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Michael Graves and Peter Eisenman Dazzle with Comedic Stylings, Incisive Critiques

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The dashing Peter Eisenman was the lone speaker at “Past as Prologue,” the Architectural League of New York symposium held Saturday in honor of Michael Graves’s fiftieth year in practice, to appear twice: first in the Paul Goldberger-moderated panel on architectural pedagogy and again for a day-capping conversation with Graves himself. Between the two appearances, Eisenman snuck away to watch the annual Harvard-Yale football game. As the Crimson was busy besting the Bulldogs 31-24, plenty of other longstanding rivalries simmered on stage, where even the conference venue (the recently constructed and steeply pitched Tishman Auditorium at the New School) was not immune to attack. The architectural symposium’s version of the Game’s last-minute 35-yard touchdown was what Eisenman, after initially professing that he felt like he had “gone to the wrong parade,” later described gamely as “The Michael Graves-Peter Eisenman Comedy Hour.” Here are some of the highlights.

On driving forces:
Michael Graves: Jean Nouvel and Zaha Hadid and Rem Koolhaas have their phones ringing all the time with “Would you do this for us?”
Peter Eisenman: For what reason?
MG: To keep ahead of Frank!

On form:
PE: What is it that makes your buildings look like they are?
MG: Architecture! I believe in architecture.
PE: So do I. How come they look different?
MG: It doesn’t matter that they look different. They don’t look like [the buildings of] those other people. That’s what’s important.
PE: That’s true.
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Young Designers Take Aim at ADC Young Guns

The competition that spotted Stefan Sagmeister, James Victore, and Mike Mills when they were but wee design/art powerhouses-to-be is back. Behold Young Guns 13, the Art Directors Club‘s international, cross-disciplinary, portfolio-based competition to identify the young creative vanguard. By “young,” they mean 30 or under, and by “creatives,” they mean those doing great things in graphic design, photography, illustration, advertising and art direction, environmental design, film, animation, video, interactive design, object design, and/or typography. What’s so special about Young Guns? It recognizes an individual, and considers a body of work, not a single ad or design. Also, you get a really cool cube if you win. Young Guns 13 is open to ADC members and non-members worldwide. A jury of past ADC Young Guns will select the 50 winners. Ready to take your shot? The deadline for entries is January 31, but apply by the early bird deadline of December 1 to save $99.

Paul Chan Wins Hugo Boss Prize

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Paul Chan’s Master Argument, a 2013 work made from cords, shoes, and concrete, is currently installed at the Schaulager in Basel. (Photo courtesy Greene Naftali gallery)

The Solomon R. Guggenheim Foundation and Hugo Boss announced last night that Paul Chan is the winner of the 2014 Hugo Boss Prize. He will receive $100,000 (plus a a terrific tetrahedral trophy, at right), and an exhibition of his work will be on view at the Guggenheim Museum come sping. Other artists shortlisted for this, the tenth Hugo Boss Prize were Sheela Gowda, Camille Henrot, Hassan Khan, and Charline von Heyl. Established in 1996, the biennial award “is conferred upon artists whose work represents a significant development in contemporary art,” according to Hugo Boss and the Guggenheim. Past winners include Danh Vo, Hans-Peter Feldmann, Emily Jacir, and Matthew Barney.
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Pratt to Honor Kim Hastreiter, Iris Apfel, and David Yurman at Legends Gala

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The age-old battle of statement eyeglasses versus statement jewelry will be waged this evening at NYC’s Mandarin Oriental as Pratt Institute entices art and design-loving donors to open their checkbooks and their autograph books for the school’s annual Legends scholarship benefit. The 2014 honorees, “distinguished individuals whose accomplishments and values resonate with those of Pratt,” are PAPER magazine co-founder and editor-in-chief Kim Hastreiter (fresh from breaking the Internet avec longtime PAPER collaborator Jean-Paul Goude), style icon and designer Iris Apfel, and designer and jewelry honcho David Yurman. Doling out the honors will be presenters Padma Lakshmi, fashion designer Duro Olowu, and Paul Greenhalgh, director of the Sainsbury Center for Visual Arts, respectively. Among guests expected to party the night away against a sweeping backdrop of Central Park and the Manhattan skyline are Pratt alums such as photographer Sylvia Plachy and Publicolor Ruth Lande Shuman, designer and Tolix chair skeptic Karim Rashid, artist Kehinde Wiley (a 2012 Pratt Legends honoree), and writer/host Kurt Andersen, a Pratt trustee.

Quote of Note | Jonathan Ive

jony_ive_1“What drove the design of the wrist watch wasn’t fashion, but utilitarianism and pragmatism. An aviator commissioned Cartier to design it because he didn’t want to take his hand off the joystick when flying. But when something is worn, issues of fashion, style and personal preference come into it. I think one of the biggest challenges we found with the Apple Watch was that we wouldn’t want to all be sitting here wearing the same thing, which is why we designed a flexible system rather than a singular product.”

-Jonathan Ive, senior vice president of Design at Apple, in a recent talk at London’s Design Museum as part of DM25—a year-long series of events staged in celebration of the museum’s 25th anniversary

Simplify, Soften, Enrich: Hella Jongerius on Redesigning KLM’s Business Class Cabins

As if you needed another reason to plan a trip to the Netherlands, Utrecht- and Berlin-based Hella Jongerius recently completed an overhaul of KLM’s World Business cabins. Writer Nancy Lazarus recently got the scoop on the project.

