Posts tagged with "Color":
Released in the United States for the first time this month, the Be Colour capsule collection reworks designs from Italian lighting brand Foscarini’s catalog of decorative luminaires. The Venice-based company asked its longtime collaborator Ferruccio Laviani to reimagine some the company's most iconic pieces. The architect chose a bold color palette to enliven classics like the compact Binic table fixture, the adaptable Magneto desk lamp, the Gregg and Bahia wall sconces, and the Twiggy floor lamp—a version of which received a 2018 AN Best of Products Awards honorable mention. “We wanted to go beyond the all over effect of a single color,” Laviani explained. “Where possible, we formulated chromatic combinations that make the shape of each lamp more unexpected.” The architect separated what were originally monochromatic totems into different geometric forms using strategic color pairing. In some cases, like the Magneto desk lamp, such an intervention helps delineate function. The fixture’s fiery-red stem deliberately contrasts with its baby-blue head to show how the lamp can be adjusted. Laviani’s interest in color is nothing new. In 1991, he developed the Orbital standing lamp for Foscarini, which was a study in the relationship between form and tone. The release of the Be Colour capsule collection coincides with the opening of the Foscarini’s new Spazio Soho showroom. The recently-renovated Greene Street space in New York is now the Italian company's American flagship store.
The Bioscleave House, or Lifespan Extending Villa, was designed by the late Japanese architect Arakawa and his late wife, artist Madeline Gins, in their quest to develop an architecture that could reverse the effects of aging and ward off death. The experimental home is located in East Hampton, New York, and is currently listed for sale for $2,495,000. Although the four-bedroom structure appears to be a work of International Style modernism that has been subjected to a riotous 52-color paint job, it was actually designed in accordance with the couple’s own theory of aging and design, which they called Reversible Destiny. Like many of the home’s unusual features, the bold color-blocking, in keeping with their theory, is intended to keep occupants mentally stimulated. The interior, which guests must sign a waiver before entering, is an architectural obstacle course that transforms daily life into a perpetual workout. The rammed earth flooring is undulating and bumpy, challenging occupants to constantly watch their footing as they navigate between brightly colored metal poles. Every element, from the awkwardly positioned light switches to the precariously sunken kitchen, was designed to heighten body awareness and discourage complacency. Arakawa and Gins were protégés of the avant-garde artist Marcel Duchamp. They were commissioned to build the house in the late 1990s by art collector Angela Gallmann, but it was not completed until 2007 when the property was purchased by Professor Group LLC, an anonymously owned corporation. It was the couple’s first built work in the United States and the only to be completed while both were living—Arakawa passed away in 2010 and Gins four years later. Jose B. DosSantos, the home’s listing agent, has been searching for a buyer who appreciates its unconventional style. “I’ve been working hard to save it,” he told The Architect’s Newspaper. “I have contacted art dealers, I have been in touch with the Japanese government, I even had an actress from abroad who wanted to buy the house and have architecture students from around the world come there to do a residency, to learn from masters like Arakawa and Gins, but she backed out at the last minute.” If purchased by a developer, DosSantos says, the Bioscleave House will most likely be demolished and replaced with a typical 5,000-square-foot spec house, which would sell for three or four million dollars in the current market. The Reversible Destiny Foundation, a nonprofit organization tasked with preserving the work of Arakawa and Gins, declined to comment on the matter.
