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I've never really been into all these honors because it implies you're kind of a careerist. One should take it in stride.
My concern is not taking it too seriously and becoming pompous. ...
No matter how many prizes you get, you are still walked all over by your clients.
It's a very tough profession, and so it brings you down to earth. You don't have the time to think, "Oh, it's great. I'm fabulous." ///
One thing you learn when you're on your own early is to be self-critical, which has kept us on the edge.
I'm not saying we are always doing great work, but we are always pushing.
Zaha Hadid
She is the first woman recipient of the Pritzker Architecture Prize. Born in Baghdad, her London office has 65-70 people. [Interview magazine, Feb 2005]
> photo from zaha-hadid.com /
> image: Vitra Fire Station, Germany
> books: Zaha Hadid: Architecture
Zaha Hadid : The Complete Work~ ~ ~ ~
 He received the highest honor in his field, the Pritzker Prize, months after his 80th birthday.
One of his most celebrated works, the Museum of Contemporary Art outside Rio [left], was inaugurated in 1996, when he was pushing 90. His fluid Modernist structures have left an indelible mark on the world and how it conceives its urban spaces. Now Oscar Niemeyer -- architect, bon vivant, lifelong Communist, living legend -- is closing in on the century mark. ... At 97, Niemeyer is eagerly watching one of his most ambitious projects take shape, a mile-long seafront esplanade of buildings and open space in Niteroi, Rio's sister city across Guanabara Bay. |
 When completed, Niemeyer Way will house two cathedrals, a theater, film institute, plaza, ferry station, memorial and a foundation named after the architect. Situated on enough land for 15 football fields, the promenade will be Niemeyer's biggest creation after Brasilia, the sleek, futuristic capital he designed in the 1950s and that remains his magnum opus. > from article He's Still Shaping a Legend - By Henry Chu, > books: Oscar Niemeyer - by P. Andreas et al Curves of Time : Oscar Niemeyer Memoirs -- by Oscar Neimeyer |
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"My role is to make things and be problematic," says Bruce Mau, 44, who is making his first foray into the curatorial field after designing the typeface for the Walt Disney Concert Hall, spearheading a transformation of Toronto's Downsview Park, planning a museum of biodiversity in Panama City with architect Frank Gehry and creating "STRESS," a video installation about the limits of the human body that has traveled to Vienna, Lisbon and Rotterdam, Netherlands. "How he thinks is what makes him special," Gehry says. "He's a thinking man's designer. He goes beyond the limits of the visual, incorporating the whole gestalt of what we are involved with in our lives, and that enriches the design problem. I love working with him."
> from article A world of change - by Suzanne Muchnic, LA Times Sep 12 2004
< image from book Massive Change - by Bruce Mau
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Berenice Geoffroy-Schneiter knew she had tapped into something when a friend who worked for John Galliano told her recently that the designer had become "hypnotized" by India. "His collection that season was all about India," said author and art historian Geoffroy-Schneiter of the Paris-based designer. "Like everyone else, he had succumbed."
What Geoffroy-Schneiter now describes as "Indomania" has resulted in "Indian Beauty: Bollywood Style," a slim illustrated book [which] presents the A to Z of Bollywood -- the popular term for the thriving Indian film industry -- and its effect on contemporary fashion, beauty and culture.
from Drenched in India's colors - by Kavita Daswani, LA Times Jun 6 2004
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.. .. 1937 Talbot Lago The French Curves exhibition focuses on French aerodynamic cars produced between 1930 and 1939, and on their inspired creators. These works of art continue to influence the major automobile manufacturers around the world who look back to the classic styles of the 1930s and 1940s in the creation of retro-styled cars. Many years have gone by, but the cars for the most part have survived -- a testimony to the admiration they inspire. The revival of the Concours d’Elegance, starting with Pebble Beach, has also been instrumental in their preservation. |
The
fortunate owners are comforted by the fact that their automobiles have
become extremely valuable works of art.
The popularity of these models is a testimony to the enduring beauty of streamlined designs dreamed up so long ago. Richard Adatto from
site of the Petersen Automotive
Museum
The
Art of the Automobile: The 100
The
French Sports Car Revolution:
|
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....Emotional Design: Why We Love (Or Hate) Everyday Things by Donald A. Norman
"The book pops with fresh paradigms, applying scientific rigor to our romance with the inanimate. You'll never see housewares the same way again." Wired Magazine. (January, 2004)
"The major challenge... Norman explains in this well-illustrated survey of the emotional drivers in product design, is that customers' responses vary so greatly. Product designers need to tailor their work carefully in order to push the right buttons with the right consumers." Harvard Business Review (February, 2004)
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.. .. The Garden of Cosmic Speculation - by Charles Jencks Speculation, of course, is Jenck's game. He is that Charles Jencks, the American-born, Harvard-educated, London-based architecture critic who began his career by founding the post-Modernist movement. Name a building in a capital city and he'll tell you how it should have been built. But in this book, he is a poacher-turned-gamekeeper, a critic-turned-landscape architect. |
The
book records a project that he began with Keswick [his wife, Maggie Keswick]
in the late 1980s at her family estate in Scotland.
