sits in the cabinets of curiosity. But this attraction to the "Wunderkammer" Is there more than a fad?

His proposals halfway between the artifact and natural, as Bel Air or O. (purifier incorporating a bath of Spirulina platensis "living organism with the highest yield of oxygen"), mimick singularly mind borrowing the occult and wonderful 16 ° century for which there was no difference really naturalia and artificialia, as evidenced by the bones scult and chimeras made by human hands from several animals that were found in the cabinets of curiosity. He finds this an aesthetic capable of carrying his point about "living being".

OF UTOPIA IN REAL

"I do not place a prospective dimension by saying that I'm doing pure research and I do not want to happen. I'm not in that kind of romanticism-there ".

Fine Arts Magazine, February 2006.

Mathieu Lehanneur has long been a designer of utopia or dystopia of, as evidenced by his collaborations with François Roche and the simple fact that none of its highlights is far been published and that the sustainability of "scenarios" has not really been verified. The Hall of mass hypnosis that he proposes for the city project self-generative and abstract I've heard about regressive utopia is reducing man to the magic, the body and the unconscious-king, recalling images most exhilarating, but also the most disturbing film of anticipation.
On the homepage of its website, it says "Mathieu Lehanneur Since 1974" ... somewhere between the tombstone inscription and stamp. Even if he imagines
entering the story ... or on the market, beyond the image of glossy dark brown to light steel face is a decidedly original design approach. Already his working method, focused entirely on the principle of scenario and its inability, by his own admission, to master the tools of conventional design (layout, modeling, production start) is surprising.

But his project Bel Air, the fruit of his collaboration with David Edwards, says a new commitment: to colonize the real, with a viable proposal and positive. The object is already functional and free to sale at the prototype stage, to a large-scale commercialization in 2009.

sources:

http://www.mathieulehanneur.com/

http://fr.wikipedia.org/wiki/Mathieu_Lehanneur

http://www.ecoledumagasin.com/ session16/spip.php? Article60

http://www.cacbretigny.com/inhalt/informationLeha.html

http://www.dezeen.com/2007/11/29/bel-air-by-mathieu-lehanneur/

http://www.ensci.com/uploads/media/dizajn_news2.pdf

intramural No. 135 March / April 2008

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AUTOPROGETTAZIONE possible origins of DIY

This project, led by Enzo Mari, exhibited for the first time in 1974 at the Galleria Milano, under the title Proposta per autoprogettazione , is a veritable manifesto for revolutionizing worldwide distribution.

He proposed to allow individuals direct access to constructive plans a series of furniture easily achievable by anyone, using standard boards and craft materials usual (hammer, saw, nails and glue). These plans, free distribution during exposure, were then combined book form.

Anyone could, for his personal use, and ownership of these drawings-it-yourself furniture at minimum prices. In two days, it could well furnish an apartment with tables, chairs, benches, cabinets, bookcase, desk and bed.

The simplicity of constructive freedom allowed the user to modify the original plans for its convenience and Enzo Mari encouraged this process by asking individuals to send comments and photographs of furniture, once made and personalized.

Autoprogettazion e thus proposed to introduce a new more direct relationship between the creator and the buyer and democratize the creation bypassing the various industry players and distribution.

Enzo Mari and wanted to make the user some control over the design of its environment, almost unilaterally supported by the "consumer society".

"I thought if people were encouraged to build a table of their hand, they were then able to understand thinking hidden behind it. "Enzo Mari

If Enzo Mari offered through Autoprogettazione , anti-industrial design heavily influenced by the Marxist current of the time, this radicalism is now somewhat tarnished following the recovery of his work by the auction houses. The attraction for collectors and design license to one of "his" chair to be awarded 4,957 euros recently. We are far from the democratic ideal that motivated this project, now definitely relegated to the heritage.

Enzo Mari has itself precipitated this museumification, performing in 2007, the gallery Demisch Danant New York, new pieces of his own hands, according to the original plans.

We discuss in a forthcoming article, other more recent initiatives relating to "do it yourself", motivated by a different media environment, economic and ecological.

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SLOW DESIGNERS

"Slow Design is evident in every object, space or image that promotes the slowing of metabolism human in the economic, industrial and urban. "
Alastair Fuad-Luke

Slow Design not practical or recruitment, or excommunication, as has been underway in the vanguard of the last century.

