Posts tagged with "London Design Festival":

Placeholder Alt Text

Here's what to catch at this year's London Design Festival

It's September, which in the U.K. means it's time for the London Design Festival (LDF). Now in its 17th year, there is once again a feast of shows, talks, walks, exhibitions, and installations to gorge upon. The Architect's Newspaper has surveyed what's on view firsthand and rounded up what to catch this year. Sea Things, Sam Jacob Studio As always, the LDF is heavily connected to the Victoria & Albert Museum (V&A). At the museum's entrance, visitors can find a 13-foot-on-each-side glass cube hanging from the ceiling. Stand underneath it and look up, and you will find pieces of plastic floating by as if being carried by a current through space. It's only a film, but the mirrored edges of the cube create the impression of it being limitless through a simple, yet effective, trick. Titled Sea Things, the work from Sam Jacob Studio aims to raise awareness of plastic in our oceans. "The V&A is full of things and our relationship to things," Jacob told AN, who cited a hand-drawn pattern of sea creatures by the Eames's (in the V&A collection) as part of his inspiration. That pattern was drawn at a time when there was tangible hope of saving our oceans from pollution. Jacob's installation omits such optimism: by 2050, if current pollution levels remain on track, the world's oceans will be 50 percent plastic and 50 percent marine life, the end of his studio's film predicts. Black Masking Culture, Big Chief Demond Melancon with Assemble A surprise hit at the V&A comes from the New Orleans-based artist and educator, Big Chief Demond Melancon of the Young Seminole Hunters. Working with London studio Assemble, two of Melancon's giant, full-body Mardi Gras Indian suits (I can't imagine how hot they must get) have been installed. The suits have been hand-sewn; fitting then, that they have been placed in the V&A's Tapestries Gallery. They are truly a sight to behold: joyously flamboyant, bursting with life, ornate and infinitely intricate, they are works of art in their own right. A fascinating film tracing the making of the suits in the run-up to Mardi Gras accompanies the suits and it's well worth a watch. More LDF at the V&A Many other installations part of LDF can be found at the V&A too. Hans Ulrich Obrist has designed a wooden postbox, for example, and Korean artist Do Ho Suh has had his forensic video survey of Robin Hood Gardens displayed via a 100-foot-wide projection. For Smithson buffs, the model of the ill-fated housing estate made for the 1970 film, The Smithsons on Housingis also on display. Paddington Pyramid, Adam Nathaniel Furman Beyond the V&A more color abounds, as LDF has always featured in recent years. Welcome returners to the fray Adam Nathaniel Furman and Camille Walala have once again done a marvelous job sprucing up the vicinities they've occupied. In Paddington, Furman has erected a fluttering pyramid next to where he was born, drawing on the towering, ephemeral structures that populate fairs and festivals. Walala Lound, Camille Walala Furman's 2017 project, Gateways, was supposedly the most photographed LDF installation ever, however, this year, Camille Walala appears to be giving him a run for his money. Wander down South Molton Street just a stone's throw away and you'll find a host of street furniture: planters, benches, and bunting all emphatically stamped with Walala's hallmark, vibrant geometric style, all being snapped and papped by hashtag-happy passersby. Please Be Seated, Paul Cocksedge There are more moments to sit at this year's LDF, too. London designer Paul Cocksedge has designed an undulating trio of concentric timber circles in Broadgate, East London. Aptly named Please Be Seated, the work reuses scaffolding planks to create a sculpture that acts as both a pedestrian thoroughfare and place of rest. "There's a motorway of people [around here]," Cocksedge told AN. "I looked at where people were going to and from, the arches are oriented in the general direction of that flow, so it works for everyone." So far, Please Be Seated has been an instant success, with LDF-ers and bankers working nearby making the most of it. "It's nice to see people using something in the way that it's meant to," added Cocksedge. Life Labyrinth, PATTERNITY Sticking to the same theme, Life Labyrinth, riffs on Daniel Buren's Les Deux Plateaux (The Two Levels) in Paris. London studio PATTERNITY's black-and white seating arrangement, mini-maze, and garden is a welcome addition to the entrance of Westminster Cathedral where visitors can rest and children can play with the garden bells and labyrinth itself. Buren's work has been a hit since 1986 and, while being somewhat paired down, Life Labyrinth looks to emulate that success, if only for a week. Day of Design  22 September, 11 a.m. – 5 p.m. To mark the end of LDF 2019 there will be a "Day of Design" along Exhibition Road. Closed off to cars for the day, the V&A, alongside the Natural History Museum, Science Museum, Imperial College, and the Royal College of Art will fill the street with installations and events centered around solutions to climate change. Don't miss out on the Plastic Pavilion from London designer Seyi Adelekun. The parametric structure is comprised of string, steel mesh and 1,600 plastic bottles—some of which, according to Adelekun, were collected by "raiding neighbors bins." Adelekun told AN she hopes to raise awareness about single-use plastics and how to use them in construction.
Placeholder Alt Text

This year's London Design Festival proved it's not always gray in London

Bright colors, bold stripes, and geometric shapes were found in abundance during London Design Festival (LDF), which closed on September 24.