Tired of a Pottery Barn-esque aesthetic that’s dripping in oatmeal beige? Or maybe you’re stuck in a sea of white? Whatever your color story woes, we bring you these new tiles that will spice up any humdrum kitchen or bathroom. You’re welcome. Rainbow Opale Antolini Antolini’s artisans hand-carved mother-of-pearl into small, large, and 3-D tiles. The shiny, iridescent quality of the material creates a wave of rainbow light reflections, conjuring an otherworldly quality to the space they adorn. Artwork Florim Terrazzo is one of those materials that never goes out of style. This collection is described as “halfway between battuto Veneziano tiles and the Memphis Style patterns of 1980s Milan.” The collection comprises 19 colors with varying particle sizes. Cromatica CEDIT (Ceramiche d'Italia) Inspired by colors Ettore Sottsass was famous for, Amsterdam-based Formafantasma designed a vibrant collection of tiles for CEDIT (Ceramiche d’Italia). When paired together, the three colors can be arranged to create an ombre effect on any surface. The idea was coined after the designers, Andrea Trimarchi and Simone Farresi, became interested in how color variation was inevitable before contemporary manufacturing technologies and materials. Solid Diamond Clé As the name suggests, these cement tiles are strong but not quite diamond-solid. That being said, the collection is suitable for both indoors and out. Made-to-order in 12 weeks, the tiles are available in over 20 shades. Dual Glaze Heath Ceramics In what Heath owners Robin Petrovic and Cathy Bailey call a “human scale” process, the cement tile collection is made by hands and machines together. The California-based manufacturer envisioned this dual-toned motif to create the illusion of varying tile dimensions. It is offered in five sizes and eight color combinations.
Explosions of summer color are coming to New York City as San Francisco’s sold-out Color Factory pop-up installation is set to brighten Manhattan's streets starting on August 20. A 20,000-square-foot interactive exhibition from artist collaborative Color Factory will open in SoHo and will be accompanied by 20 “secret” color installations hidden across Lower Manhattan. The original Color Factory installation opened last August in San Francisco for a four-week run that eventually expanded to last nearly eight months. That show brought together a star-studded roster of local and international artists to create an exploration of color that went viral on Instagram, and Color Factory is looking to replicate that success in New York. Instagram-friendly installations and pavilions have exploded in recent years, and lauded firms from AGENCY to Snarkitecture have all jumped on the bandwagon, delivering selfie walls and all-white takes on the form. Let's not forget pop-ups like the Museum of Ice Cream, either, soon to be joined by its long-lost cousin the Museum of Pizza. The California version of Color Factory involved multiple explorations of color in light works, several monochrome rooms (currently all the rage), rainbow decals, fabric, balloons, and technicolor plastic furniture. The New York version seems like it will keep to the same vein; visitors will be able to experience 16 rooms, including a bar filled with mocha in every color of the rainbow, a light-up dance floor, a room full of ombré balloons, a room where participants can walk through a guided experience to discover their own “personal color," an enormous full-room ball pit, and custom illustrations from New York artists. After guests are finished at the exhibition, they can pick up a map to the 20 “secret experiences” Color Factory has hidden across the island, and the group says that the installation will be inspired by the colors of New York. Manhattan Color Walk from Color Factory on Vimeo. Color Factory is no stranger to New York’s streets. Manhattan Color Walk, a survey of colors from 265 individual Manhattan blocks, recently wrapped up at the Cooper Hewitt. The free installation was on display through June and adorned the museum’s terrace, garden, and walkways with colored bands pulled from New York’s most unique and ubiquitous colors. Color Factory staff walked and biked from West 220th Street all the way down to Battery Park and translated one color per block into a stripe at the museum and released an accompanying guide. General admission tickets for Color Factory are now on sale for $38, and the exhibition will be open at 251 Spring Street after August 20 from Thursday to Tuesday, 10:00 AM through 11:00 PM.