After she was diagnosed with breast cancer, he took over, using the grounds to illustrate scientific discoveries -- thus, there are double-helix sculptures here and wave patterns of quantum mechanics there. Jencks calls the enterprise "a new grammar of landscape design to bring out the basic elements of nature that recent science has found to underlie the cosmos." His penchant for celebrating physical equations by the acre caught enough attention that he just wound up a promotional tour for the book. It's hard to see black holes catching on. However, they are powerful on the Keswick estate. She died in 1995. Some emotions can be spelled out only on a hillside. from
review by Emily Green,
Jencks
is also author of
|
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by John Canemaker
.. For more than a dozen years, an unassuming, quiet-spoken woman dominated Disney design. The stylishness and vibrant color of Disney films in the early 1940s through mid-1950s came primarily from artist Mary Blair.
..In her prime, she was an amazingly prolific American artist who enlivened and influenced the not-so-small worlds of film, print, theme parks, architectural decor, and advertising.
At its core, her art represented joyful creativity and communicated pure pleasure to the viewer. Her exuberant fantasies brimmed with beauty, charm, and wit, melding a child's fresh eye with adult experience.
Blair's personal flair comprised the imagery that flowed effortlessly and continually for more than a half a century from her brush. Emulated by many, she remains inimitable: a dazzling sorceress of design and color.
[Amazon.com book summary]~ ~Mary Blair [1911-1979] is perhaps best known for playing an integral part in the animation design of the Walt Disney films Alice in Wonderland [above left and center], Peter Pan, Cinderella and The Three Caballeros... as well as children's books and corporate advertising. She is also the designer behind the Disneyland attraction, It's A Small World [right].text and images from Mary Blair site
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Bishop Castle "The Largest One Man Construction Project in the Country, quite possibly the World!
High in the beautiful Rocky Mountains of southern Colorado there stands one of the most genuine Wonders of our contemporary World.Built entirely with the two hands of ONE MAN with the support of God and a loving family, the BISHOP CASTLE is living testiment to what a poor man can accomplish in a free country armed with his dreams and the determination to make them real. Inspiring is the tale of how this 160 FOOT TALL! monument has come to be enjoyed by thousands, complete with a grand ball room, stained glass windows, and a Fire Breathing Dragon!"
description from Bishop Castle site
..
..
Motor car no. 8, 1931 - designed by Norman Bel Geddes (1893-1958)Like Fuller's later Dymaxion transport, Car no. 8 had the engine in the rear. It also held a large number of passengers (eight), and had unprecedented visibility. Bel Geddes' Car no. 8 also had a vertical fin, like Dymaxion car no. 3, all of this two years before production of the Dymaxion began in Bridgeport, Connecticut.
For the 1933 Century of Progress Exposition in Chicago, Bel Geddes proposed an aquarium restaurant under a waterfall and a three-level revolving aerial restaurant that could seat twelve hundred diners, on top of a 278 foot stem. Neither of these projects was realized due to a shortage of funding.
Where Fuller talked about "Nature's coordinate system", Bel Geddes expounded a philosophy of "essential forms" evolved from their systems of use, in his seminal book Horizons, published in 1932. He helped to establish a new professional niche -- that of "industrial designer", arguing for a closer relationship between engineer in design procedures.
from website
Donald J. Bush. The Streamlined Decade
Ivan Margolius. Automobiles by Architects
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| In
general, there are a million possibilities in any technological decision
and beauty is the best guide we have in picking or guessing the right direction
when we're faced with a tremendously large number of choices.