Stealing the show were London designers Camille Walala and Adam Nathaniel Furman. The former’s Villa Walala inflatable castle comprised a series of basic shapes doused with playful colors to match. Walala’s installation, which is in keeping with her previous work, couldn’t be more out of place. Situated in Broadgate’s Exchange Square by Liverpool Street, Villa Walala spruced up an area typically awash with navy-suited bankers on smart phones. The castle was perhaps much needed.

The splash of color continued on to the West. At the Barbican, Morag Myerscough and Luke Morgan designed Joy. Spanning the Barbican’s concrete wall along Silk Street were six symbols: a heart represented love, a globe represented society, a sun represented joy, an eye represented London’s openness, a star represented energy, and finally, a flower represented peace.

The same symbols could also be found at the designers’ Peace Garden and Pavilion in the West Smithfield Rotunda Garden. This piece, which was more accomplished, played with perspective and also provided shelter to visitors courtesy of drapes partially spanning the circular walkway, supported by zig-zagging columns.

More of Myerscough’s work could be found south of the river, too, though this was not part of the LDF. Emblazoned onto Grosvenor Arch, the entrance to Battersea’s Circus West Village (an area primed for vapid commercialization and luxury condos), is the word “POWER.” Just as blindingly colorful as the Peace Garden and Pavilion, the piece – known as Power Circus – makes use of marine plywood panels that were hand-painted by Myserscough and her team of artists.

If this aesthetic was to your taste, then one could head even further west to White City. Here, New York and London-based designers Craig Redman and Karl Maier transformed a former gas station. Titled HereAfter, the colorful installation was not part of the LDF but is open to the public indefinitely. HereAfter can be found on 74 Wood Lane.

It should be no surprise that with such vibrant hues being plastered all over the capital, Adam Nathaniel Furman got in on the act. Another star installation which had Instagrammers flocking to it was Gateways. Commissioned by Turkishceramics, Furman designed four 13-foot-by-13-foot tiled gates that referenced the history of ceramics in Turkish. The gates had different shaped passageways through them and were flanked on either side by shallow water that reflected the colorful tiles.

“There is no other architectural treatment that has remained as fresh, relevant and cool as ceramics has from a thousand years BC, right through into the 21st century,” said Furman.

His work, which was located at Granary Square by Kings Cross Station, fronted the Central Saint Martins art school where DesignJunction—a three-day design fair run in tandem with the LDF—was hosted in and around. Here, work from numerous exhibitors could be found, notably Turner Prize-winning architecture studio Assemble. The group showcased work from their Granby workshop in Liverpool which produced fixtures and fittings for the Granby Four Streets project which won the 2015 Turner Prize. Now in its second year, the workshop is expanding to produce tableware known as “SPLATWARE.”

Also on show at the LDF was work from British architecture firm Sam Jacob Studio. Presented in collaboration with car manufacturer MINI, Urban Cabin was a mock micro-house situated in Blackfriars where Londoners could come and swap books. On one side of the cabin, Jacob installed classically-inflected entablature crafted with a range of materials including foam board, MDF and various types of other timber and chipboard. Among a hammock and other furnishings, Urban Cabin came pre-stocked with architecture, design and London-centric books for people to take and replace – on the condition that they left a personal note about the book.

The festival continued at Somerset House. The most popular piece here was PriestmanGoode’s exhibition of interior design strategies for a hyperloop system. Here, visitors could also sit on prototype seat and feel test finishes and surfaces, look at color palettes and provide suggestions for what they wanted inside hyperloop cars.

LDF spread to Greater London, too. In Bexley, East London, Erith Lighthouse was erected for the festival. The polycarbonate lighthouse, designed by architects DK-CM and design studio The Decorators, was erected along the Thames Estuary's edge and hosted a series of food-based events. 

https://youtu.be/w3KUcQt8Yys

Sticking to light as a medium, the Victoria & Albert Museum showcased the Reflection Room as part of the festival. Created by Flynn Talbot, the exhibition used 56 custom-made stretch membrane Barrisol panels to reflect orange and blue light which emanated from Tryka LED profiles installed at each end of an enclosed corridor .

Want more? Find the full list of projects and events that were found at LDF this year here. Missed it? Maybe next year! The 2018 London Design Biennial will run from September 4 through September 24.