Australian-born artist Cj Hendry has dropped a full-sized house inside of a 22,000-square-foot warehouse in Greenpoint, Brooklyn, as part of a new solo exhibition that probes the relationship between art and interior design. MONOCHROME will run from April 5 through 8, and features seven different rooms, each painted in single color palettes in deference to the art hanging in each. MONOCHROME, Hendry's fifth solo exhibition, is a departure for an artist known for her hyperrealistic black-and-white pen drawings of pop and kitsch items. The show centers around a series of crumpled Pantone swatch painting in each room of a 10,000-square-foot house, from which the surrounding environment draws its singular color scheme. Seven rooms throughout the exhibition, each playing off of a typical housing typology, have each been painted in their own bold color. The kitchen is green, the bedroom is fully yellow, a bathroom has been rendered in purple, the lounge in blue, the office in orange, the dining room in red, and a woman’s bedroom in pink. “People generally buy art as the last item, they find art to match their home,” said Hendry in a statement sent to AN. “I have become close with my collectors over the years and have noticed how differently they live their lives. Art is the first thing they add to a space and they design their entire home around their collection. I have taken this concept to an extreme level. Each room has been designed to emulate the art on the wall. The art is the focus, everything matches the art.” Hendry added that the drawings of crumpled color cards and resultant painting of each room was meant to give color itself a “physicality”. The interplay between familiar forms and unconventional color–an Eames Lounge Chair painted orange, yellow blue jeans–lends the items within a heightened air of artificiality. Monochrome will be open to the public from 10:00 a.m to 5:00 p.m. at 276 Greenpoint Avenue in Greenpoint from April 5 through April 8.
As excitement around the 2018 Winter Olympics in South Korea builds for the February 9th opening ceremony, London-based architecture firm Asif Khan Ltd. has revealed a pitch-black pavilion sponsored by Hyundai Motor. Coated in Vantablack VBx2, the world’s blackest black paint, the exterior of the parabolic pavilion is lit with thousands of point lights and resembles a field of floating stars. “From a distance the structure has the appearance of a window looking into the depths of outer space,” said Asif Khan in a press release. “As you approach it, this impression grows to fill your entire field of view. So on entering the building, it feels as though you are being absorbed into a cloud of blackness.” Vantablack’s impenetrable darkness is based in its structure, as the paint is made of tangled carbon nanotubes that trap light on a microscopic level. At 32 feet tall and 114 feet long on all four sides, the monolithic Hyundai Pavilion is the largest continuous nanostructure in history. It also represents the first architectural application of Vantablack. While the original iteration of Vantablack paint was so fragile that it could only be installed under laboratory conditions, VBx2 suspends the coating in a spray solution and can be directly applied. The resultant structure, though the walls are curved inwards, has been seemingly rendered as a flat void and stripped of its volume; inside the effect couldn’t be more different. Playing on the theme of hydrogen, in reference to Hyundai’s foray into fuel cell-powered vehicles, the interior of the pavilion is a stark white and anchored by an interactive water installation. As visitors walk around the interior, water drops are elongated as they flow through channels carved into the floor and pool at a central drain. “The water installation visitors discover inside is brightly lit in white. As your eyes adjust, you feel for a moment that the tiny water drops are at the scale of the stars,” said Khan. “A water droplet is a size every visitor is familiar with. In the project I wanted to move from the scale of the cosmos to the scale of water droplets in a few steps. The droplets contain the same hydrogen from the beginning of the universe as the stars.” The usage of Vantablack has been a contentious topic in the short five years it’s been around. While Anish Kapoor made headlines after claiming the exclusive rights to the pigment’s use, Asif Khan has been working closely with the researchers behind Vantablack since 2013 and has previously proposed using it for a variety of projects. The Hyundai Pavilion will open to the public alongside the Olympics on February 9, in Pyeongchang.
Anish Kapoor has everyone grumbling these days. The knighted artist is known for his intellectual preoccupation with blood, female anatomy, nothingness, and obtuse-yet-high-drama installations—like his 2017 piece Descension in Brooklyn, an infinitely spinning whirlpool. Descension explores, Kapoor said, “negative space,” a concept which is arguably the crux of his work. His pieces can, on one hand, appear benign and purely decorative, like Blood Mirror (a concave bowl of arresting, reflective red) while some are severe in their violent ugliness, like Internal Object in Three Parts (a series of three meat-textured reliefs that, some would argue, are disarming in their vulgarity). Much of that vulgarity comes from his dogged pursuit of extreme materiality: he strokes his whimsy by making art that is desperately large in scope and overwhelming in its concentration of color. His work also often inevitably segues into his favorite topic: The Void.