It's also the case in all of technology, but mostly in software, that the biggest problem that exists is managing complexity, not getting overwhelmed by it... Software lends itself to things that are more complex than anything else, the most complex machines on Earth are the software machines. We know all the problems with complexity, nothing doesn't have bugs, but beauty is the best value in software because it's the best tool in managing complexity. If I have to build a tremendously complex machine, if I make the machine elegant, the lines clean, simple & beautiful, the chance is greater that I will be able to understand it and master it than if I slop together some jalopy of a program. |
.. .. from Omni Chat: Eileen Gunn and David Gelernter books by David Gelernter, PhD: The Muse in the Machine: Computerizing the Poetry of Human Thought Machine Beauty: Elegance and the Heart of Technology |
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.. .. Similarly, she sees a major need for designers who understand the emerging tools and who, rather than merely adapting traditional techniques, can begin thinking about design in entirely new ways. "A well designed print piece communicates well because of the flow of information and the appealing way in which it is presented," Allen says. |
"We're
starting with that premise but also saying, "We've moved beyond the printed
page. Now, we need to integrate sound, interactivity and three dimensionality
into the design."
Indeed, until very recently graphic designers thought in terms of the two dimensional page. Today they must consider the third dimension (space) and a fourth dimension (time). "Pacing and rhythm are often ignored," Allen explains, "but they are crucial." The issue of interactivity is also having a profound impact on designers. "How do creative people make forms that allow for interaction by people but still maintain the design integrity of the piece?" she asks. "This is a difficult question.".. .....[Challenge Magazine - Spring 1997 research.ucla.edu] Rebecca Allen is a Professor in the UCLA Department of Design / Media Arts, and Director of the Emergence Project |
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In the old idea of an experience, the object was more important than the subject. So when you walk into an old style museum, the concentration is on preserving the objects, maybe giving you some background on them, maybe inspiring some interest, but if you weren't there it wouldn't matter. The object would still be valuable. ...
Culture exists only in the nervous system of the people who are alive, all 6 billion of us. ...
My job is to figure out how you get someone really excited about a piece of knowledge that might come in the form of a massive encyclopedia from the 17th century. The question is: How do I engage you so that you want to make something fantastic in the world? A lot of [people's] curiosity is dependent on the social construct that supports it. So we have to create a climate that is light or funny and that permits a discretionary level of involvement. You need to be able to fail quietly to feel free to explore.
Edwin Schlossberg.........[from a flatironmag.com interview]
His company: Edwin Schlossberg Incorporated / ESI Design specializes in interactive projects - such as the New York projects
Sony Wonder Lab in the Sony Plaza, and 22 story high Reuters building billboard in Times Square [above photos].
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| Karim Rashid was born in
Cairo and raised in England and Toronto. With a career that began at age
nineteen, Rashid is now forty and the author of more than two hundred designs,
ranging from coat racks to mailboxes, perfume packaging to lighting, tableware
to high fashion ... a manhole cover for Con Edison, a mass-market disposable
lighter and even downloadable tattoos.
"It is critical," he says, "that design be contributive, that you are doing something original. Every project I do, I decide there has to be some level of never-been-seen-before." [from profile: biography.com/icons] **Karim Rashid. I Want to Change the World photo by Timothy Greenfield-Sanders - related book: Monograph: Timothy Greenfield-Sanders |
 |
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Everything I design, I experience. People ask me how I can create such a variety of things - aircraft interiors, chairs, bottles, spoons, sunglasses [one of his latest ventures is the TAG Heuer eyewear collection]. I can because I have an opinion about them based on my experience using them. ... I've developed a position within the world of organic design based on wonderful forms. I love wonderful, fluid forms, and I think everyone does. After all, there's not a straight line on a human being. ...
I try to deliver a level of honesty in what I do, and with that comes a beauty... in the future our things are going to become much more honest. We have to become more environmental. There is a kind of moral responsibility involved. If you're taking a material out of the planet, you should make something of good quality with high value, intellectually and aesthetically.
And if you do, you define our culture. That's why I'm a designer, because that's how I see it.
British industrial designer Ross Lovegrove
[LA Times, February 21 2002 // portrait and central image from tagheuer.com** book:* Designing the 21st Century by Charlotte J. Fiell, Peter M. Fiell
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**related books:* Lamps of Tiffany
by Egon NeustadtMasterworks of Louis
Comfort Tiffany
by Alastair Duncan
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Agood designer is like a mathematician. You are always looking for the simplest and most efficient
way of expressing an idea. After all, it's not words, it's an environment... Unless you are portraying
a character who is a mess, of course. On Wonder Boys, I read the script and said to Curtis Hanson,
the director, 'I have a terrible feeling I used to live with this guy!'Jeannine Oppewall, production designer
**from book:*Great Women of Film by Helena Lumme, Mika Manninen
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It's nice to show that the most interesting things being done in silver in the 1870s and on were being done here, not in Europe. Many people still tend to think that silver design began and ended with George III silver in England. But there was a real American style that looked West and used images from the American Indian and Japan. John Loring [LA Times 5.2.02]- author of book Magnificent Tiffany Silver
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