Building on its platform slowlab , he opted instead for a collaborative strategy, bringing together actors from different fields (art, industry, humanities, applied sciences) who are actively involved in the speech training by their debates and practices.

is an open source movement ", like free software, which is enriched by the contribution of each contributor, through conferences, exhibitions, online sales platforms.

This horizontal movement structure explains the extreme diversity of approaches identified.

Here are two which show the extent of this diversity ...

Thorunn Arnadottir designer after the Icelandic Academy of Arts in Reykjavik, is located within a certain tradition of European design, as practice individual, in dialogue with art history and design. It invests very different media (products, performances and installations) to support his remarks on the subject.

Clock his diploma project is emblematic of a Slow design approach, which consists in representing the difference between the slow human metabolism and hyper-fast pace of the consumer society.

The clock is thus an object paradigm. It presents both sides of our modern societies: tails, symbol of the mastery of man over his environment and himself and face side, produced by a powerful anxiety-man architect of his own alienation. For if it is the source of many scientific discoveries, if it allows to organize human work, it is also, for these reasons themselves a source of stress that affects our societies since the worker to big boss.

The clock, as we know, has so far scored and a uniform time, but also produced the conditions of his immediate apprehension. Whence, indeed, whether we are capable of a quick glance to track us so precisely in time. In fact, the metric intériosation this time could be achieved through the extraordinary system of representation offered the position of the needles, and more recently through the digital representation of the time (liquid crystal, LED, .. .). The designers have also been unable to offer a better representation of time and are usually content to play with.

The originality of Clock is precisely not to do better, but do less well than the clock type. It consists of two parts, firstly the clockwork wall, the same as the clock type, and secondly a string of beads driven by it. Every 5 minutes a pearl drop notched plate and hits the previous bead. The cycle of day and night and materialized by a gradient of blue beads, while hours are indicated by red beads. The string of pearls can be worn as a pendant.

For Thorunn Arnadottir, Clock allows you to change the quality and speed of time. It is less accurate (unit: 5min), certainly less readable, but the existence of a rhythm more soothed, as shishi-odoshi, fountains of Japanese gardens. When worn as a pendant chain, it is litteraly the time it takes its time.

Thorunn Arnadottir Africa and evokes a different apprehension of time, made the relationship one has with others. His clock is "an island in a sea of slow speed" because it can not claim to unilaterally subsistuer our clocks, not the world as it is.

Design that Matters (Editor's note: the design that counts) is an NGO based in Cambridge, Massachusetts. It is a collaborative network of several hundred people, professional experts in various fields, students from MIT, working to improve living conditions in developing countries through the design. Their goal is to reach 1 million people by 2012, through their various projects.

These are primarily engineers, who define themselves as expert advice to social entrepreneurs. Their commitment and their mode of action is reminiscent in many ways the movement Saint-Simonian obtained from the École Polytechnique in 19th century.

Their expertise in design extends to the field survey, through to production of the products until the formation of populations.

Among their many projects, the best known and best documented is called Kinkajou.



Sponsored by World Education, an NGO working in Mali, Kinkajou is a revolutionary tool for literacy adapted to the rural adult population, 75% illiterate. Under current conditions, adults wishing learn to read through evening classes, their progress slowed in the low illumination of classrooms (1 or 2 kerosene lamps for 40 people!) and the high cost of textbooks. The Kinkajou , named after a local animal nyctalopic is a projection system for projecting onto any surface an educational document among the 10,000 available on microfilm ... which costs only $ 12. It is manufactured using low cost components and powered by solar energy. It is currently being tested in 41 villages in Mali and allows access to reading more than 3000 people.

This is a design team (sometimes more than 100 people contribute on a project), immédiatemment efficient and pragmatic. By its willingness to bridge the gap between the north and south, to help the poor to provide for themselves, pulling them out only to the imperative of survival, Design that Matters is also part of the Slow Design movement.