Enter Vantablack: the blackest synthetic material on Earth. It absorbs almost all the light and radiation that hits its surface (99.96 percent of it) and was originally developed by British researchers in 2014 for aerospace, engineering, and optics. Vantablack, which is a substance made of “vertically aligned carbon nanotube arrays” (hence, “Vanta”), is “grown in a forest” of carbon nanotubes and is hydrophobic—absorbing no water. It makes everything around it look cartoonish against its unsettling lack of dimension. When sprayed on, it causes an optical illusion that flattens features and forms to render objects into a two-dimensional void. It’s so black that Surrey NanoSystems (the company that manufactures Vantablack) notes on its website that “it is often described as the closest thing to a black hole we’ll ever see.” If there is any living artist with the clout, savvy, and the Nietzschean impulse to monopolize the closest incarnation of a black hole, it's to no one’s surprise (and to many people’s chagrin) that the person would be Kapoor. He bought an exclusive license to use the material—making it impossible for other artists to access and experiment with it. Immediately, painter Christian Furr told the Daily Mail, “I’ve never heard of an artist monopolizing a material. This black is like dynamite in the art world…. It isn't right that it belongs to one man.” But it is not, as Wired notes, the first time an artist claimed rights on a color (artist Yves Klein famously patented his own hue of blue), nor did Kapoor actually create anything himself. Technically speaking, Kapoor did not monopolize the color black. Vantablack is not a paint or a color. It’s a material. It’s commercially unavailable. It’s engineered. It’s untouchable; the surface fades away when those microscopic nanotubes are disturbed. And it can only be applied by professionals. Surrey NanoSystems chose Kapoor as their highest-value bidder “because we didn’t have the bandwidth to work with more than one—we’re an engineering company—we decided Anish would be perfect,” Ben Jensen, the CTO at Surrey NanoSystems, told Wired. “His life’s work had revolved around light reflection and voids.”
All this caused a visceral irritation in the art world, at least on social media, and something else was afoot. Amid the high tempers over the ethics of access arrived Stuart Semple, a British artist nearly half Kapoor’s age who had a real problem with this whole situation. Semple, who creates and sells pigments on his website, showed up with his little bottle of fluorescent pink—or as he labeled it, The Pinkest Pink. Semple called Kapoor a “rotter” in a YouTube video because he refused to “share the black” and thus inspired social media warfare with its seminal tool: the hashtag #Sharetheblack became a trending topic. So did Stuart Semple’s website, which disparagingly addresses Kapoor’s monopoly and also states a legal caveat about The Pinkest Pink’s purchase:
Purchasers of PINK will be required to make a legal declaration during the online checkout process though, confirming that: “you are not Anish Kapoor, you are in no way affiliated to Anish Kapoor, you are not purchasing this item on behalf of Anish Kapoor or an associate of Anish Kapoor. To the best of your knowledge, information and belief this paint will not make its way into that hands of Anish Kapoor. If you order some I hope you love it. And please if you get a chance tell @anishkapoor_art to #ShareTheBlackSemple bagged both empathy and sales. If Twitter and Instagram commentaries were any indication of the general feeling of discontent, they also mobilized a marketing campaign for Semple, who sold not only oodles of color but perhaps a philosophy—or maybe a protest against monopoly.
It would make sense that an artist with the fame, street cred, and agency of Kapoor would be the first to get his hands on Vantablack. And it’s little surprise that Kapoor got his hands (or, more precisely, his middle finger) on something else, despite the ban against him: Semple’s Pinkest Pink. He proceeded to post an image on Instagram with his middle finger dipped in the powder with a caption “up yours #pink,” sparking outrage. It probably doesn’t help that, aside from his Instagram post, Kapoor has remained mum on the topic. When asked for comment, his representatives responded with scientific information on Vantablack—deftly stating that “Vantablack is not a paint, it’s a material.” (Fair. Point noted.) On Semple and Kapoor’s Instagram accounts, users provide support and drama, respectively. Comments on Semple’s Instagram read generally like this:
- Thatmelaniethorn: "A true artist is the one that shares its knowledge and creations with others. You are awesome @stuartsemple"
- Nikolajbyrdman: "I read the article on you. This is beautiful and you are my #pettygoals."