Hella Jongerius
(Photo: Oliver Mark Photo)

“Humans dream of flying, of floating, and we have extra time on planes. So I wanted to have a place where passengers can dream, be at home, have a craft feel, and a human touch,” said Hella Jongerius earlier this week at New York’s Museum of Arts and Design (MAD). “For airlines it’s all about efficiency, but you also need tactility.” The Dutch designer, known for playfully integrating industrial design with craftsmanship, was interviewed by MAD drector Glenn Adamson on Monday evening in an on-stage conversation that focused on Jongerius’s redesign of KLM’s World Business Class cabins, a project she worked on for two years starting in 2011.

Working on high-end aviation design can be equally challenging and rewarding, according to Jongerius. “There’s lots of exhausting moments on planes when you can’t move around. But as a designer you can act and contribute to solving that situation,” she explained. “KLM was open to different approaches, and with business class we wanted to do extra things since it’s for luxury.” The interior redesign started with the curtains, carpets, and seat covers and expanded to include the seats. The new cabin rollout includes twenty-two 747s and fifteen 777 KLM planes.
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Design Jobs: Skip Hop, New York Post, Clinton Global Initiative

This week, Skip Hop is hiring a graphic designer, while the New York Post needs a photo editor. Clinton Global Initiative is seeking a graphic design coordinator, and BR Guest Hospitality is on the hunt for a senior graphic designer. Get the scoop on these openings and more below, and find additional just-posted gigs on Mediabistro.

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Find more great design jobs on the UnBeige job board. Looking to hire? Tap into our network of talented UnBeige pros and post a risk-free job listing. For real-time openings and employment news, follow @MBJobPost.

StoryCorps Founder Dave Isay Wins $1 Million TED Prize

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The creators of the painstakingly produced narrative form of our time–the TED Talk–are handing over their big prize to another intrepid storyteller: Dave Isay, founder of StoryCorps. The groundbreaking oral history project will receive $1 million from TED to launch Isay’s wish, an audacious ambition-cum-megaproject that he’ll announce on March 17 at the 2015 TED Conference in Vancouver. Isay joins a diverse list of past TED Prize-winning “exceptional individuals” that have ranged from Bill Clinton and E.O. Wilson to culinary crusader Jamie Oliver and street artist JR.

Launched by Isay in 2003, StoryCorps “celebrates the dignity, power, and grace that can be heard in the stories we find all around us,” including the crowd-pleaser “Danny and Annie” (below). “Under Dave Isay’s leadership, StoryCorps has given nearly 100,000 Americans the chance to record interviews about their lives and leave a legacy for the future,” says TED’s Chris Anderson. “I am thrilled about this winner, excited to see how TED and StoryCorps will collaborate, and eager to see how we can pair an incredible idea with a global community.”
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Anonymous Tips: Because Sharing Is Caring

who could it be now.jpgIf we’ve heard it once, we’ve heard it a thousand times: “I could tell you this Big Design News, but then I’d have to kill you.” Now you can give us the scoop and skip the messy murder plot, thanks to our “Anonymous Tips” box, which the Mediabistro tech wizards have placed at the top right of this page. Your mission, should you choose to accept it: Type in your news—design happenings, gossip, movements of the Revolving Door, a designer’s hidden talent, or any newsy, design-y morsel—and click “send.” We’ll get the news, you’ll retain your air of mystery.

Ten Things You (Probably) Didn’t Know About Erik Spiekermann

EPSON DSC PictureThe avalanche of fan e-mail, likes, and tweets that greeted our recent dispatch from Erik Spiekermann‘s evening with the Type Directors Club at Parsons The New School for Design has inspired us to glean additional knowledge morsels for your reading pleasure. Enjoy these ten things you (probably) didn’t know about the man, the myth, the Spiekermann:

1. He got his start as a gofer for Wolff Olins.
In the mid-1970s, while working the nightshift at a typesetter’s, Wally Olins hired him to work for Wolff Olins in London. “They had 60 or 70 people at the time and lots of German clients [such as Audi and VW],” said Spiekermann. “Some of them couldn’t communicate with their German clients, because the German clients spoke German and the Brits spoke English—at the time not everybody spoke English, unlike today—so I became the gofer, I guess, between the German clients and Wolff Olins.”

2. He used to blow clients’ minds with color prints.
“[In the mid-70s] you would go into clients with color printouts…11 by 17…and it was like glass beads for Native Americans—they would think you were from Mars. They would pass them around,” he explained. “I had the same effect after German reunification in 1990, when we had a client in East Germany and we went there with color prints. By that time in the West everyone had them, but they thought we were from Mars: ‘Look at these guys from the West. They have color prints! Amazing! They have a machine does them. And it’s on ordinary paper and it only take a minute!’ It was like having gunpowder.”

3. Wolff Olins is also to thank for his first project.
“It was a German bank that was Wolff Olins couldn’t handle, so they said why don’t you take this over—the implementation. Because the Brits were never very good at getting sh*t done.”

4. He is wholly unimpressed by the U.S. Postal Service.
“The American Post Office is one of the crummiest design outfits ever,” said Spiekermann matter-of-factly. “It is embarrassingly bad. It embarrasses me at times. So does their service for that matter. UPS and FedEx—they wouldn’t exist if you had a decent post office.”
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