Although far apart, their goals and their methods, Thorunn Arnadottir Design that Matters and share the same goal: the welfare of man and his environment.

sources:
http://www.designthatmatters.org/
http://www.slowlab.net/
http://www.thorunndesign.com/

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SUGI, HIDA

Region Hida Takayama in central Japan is famous for its large forests populated sugi, a variety of Japanese cedar. In the Nara period, this tree was widely used in the construction of temples, houses, canoes, we appreciated his qualities hygroscopic, fineness of grain and its pleasant smell. A whole Handcraft developed around these forests, making this region during Fieret the golden age of Japanese architecture.

After the Second World War devastated many parts of Japan were replanted with sugi, because this species grows easily and Quickly.

Unfortunately, with economic expansion, inflation of the yen and the Westernization of the building, the Japanese neglected their trees, preferring cheaper imported wood and harder. The deterioration of the management of forests, resulting from this disaffection, causing an imbalance of the ecosystem, the extinction of some species and others such as the proliferation sugi.

This neglect is currently a serious ecological problems such as landslides, avalanches, destruction of streams and increased allergies due to pollen of sugi ...

However many companies operating timber remained located in this region. One of the oldest and famous, Hida furniture company, founded in 1920, specializes in bending wood, a technique developed by Michael Thonet. Originally, the company works mainly beech and not sugi, whose wood is too soft and filled node is unsuitable for the manufacture of furniture.

In December 2000, when Sanzo Okada became director of Hida, he noted with astonishment that 90% of wood used in manufacturing is imported, while the forests around the reservoir is important. He therefore decided to find a solution to use the sugi sake.

He hopes to participate in safeguarding the environment while using a cheap raw material, as devalued. The economy is on the raw material will keep wages honorable craftsmen, whose skill and expertise are required in the transformation of sugi wood.

"It's easy to understand now that the ecology is also important for men than for the forest."

Enzo Mari.

To succeed in this endeavor, Osaka Sango is confrontré two obstacles: the return node in the tradition of the timber industry as a capital gain rather than as aesthetic defects, and secondly to make the wood sugi harder.

Convinced that can make the knot the appearance, by the uniqueness of his "drawing" natural, he exhibited in 2001 a first series of furniture called Voice of the Forest. This series invites contemplation and meditation, we are making this story of the life of wood. Like rocks in a rock garden, the nodes can take on a cosmic dimension and bring it to the inside of the house. The exhibition was a real success and shows that attitudes have changed: the Japanese, more environmentally conscious, are willing to adopt the sugi.

Bolstered by this success, it only remains to solve the problem of hardness. He developed a compression technique based on the control of the bending of the company and opens a whole field of new possibilities for exploitation of sugi wood.

Samples compressed wood

from left to right: an original plate, a plate compressed to 30% usable for the manufacture of furniture, 50% quality similar to that of beech, 70% wood quality is lost.

Wood can be bent and compressed into an infinite number of shapes in the same operation. We may also use a mold, form and compress the wood, while reducing cuts and increasing the design possibilities.

"Companies will not change as easily without the economic activity" Sango osaka

In 2003, Osaka Sanzo decides to appeal to Enzo Mari, Italian designer international reputation, to give substance to this technology in a set of furniture. Their collaboration began after a series of reading by Enzo Mari Takayama and organized by the Institute Oribe involved in economic revitalization of the region. Mr. Osaka was immediately captivated by the personality of Mari, and practitioner théoricen design, sensitive and connoisseur of art and traditional Japanese architecture.

Enzo Mari, this collaboration is an ethical position that has always imposed, namely priviligier quality and reflection of the project design rather than simple marketing logic.

"The form can not be the only factor that gives elegance to an industrial product. "

Enzo Mari

Although the scope of the designer is quite limited, it can still make choices of economic and ecological significance.

Wendy Calio En Pelota

HUSBAND & THE SLOW DESIGN

Slow Design is a new approach to design and theorized spotted by a British academic, Alastair Fuad-Luke, 2004. It brings together under this name, all practices from different fields creation, breaking with the logic of consumerism and keeping the center of their concerns, the balance of man and his environment. Given the climate emergency and the decay of our mass societies, it offers nothing less than a civilizational shift and how to get there. This exceeds the views technicist and limitations of eco-design, to an anthropological dimension. The consistency of his theoretical apparatus actually probably the most ambitious collective adventure in the field of design in this new century. Slow design means in effect, through its manifesto to support simultaneously all aspects of human existence and thus places both in form and in content, some affiliation with the avant-garde artists of the 20th century.