Placeholder Alt Text

David Chipperfield's Classical display cabinets take a cue from the Ionic column

Looking for a tasteful way to show off your collection of iconic postmodern teapots or architect-designed shoes? David Chipperfield may have the answer. Debuting during the London Design Festival, the "Ionic" display cases find the architect comfortably ordering classical bronze columns and ribbed glass panels. The cabinets have been developed for the David Gill Gallery. "David Gill encouraged me to think to create furniture outside of the normal commercial criteria—the furniture industry is interested in methods of production that are economical and where pieces sit within the marketplace—be that a sofa or a coffee table," Chipperfield said in a statement. "With David Gill, we were able to operate outside the conventional commercial furniture system. It was strange, and yet very interesting." The project evokes the fantasy of architects everywhere: the dream client, with little to no restrictions on vision and budget. "I still wanted to make a utilitarian object but didn't see utility as its primary concern—or the economy of means," Chipperfield continued. "I didn't have to worry about how it was made, just to make something beautiful out of beautiful materials, such as casting and bronze; things that normally lie beyond the possibilities of the commercial process and invest the object with a strong physical presence."
Placeholder Alt Text

Product> Dinner with Zaha: Hadid Launches New Housewares Collection

During last week's London Design Festival, Zaha Hadid introduced a collection of housewares and tabletop items created exclusively for the posh Harrods department store. No stranger to merchandising opportunities—the architect has produced a bevy of brand extensions, including furniture, swimsuits, wine bottles, jewelry, and shoes—this latest venture is described as a "luxury homeware line." The sharp-sighted may discern a resemblance between some of these new products and certain Hadid projects. The decorative motif of a ceramic candleholder seems similar to the base of her proposed Miami development, One Thousand Museum. A swooping acrylic serving platter recalls the Aquatic Centre, created for the London Olympics. A resin chess board is populated with all sorts of sinuous towers—it's a veritable Zaha City. If you're interested in feathering your nest with these items, prices range from the reasonable ($60 for a china tea cup) to the prohibitive (more than $16,300 for the Aqua platter). Harrods has an exclusive on the collection for a month; then it will be available through Zaha Hadid Design.
Placeholder Alt Text

Zaha Hadid designs an elegant wave at the V&A Museum for the London Design Festival

London's Victoria & Albert Museum is preparing to construct an art installation by Zaha Hadid. Called Crest, the oval form takes its name from ocean waves and will appear in the museum’s John Madejski garden as part of the London Design Festival, which takes place later this month. The Crest, as Hadid’s team has named it, will hover over the pond within the V&A's Madejski garden, forming a swooping arc over the body of water. The futuristic pavilion will sport a metallic surface which will reflect the sky above and the water underneath it. The contrast between these two reflected images will play on the clear contrast of the ultramodern installation against the backdrop of the 19th century museum. Despite this contrast, Hadid designed the installation to create a sense that it had always been there. “We envisioned creating a piece that would emerge from the pool which is the centrepiece of the space, both visually and in terms of social interaction,” Hadid explained in a statement. “Crest is intended to offer an exciting new perspective with which visitors experience the courtyard. It will multiply the movements of the water and the historic backdrop within which it is sited. It will capture the attention of visitors as they enter the space and draw them towards exploring the new quality of space created within.” Hadid previously stated the installation would be comprised of a very thin aluminum material, making it light and easily transported. After the London Design Festival concludes, the Crest installation will be transported from the V&A Museum to Hadid's ultra-parametric ME Dubai hotel, where it will stand as a permanent sculpture. The hotel is expected to open in 2016.
Placeholder Alt Text

Oxford's Bodleian Libraries Commissions Third Chair in 400 Years

Designing for a specific space can be a challenge, but try designing a chair predestined to become a contemporary statement in the newly-refurbished Weston Library, part of the Bodleian Libraries at Oxford, which has commissioned only its third new chair in 400 years. Earlier this year, three partnerships—Amanda Levete and Herman Miller, Barber Osgerby  and Isokon Plus, and Matthew Hilton and SCP Ltd—were shortlisted to compete for the prestigious prize, which has officially been awarded to Edward Barber and Jay Osgerby with Isokon, for their low, round-backed design. Barber Osgerby's contemporary interpretation of the competition brief resulted in a surprisingly slender, three-legged oak design that unites craft heritage and sculptural form to inventively meet reader requirements. The victorious prototype represents a scholarly design approach, with early inspiration drawn from awareness of the library's history and culture. The chair will be produced for installation in the newly-renovated Weston Library over the next year. Bodleian’s estates manager Toby Kirtley told The Guardian that the institution “wanted something that would be iconic and representative of the library. It should be contemporary in style, but not out of place in a heritage setting—innovative and original, without being too experimental and risky.” Barber Osgerby seems to have hit the mark, as Bodley's Interim Librarian Richard Ovenden said, "the winning chair is characterized by a strong identity, creative approach, comfort and suitability for intense study and research." The commission was last granted in 1936 to Giles Gilbert Scott, who designed two heavy, leather-clad bucket seats to furnish the New Bodleian Library building, which is currently undergoing an approximately $105 million renovation by Wilkinson Eyre Architects, and it is set to open in October 2014. Judges included Librarian Sarah Thomas, Director of the V&A Professor Martin Roth, and industrial designer of Kenneth Grange, among others.