Italian designer Michele De Lucchi will lead Domus as editor-in-chief starting next year. De Lucchi designs both objects and buildings. He is perhaps best known for designing the Tolomeo lamp with Giancarlo Fassina for Artemide Lighting, as well as the First Chair for Memphis in 1983. He founded his architecture and design studio, aMDL, in the early 1980s. The move is the centerpiece of a leadership shake-up that puts a different architect in charge of the publication annually until Domus's 2028 centennial. According to Domus, De Lucchi's ten issues for 2018 will focus on concepts such as emotion, rebellion, and silence, approached through architecture and design, but also through other fields like anthropology and meteorology. "Domus's evolution is part of the evolution of the world's most innovative magazines," said Editorial Director Walter Mariotti, who has held the post since September 2017. "These are publications that have become engagement-driven platforms, distinguishing themselves from the available information on the Web by taking up reciprocal exchange. Domus will become an increasingly pluriform and independent system, offering individual architects a tool to diffuse their vision." The magazine's design will change, too. Mark Porter Associates, the same firm behind Domus's website, is heading up the publication's new look for print. The contents will be rearranged and the magazine will have more space for images. De Lucchi's first issue hits newsstands on January 8, 2018.
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There was a time, perhaps forty years ago and more, when designers in this country followed the Italian architecture scene with great interest. The country was front and center when ideas and styles were communicated principally through magazines Italian like Domus, Casabella, Abitare and Contraspazio. These journals would have articles by Manfredo Tafuri, Bruno Zevi and others, but they also featured images from the country’s fertile design culture. But it has been decades since Italian architects dominated, let alone were influential, on the international architecture scene. In fact, there are only a few Italian architects known in this country today: Renzo Piano, Massimiliano Fuksas and several Milan–based industrial designers. The work of an older generation of radicals like Superstudio and Archizoom are likely better known by students today than contemporary Italian architects But Mario Cucinella is an Italian architect who may be about to better-known in this country. The Bologna–based architect (Piano and Fuksas have long had principal offices in Paris) was a student of Giancarlo De Carlo and worked in The Renzo Piano Building workshop from 1987-1992 before starting his own firm. He is now carving out a creative and productive career designing major buildings, including the Kuwait School in Gaza, developed in partnership with the United Nations Relief and Works Agency. In 2015, Cucinella founded SOS, the School of Sustainability, which intends to build a culture of sustainable design methods and practices in his country. On Thursday, November 9, at 6:00pm, he will be presenting these projects at Rizzoli Bookstore in Manhattan. I will walk him through his practice, the school, and what it takes to be a successful architect in Italy.
Domus Materials and Applications 1619 Silver Lake Blvd Through Spring 2015 You can't tell at first glance, but Silver Lake gallery Materials & Applications is measuring the ground shaking beneath your feet. Their newest installation, Domus, by D.V. Rogers, detects worldwide seismic activity measured by the US Geological Survey and reveals it with a 7-foot-tall, multi-colored LED "light chandelier" display and with pulsing sounds. All is encased inside a 20-foot-tall, six-sided "hexayurt" made with simple exterior insulation panels and filament tape. The installation will be up until next Spring. A key component of Domus is to engage people with earthquake-preparedness and post-disaster strategies, a reality that is often ignored in temblor-prone Los Angeles. The structure itself is an example of low cost architecture for possible disaster zones. Rogers has already hosted workshops on the topic, and more events are planned during the show's duration.
"Banality," the theme of Storefront's Critical Halloween costume fundraiser, was manifested in an array of clever--and occasionally perplexing--forms on Saturday evening at the 3-Legged Dog in Manhattan. Blizzard-like conditions did not deter a group of over 250 design-o-philes and at least one (in)famous party crasher from getting decked out in spandex, foam, plush, rubber, tulle, and acres of cardboard. The weather did prevent Liz Diller from arriving to judge the costume contest, but her fearless partner Charles Renfro stepped into the breach, and channeling Damien Hirst in a rhinstone-studded skull mask ("Greed"), took his place alongside judges Wangechi Mutu (embodying Pantone's "Bluebird") and Justin Davidson (dressed as an architecture critic). Each of the three judges picked a winner, and all the winners happened to come in pairs: "Eyes of the Beholder" (Lisa and Ted Landrum); "1:1 Human Scale, male + female" (Kyle May and Julia van den Hout); and the intriguing "Doll Face" (Mark Kroeckel/moustache and Alison Cutlan). Some architects riffed on their own current work in the costumes (Jing Liu/SO-IL, Meissen exhibition) while others seem to reflect more a state of mind (Bjarke Ingels/BIG, King Kong with colleague Daniel as the Empire State Building; Mitch Joachim/Terreform1 as "Not Bucky"). Now Storefront and Domus are sponsoring an online People's Choice contest. Whose costume gets your vote for most critically banal? See the line-up here.
EXD’11 Lisbon Design Biennale Opening Week September 28–October 2 “Useless,” the theme of Lisbon’s the sixth design biennale organized by Experimentadesign, grew out of a desire to explore what the term “useful” means today. A number a guest-curated exhibitions form the backbone of the event: for Sidelines, design historian Emily King considers the motivations behind collecting art and objects, deploying Lisbon’s museums to display an eclectic series of private collections; in Utilitas Interrupta, Joseph Grima, editor of Domus, asks what abandoned infrastructure and its implements (above) say about our society. These shows run through November, but opening week highlights also include a series of lectures by design scene fixtures like Hans Ulrich Obrist and Zoe Ryan, as well as a specially organized film series.
The famed Italian architecture and design magazine Domus announced new leadership today, with the reinstatement of former editor-in-chief Alessandro Mendini for an eleven-issue term beginning in April. Joseph Grima, until recently the director of the Storefront for Art and Architecture in New York, has been brought on to bolster the magazine’s web and international presence and will take over as editor-in-chief following Mendini’s term. The somewhat unusual arrangement will give Grima time to rethink the magazine’s content across media platforms, while the print edition continues under the steady hand of Mendini, who has previously edited Domus, Modo, and Casabella magazines. Deputy editor Stephan Casciani has also being retained. According to a statement from the magazine, Domus has an international circulation of approximately 51,000 copies. Mendini replaces Flavio Albanese who edited the magazine for three years. As for editorial direction, the new slogon of the magazine is, “for a new utopia.” According to the statement, Medini explained it thus:
The slogan for the new Domus will be 'for a new utopia'. The history of grand transformations in architecture and design is marked by the new utopias, and it is our intention to pursue this opening line. To scour the world in search of projects that demonstrate scenarios and attitudes of living that represent a positive way of looking to the future. Not so much new utopias of a technical nature, but rather humanistic and psychological: the ecology of exterior environments is preceded by that of interiors. In this sense the new Domus re-establishes its links with its origins as a 'Magazine for the home,' offering examples of the dignity of living the city, objects and the home. The new design of the magazine will also evoke memories of the Domus of the past through the classic, radiant sequencing of its articles and images.