Made famous by her self-expressive, intellectually provocative designs, German-born, London-based designer Julia Lohmann produces work which consistently challenges us to confront issues we usually prefer to ignore.
The world record for most expensive work of 20th Century decorative art at auction was set this past week at the Collection Yves Saint Laurent et Pierre Bergé Auction held by Christies Paris.
Eileen Gray’s ‘Dragons’ armchair, circa 1917-1919 rang in at €21.9 million a far greater sum than the estimated €2,000,000 - €3,000,000.
Alberto Alessi, head of the iconic design firm Alessi, speaks with Marla Capozzi and Josselyn Simpson on the sources of good design, how he assesses an innovation’s potential, and why more companies should take design risks.
As a short aside to the article Marla Capozzi interviews Hani Rashid from Asymptote Architecture about what it's like to design for Alessi.
Design guru Murray Moss responds to Michael Cannell’s recent article, ‘Design Loves a Depression’, published in both the International Herald Tribune and New York Times.
Moss’ article, appropriately titled “Design Hates a Depression’, is a point by point rebuttal to Cannell’s summary of designs emotional attachment to our current state of affairs.
As part of Object Rotterdam, the International fair for autonomous design, Premsela and Object Rotterdam, in cooporation with Droog, presented a debate discussing a wide spectrum of topics from the crashing economy, the power of conceptual design to the controversial world of limited editions.
Gabrielle Kennedy reports on the outcome.
In her latest article published January 30th, 2009 for the International Herald Tribune, Alice Rawsthorn gets to the bottom of the seemingly simple albeit extremely complex question, what is good design?
In Talk, a series of conversations on issues that concern us as capitalists and citizens, Deyan Sudjic talks to designers Sam Hecht and Konstantic Grcic about the meaning of design.
Attempting to re-establish the core meaning of design, Sudjic questions Grcic and Hecht on design's central ideas, how it relates to art and can design be critical.
Alice Rawsthorn reflects on the present state of Limited-edition design in her article published November 28, 2008 for the International Herald Tribune.
In the following report by Caroline Roux published in the Gaurdian (January 10th, 2009)Philippe Starck, Sir Terence Conran and Kirstie Allsopp debate how design responds to a bleak economic landscape.
From his breakthrough project “100 Chairs in 100 Days” to his most recent work for the exhibition Feierabend at the gallery Kate MacGarry, Martino Gamper has time and time again proven himself to be a master of improvisation.
Michael Cannell brings us his visions for design in 2009 in his most recent article for the International Herald Tribune.
For all those wondering what is the fate of design in our current economic climate, this is definitely worth a read.
That design is made, manufactured, sold and exhibited just like art has become a subject of much debate. It would seem that more and more the design world is turning to one-off pieces and limited editions that are audacious, expressive and experimental in nature.
There are two products which, as a child, inspired me to want to become a product designer. Firstly there was the Alessi Aldo Rossi kettle that was given to my family as a gift, and then there was the long row of classic chairs on the top floor of the design museum. I remember running up and down ‘chair alley’, assessing quality and comfort, style and colour.
OKAYstudio at ARAM
110 Drury Lane, London
18 September - 8 November
If variety is the spice of life, then the nine designers from seven countries who form the loose London collective OKAYstudio have combined to offer a welcome dash of diverse design with their *Under the Same Roof* exhibit at the ARAM Gallery.
At their simplest, books are bound pages of Times New Roman drivel, at their most elaborate, they are rich creative explorations at the heart of the graphic medium. In the main, authors get paid a pittance writing them and graphic designers over-indulge their time creating them. What for? Well, for the love of books.
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