- Pine_straw_mtn: "You bought exclusive rights to this paint, and the only thing you did with it is make a hole? The guy who invented this stuff literally has an example of a hole illusion in the tests, and you just copied that? You couldn't think of anything more creative? You are the cancer of the art world."
- mcd: "A real artist would not need a color or lack thereof all to them selfs you are far from a true artist"
- io: "Capitalist scum"
- Awkwardjosie: "You're not a bad artist, but you're a shitty person. Imagine how your fan base and exposure could grow if you have up the rights. Just a thought."
Is the reactionary conversation surrounding this—which many may call petty and some may call productive and ethical—exactly the point? Did Kapoor play his cards this way on purpose as a piece of performance art? Or was that Semple’s idea in using Kapoor’s name and a philosophy of artistic access as “brand” for his product? You’d think the beef would die down after Semple got his big boost, but just last week, the drama once again reignited with Semple’s release of Phaze, a color changing paint that goes from purple to The Pinkest Pink, and Shift, a color-changing rainbow paint. His video posts on Instagram included a link to buy the products, and of course, the hashtag #sharetheblack. One wonders whether those involved in this conversation speak out of moral obligation, or from a place of altruism, or whether this whole thing is really a matter of attacking the Kapoor and his power. By the way, not only has Kapoor ticked off artists, it seems, but also his neighbors. His recent decision to add a floor extension to his London home caused his neighbors to create a petition to “to help try to stop Anish Kapoor [from] blocking our precious light & view, a valuable thing in our crowded city.” The plea continues: “You'd think Anish Kapoor would understand the value of light, colour, and social responsibility.”
Until July 2016, Plexus A1, an art installation comprising of nearly 60 miles of handwoven threads by Mexican artist Gabriel Dawe, will be exhibited in the Smithsonian American Art Museum's newly renovated Renwick Gallery. Dawe's installation consists of 15 hues to mimic the full spectrum of visible light. Curator-in-Charge at the Renwick, Nicholas R. Bell, said, “I was immediately drawn to [Dawe’s] work, the ethereality of it, and the illusion that the material—cotton thread—is anything but that. In the long history of our relationship with textiles, how many creators have successfully changed the way we think about the very nature of the material?" Gabriel Dawe spanned the sewing thread from Renwick's 19-foot-tall ceilings and worked layer by layer, gradating hues to resemble visible light. Dawe completed the installation in ten days. Dawe said, "Once I have an idea of what I want to do in a space, it’s just a matter of attaching hooks and stringing them on site, one thread at a time. I use a tool I’ve developed that works as a giant needle that takes the thread up and down. In a space like the Renwick, which is rather big, I also rely on a lift and helpers to be able to reach over such a big span of space.” The Renwick Gallery opened last fall, after two years of renovations. Dawe is one of nine artists displaying works in the exhibition, WONDER, as the gallery gradually bring in the permanent collection. For more information on the WONDER exhibition visit the Smithsonian American Art Museum's webpage here.
For the first time ever, Pantone has chosen two signature colors for its annual Color of the Year selection: Serenity and Rose Quartz. The combination of both colors creates a calm and relaxing palette that promotes tranquility and inner peace, the color gurus at Pantone explain. “With the whole greater than its individual parts, joined together Serenity and Rose Quartz demonstrate an inherent balance between a warmer embracing rose tone and the cooler tranquil blue, reflecting connection and wellness as well as a soothing sense of order and peace,” said Executive Director of the Pantone Color Institute Leatrice Eiseman in a statement. Serenity and Rose Quartz made their debut in the PANTONE Fashion Color Report Spring 2016 as well as on the runways for both men and women and in both jewelry and fashion accessories such as handbags, hats, footwear, and wearable technology. “In many parts of the world we are experiencing a gender blur as it relates to fashion, which has in turn impacted color trends throughout all other areas of design,” said Eiseman in a statement. “This more unilateral approach to color is coinciding with societal movements toward gender equality and fluidity, the consumers’ increased comfort with using color as a form of expression which includes a generation that has less concern about being typecast or judged, and an open exchange of digital information that has opened our eyes to different approaches to color usage.” In addition to the colors being featured in fashion, they are also making a splash in the world of kitchen appliances. KitchenAid and Keurig are two of the leading brands that are incorporating the colors of the year in their products.