Andrea Branzi in U do ecology artificial universe, however, had diagnosed their death. If they played between the second and the third industrial revolution, the role of "recovery room", allowing the culture to absorb technological innovations, it no longer necessary in the digital society because, we said it, the computer adjusts to man, not vice versa, and does not recquiert new anthropology.

Branzi is it wrong? In fact, the Slow design, perfect to the Futurism of Marinetti celebrating modernity by an aesthetic of speed, not as a vanguard, a rear-guard. This does not imply that it is reactionary, but simply that his anthropology based on observations of traditional ways of life, prior to or outside the consumer society, because they are the custodians of anthropological markers required (eg the rituals), that contemporary societies have lost.

This is not the 20th century, marked by modernism, the Slow design also draws its source, but more likely from the 19th century, struck by the first two industrial revolutions. His critique of mass production, his fight for and appreciation of the craft, are indeed reminiscent of the socialism of William Morris, now recognized as one of the fathers of applied art.

Slow Design, as its name suggests, intends to oppose the speed that marks our highly industrialized societies. Our environment artificialised to the extreme, registered in renewal cycles becoming shorter, disrupt our metabolism, set to the rhythm of nature. This phase shift between the biological and technological, will double from inattention to the future and the past, we are entertained by this fast. Hence the need to slow the human resource use and economics.

The record that made Alastair Fuad-Luke in the state of the world is not new. It has been theorized in other fields and proposed remediation such as sustainable development (Report Brundtland) and decay (Nicholas Georgescu-Roegen) will owe him nothing. Then brings the Slow design?

Its principal merit is to address this talk to designers, who have so long been the natural allies of the industry and society of convenience (See: Ugliness does not sell Raymond Loewy). Alastair Fuad-Luke points to the prominent role played by the sight still in the design (shape, color, style) and recalls that most often leads to a strategy of planned obsolescence ... called aesthetic fashion.

Instead, the design fits Slow in view of the long term and emphasizes sustainability, quality, satisfaction of real need, the contemplative attitude.

If the current design is therefore involved in the excitement of the capitalist machine and serves as a foil to the best of bond, it is further away from decision-making structures, and therefore has , a small leeway. . The modern movement and even post-modern one nothing done, he said, to oppose the evils of capitalism and were easily assimilated by the industry body, sometimes of their own will, like Alessi Now dedicated to the gadget industry.

The picture is clear: the designer, if he wants to be in capacity to reform the world must get out of what Peter Hall calls "infrastructure", ie the consumer society. The use of crafts, poly-sensory objects produced, work with local communities in a closed circuit, self-production, are all ways of replacing the current structure of work around capitalism globalized. The design should at least allow themselves to imagine a future beyond the objects of the system economic, technological and political context out of the crisis of meaning through which it passes (since the end of the movement of the modern movement!). It should even imagine beyond its own perpetuation, because everyone should be able to shape itself to his desires and needs and not necessarily by the mediation of an object. In an article slow lab, Peter Hall describes the mass-customization, developed by designers as the ultimate avatar of a consumer society, seeking to give us the illusion that it fills our desires for individuation .

Alastair Fuad-Luke's force the designer to leave his role as an expert technician and artist-led him to occupy a political position decisively. He also cites Thomas H, historian, for whom the history of design is the embodiment of all forms of life and therefore dominates all other aspects of the development of civilization whether technical, economic, aesthetic, sociological, psychological or ecological

If Marx said that the good is the reification of social relations, Alastair Fuad-Luke supports him, that social relations can be modified by design. We see, the responsibility is Slow design weigh on the designer is overwhelming.

Slow Design is not utopia yet. He did not propose an alternative future, but a necessary counterweight to the speed that characterizes our society. The slowness only meaningful in relation to speed and vice versa, the "slow life" can not entirely replace pace of progress. Slow Design simply asks apparently coexist with the current life forms as we need "of islands in a sea of slow speed" in the words of Ezio Manzini.

sources:

http://www.slowlab.net/

http://www.slowdesign.org/

http://blog.bientotdemain.com/index .php/2006/11/14/57-le-slow-design

http://theslowhome.com/blog/index/

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CRATEOVERSY

Impact polemic exposure supernormal can not be estimated at its true value, without taking the time to talk about the series The Crate presented during this event, on off for Established & Sons.

