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This colourful, tactile, and expressive volume presents a richly illustrated overview of seven years of work by Nacho Carbonell, since his graduation from the Eindhoven Design Academy in 2007. The designer's creative identity, which defines his style of organic forms and rough, colourful finishing textures, has attracted international attention from museums, galleries, and private collectors alike. Applying a highly recognisable uniqueness of materials and techniques in his studio, Carbonell's enthusiasm and curiosity is moulded through an endless series of experiments, discoveries, and inevitable mistakes, all documented in this anthology of pure wonderment.
Moving Objects deals with emotive design: designed objects that demand to be engaged with rather than simply used. If postmodernism depended upon ironic distance, and Critical Design is all about questions, then emotive design runs hotter than this, confronting how designers are using feelings in what they make. Damon Taylor's original study considers these emotionally laden, highly authored works, often produced in limited editions and sold like art – objects such as a chair made from cuddly toys, a leather sofa that resembles a cow, and a jewellery box fashioned from human hair. Tracing the phenomenon back to the 'Dutch inflection' that began with Droog designers like Jurgen Bey and Hella Jongerius, Taylor conducts an analysis of the development of Design Art and looks for its origins in the uncanny explorations of surrealism. Offering a critique of Speculative Design, and an examination of the work of designers such as Mathias Bengtsson, whose work involves 'growing' furniture inside computers, Taylor asks what happens when the tangible melts into the datascape and design becomes a question of mobilities. In this way, Moving Objects examines contemporary issues of how we live with artefacts and what design can do.
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How can small cities make an impact in a globalizing world dominated by ‘world cities’ and urban development strategies aimed at increasing agglomeration? This book addresses the challenges of smaller cities trying to put themselves on the map, attract resources and initiate development. Placemaking has become an important tool for driving urban development that is sensitive to the needs of communities. This volume examines the development of creative placemaking practices that can help to link small cities to external networks, stimulate collaboration and help them make the most of the opportunities presented by the knowledge economy. The authors argue that the adoption of more strategic, holistic placemaking strategies that engage all stakeholders can be a successful alternative to copying bigger places. Drawing on a range of examples from around the world, they analyse small city development strategies and identify key success factors. This book focuses on the case of ‘s-Hertogenbosch, a small Dutch city that used cultural programming to link itself to global networks and stimulate economic, cultural, social and creative development. It advocates the use of cultural programming strategies as a more flexible alternative to traditional top-down planning approaches and as a means of avoiding copying the big city. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
The book picks up a series of contributions born from an online column edited by the Design Laboratory for Sustainability of Dipartimento DIDA (UNIFI) during the period of the pandemic (March 2020, COVID-19): Marco Petroni, Formafantasma, Lorenzo Giorgi, Duccio Maria Gambi and Federica Fragapane. Designing Futuring – beyond the emergency scenario reflects on the heavy contemporary global upheavals through a collection of ideas, actions and case studies of particular interest, representing the different souls and fields of action of the discipline. Designers, researchers, historians, thinkers and activists called to share their thoughts have been involved in building a cartography of alternative landscapes and visions to recognize complexity by learning to navigate it, for a more sustainable future.
Limited Edition is the new buzzword in furniture design. The demand for unique pieces is steadily increasing. With prototypes, one-offs and limited product lines, designers are celebrating a cult of individuality for all price classes. Furniture prototypes have always been an element of the industrial design process, but now they are being brought from the workshops and presented to the public as embodiments of one of the most exciting creative fields of our age. In the global village with its standardized commodities, exclusive one-offs with an artisanal flavor are turning into coveted objects. Limited furniture series satisfy the collector’s thirst for objects that dissolve the boundary between art and design. Limited Edition pursues this new phenomenon and uncovers its background in meticulous investigative essays based on the author’s ongoing interchange with key designers, gallery owners, auctioneers and manufacturers. With a rich selection of magnificent images and an attractive layout, it presents the best and most breathtaking pieces by the leading designers.
Celebrated for her “delightfully elegant, understated interiors” (House Beautiful), and her fusing of artisanal elements into a contemporary approach to spaces, Nicole Hollis’s second book presents an inspirational look at the role of art and craft in interior design. Focusing on the profound effect that art, craft, and color can play in any interior, this book presents Hollis’s masterful new residential projects, in which the curation of art, objects, and custom furnishings are key to the character of the spaces. Spanning homes in New York, California, and Hawaii, each interior reveals a new lesson in the creative and playful juxtaposition of artistic elements. In an elegant townhouse in San Francisco, a striking collection of contemporary paintings contrasts color and dynamism against luxuriously minimal furnishings. A loft in Tribeca pairs the organic forms of naturalistic chandeliers over sleek, modern furniture. And in a dreamlike beach house in Hawaii, custom woodwork brings into the space elements of the sublime nature outside. With contributions from acclaimed artists and artisans whose work has complemented and elevated the spaces—including French artist Ingrid Donat, Italian sculptor Mauro Mori, and art/design practice Studio Job—the book is at once an exhibition of enviably artful interiors and an inspiration for those looking to reinvigorate their homes with art, craft, and design.
Despite the fact that the computer can work out any design and preview effect, artists and designers prefer to go back to basis, bringing concepts to life gy utilizing different materials to create installation. Works are usually intended to be impermanent, but some have been purchased, preserved, and displayed by commercials, promotions, and even government organizations. The chosen materials fill the space with innocence, playfulness and a firm conceptual base. When the viewer is moving araound, they interact with the work and become part of that work in that specific moment. Installation began to describe a kind of