The 2015 Serpentine Pavilion has opened to the public in London's Kensington Gardens. The psychedelic, worm-like structure was designed by SelgasCano, a husband-and-wife team based in Madrid, and features translucent ETFE panels that are wrapped and woven like webbing. The architects said the pavilion's design is partially inspired by the chaos of passing through the London Underground. "We sought a way to allow the public to experience architecture through simple elements: structure, light, transparency, shadows, lightness, form, sensitivity, change, surprise, color, and materials," said the firm in a statement. "We have therefore designed a Pavilion which incorporates all of these elements. The spatial qualities of the pavilion only unfold when accessing the structure and being immersed within it. Each entrance allows for a specific journey through the space, characterized by color, light, and irregular shapes with surprising volumes. " If you're not going to make it to see the pavilion before it closes on October 18, be sure to check out the gallery below.
You'll want to stop by the Dia in New York City to see LaMonte Young's "truly immersive" Dream House
In New York in the 1960s and '70s, a movement against pictorial, illusionistic, or fictive art began to favor more direct and literal figurations. This movement—now called Minimalism by many—was often spatial in nature as it was drawn on flat surfaces, sculpted, and displayed in white box galleries. There were, during the period, musicians who either joined the movement who were inspired by the likes of John Cage and others—Philip Glass, Steve Reich, Terry Riley, etc. They had natural affinities to music that was aural or spatial. One of these was LaMonte Young, a major figure in the movement, and now his 1969 piece, Dia 15 VI 13 545 West 22 Street Dream House (circa 1969), has been acquired by the Dia Art Foundation and is on display at their space at 545 West 22nd Street through next October. Dia describes the installation created by Young and collaborator Marian Zazeela as a “truly immersive experience…in sound and light, in which a work would be played continuously and ultimately exist in time as a living organism with a life and tradition of its own." Architects open to new—or in this case older—ideas of space and time would do well to visit. Young and Zazeela intend the work to be “durational” and to be experienced several times over a lifetime. Dia will also present various musical performances inside the spatial experience during its installation.
The Serpentine Galleries has unveiled renderings for its 15th summer pavilion which it described as an "amorphous, double-skinned, polygonal structure." The interactive and certainly bright installation is designed by the Madrid-based SelgasCano and comprises translucent, rainbow-colored panels woven into a webbing system. Visitors are encouraged to enter the pavilion and explore its "secret corridor" and "stained glass-effect interior." "We sought a way to allow the public to experience architecture through simple elements: structure, light, transparency, shadows, lightness, form, sensitivity, change, surprise, colour and materials," SelgasCano said in a statement. "We have therefore designed a Pavilion which incorporates all of these elements. The spatial qualities of the Pavilion only unfold when accessing the structure and being immersed within it. Each entrance allows for a specific journey through the space, characterised by colour, light and irregular shapes with surprising volumes. This is accomplished by creating a double-layered shell, made of opaque and translucent fluorine-based plastic (ETFE) in a variety of colours." After people have explored the colorful space, they will find an open space cafe sited at its center. Over the summer months, SelgasCano's pavilion will become the stage and centerpiece of Serpentine’s Park Nights—a cultural event held every Friday evening. Previous pavilion designers include Frank Gehry, Zaha Hadid, Jean Nouvel, Oscar Niemeyer, Peter Zumthor, SANAA, and Toyo Ito with Cecil Balmond. Architectural Digest recently reported that last year's pavilion by Chilean architect Smiljan Radic has been moved to the gardens of Hauser & Wirth Somerset a few hours outside of London.