The English house, despite its name, is not a family business dating back to Victorian times, but a young editor, determined to occupy the thriving market design collection. They have in their parts catalog unaffordable Zaha Hadid limited edition and other very high end, drawn by the designers in mind. But despite all these pieces, some very showy, as Drift bench by Amanda Levente is by boxes in different tree sizes, assembled in tails Straight came the scandal.

Series The Crate is a variation of the "table / storage" The Crate already signed at Established & Sons last year, which by the admission of Jasper Morrison is that ennobled a replica of the box wine that bears his bedside lamp and alarm clock. By varying the proportions only, Morrison extends The Crate a range covering all functions of a bedroom furniture, admittedly austere but full.

It was enough, in April 2006, some observers criticize the design is a scam a little stale, smoky resumption of Duchamp's readymades. Others, admirers of the "first" Morrison, remain before the interrogative turn would lead Morrison to design critical and ironic.

One wonders indeed, can there be in common between this case and the Air-Chair . Stylistically there obviously. However if one situates both in the context of Morrison's writings, there is a continuity of positioning, precisely through the concept of super normal .
If

for Air Chair , the qualifier is no doubt (it is also part of the selection of 200 objects), it seems more difficult to recognize The Crate , not only because- Morrison made no effort to draw and update the fund to wine, as some have said, but because-as the original itself in his household does not fulfill its original function and does is not normal , in the usual sense.

The question of a possible shift would therefore rather be as follows: can we speak here of an object shaped by history long and perfectly adapted to its context, even though it is used against type?

that Morrison is located perhaps in a longer history still prototypical preceding typological differentiations, a story before the coffee table, before the chair, before the cabinet. The Crate , how to fund the multifunction Cabanon Cap Martin Le Corbusier, may assume different functions depending on the direction it receives. That the prehistory of the subject existed or not is irrelevant, the fact is that this object runs and that Morrison has tested the use-value over the long term.

But it would be more reasonable to think he is on the side of another story, that the diversion, and it only takes note of a practice, which has highly democratized, normalized. The Crate supports the idea that many uses of domesticity does not require additional forms, but simply validating forms already widely used. Requalification of the fund to wine furniture module goes in this direction.

This "quasi-readymade" is question, however, because although the box wine is either integrated into the domestic life, its form may be better and whether it can receive no reason to have taken the trouble to replicate it? One can always argue that these cases are often of varying sizes and found that Morrison is the bank which offers the best balance of proportions from the perspective of most features.

But we must recognize that without doubt, by this gesture, put one foot in design reviews. This refusal of the design is obviously a criticism of form for form's back to the newborn. The series

The Crate itself, receding yet the logic of the readymade, in varying proportions, colors, openings does not force a proposition.L appearance Rustic or monastic, in this series, its almost ahistorical inactualité can not play that ironically in a media landscape design Jasper Morrison considers too often eccentric and superfluous. Maybe he has wanted, with The Crate , sword fighting with the sword and would it have been heard if it was taken otherwise?

The last episode of the Cratoversy suffers less ambiguity. Jasper Morrison why he accepted a reproduction in marble The Crate , perched on a pedestal, is contained in the controversial exhibition Elevating Design Established & Sons, this exhibition which was held during the London Design Festival 2007 frontally and pretended to ask the question of Design-Art.

When we know what we must end the auction house Phillips de Pury, and it was intended to reassure the contemporary art collectors and enhance document design parts and attaches the suffix art, one can only wonder on the merits of its participation. Alasdhair Willis, one of the protagonist of Established & Sons, also made no secret of its desire to introduce the practical world of art in design. For better or for worse?

Super Normal exhibition at the Axis Gallery in Tokyo until July 2, is scheduled for September in London.

sources:

Inspired design? Or just a crate? Alice Rawsthorn Herald Tribune September 12, 2006 The Uses and Misuses
of Design Art Alice Rawsthorn Herald Tribune October 7, 2007
The flesh Louette Harding Gang The Times September 15, 2007
www.freegorifero.com/weblog/ 2006_04_01_weblog_archive.html - 46k -
www.establishedandsons.com/
http://davidreport.com/blog/200703/crate-series-by-jasper -morrison /