|Hangaram Design Museum, Seoul|
Monday, December 24, 2007
Sunday, December 23, 2007
This extremely weather-resistant plastic was developed to patent stage in 1933 by the Darmstadt-based Röhm company. Its constant high transparency, light weight as compared with glass and wide range of forming options are the attributes that make PLEXIGLAS® an equally attractive material for architecture and design.
With its variability in production this plastic put its stamp on the modernist movement, and made complex forms also feasable with transparency. From Panton's lightnings and chairs to the light roof construction of Munich’s Olympic Stadium, many new forms were made possible by this material.
Mathildenhöhe, where the exhibition was shown is also the birthplace of the german art deco movement (Jugendstil). Several houses and a museum show how this movement opened the way to modernism. This place near Frankfurt is until today important for the design scene because there is also located the "Design Zentrum Hessen" and the "FH Darmstadt - design faculty".
Our photo album from this excursion:
Museum Künstlerkolonie in Darmstadt (Mathildenhöhe)
16th Sept. 2007 to 24. March 2008
Website of the Museum and the exhibition
Sunday, December 2, 2007
Tuesday, November 6, 2007
The catalogue edited by Thimo Te Duits with good contributions is unfortunatly sold out.
Thursday, November 1, 2007
Virtual Design Museums must not only be virtual presentations of products, but could also be a good platform for historic software and their surfaces. I knew some good sites showing historic webdesign. The Vintage Mac Museum is a good sample for a combination of showing historic soft- and hardware as well.
Link to the Narita's Vintage Mac Museum
"A museum project is stirring debate in the Miami Design District. Miami Beach-based Dacra Development is on the verge of erecting a 42,000-square-foot, six-story contemporary art museum at 140 N.E. 39th St., despite complaints by residents of the nearby Buena Vista East Historic Neighborhood Association."
Article in the Miami Post
Sunday, October 21, 2007
The first room was so theatrical at first I didn't know what I was looking at. The shot above is simply a table of architectural models in front an entire long wall of projected images. Hadid's work ranges from modern 21st century to certainly where no man has gone before. Her buildings are highly imaginative, many of them quite organic.
The children's book author and illustrator Scott Santoro writes in his blog http://scottsantoro.blogspot.com/ about life in London.
Friday, October 19, 2007
The public interest should not only dissipated for displaying interior and lightning design, even f this is the most impressive for public installations. Most design is made in other subjects: Cars, machines, tools, software etc.
The question will be not which forms of design are the most spectacular, but what can design do to improve standard of living for as much people as possible on a economic way.
Saturday, October 13, 2007
The first is not very huge, it displays from ancient Egyptian to Modern items of public life (especially metal works and furniture). A quite new department is about industrial design.
I don't know much about antiquities, the two mumies impressed me (there is a stereolithograpy model of the head inside, and x-ray pictures), the rest was ok. The industrial design department has not many exhibits, but all are notable (e.g rare Bauhaus-furniture). In the basement there was a temporary exhibition about Art Deco also with some design objects: a object o Christopher Dresser and some Behrens water kettles.
It should be mentioned that there is a path for children with special exhibits.
The Sprengel Museum is well known in Germany and very big, an aditional wing was opened in 1992. You will find works of almost all important artists of the 20th century. The works of contemporary artists show no surprices (other similar are known from otherwhere), notable is the donation of the Frenc artist Niki de Saint-Phalle, who donated 300 of their works to this institution, many are very unconvetional and show an other facette of her. German art of the beginning cebtury is also well represented. The artist Kurt Schwitters came from Hanover, his atelier is reconstructed inside the museum.
See also our picture album from Hanover:
|Sprengel Museum + Kestner Museum|
Friday, October 12, 2007
How people use the things in their daily life is the important part for designer to observe. We can see the different shape from the past how they made, and their amazing thoughts from the Ancient in China. As a designer, it helps us to broaden the immeasurable horizons, and to reconsider the point of view of current design.
Shin-Chia Huang, (email:email@example.com)
Saturday, October 6, 2007
Especially art [and design] museums benefit from this world wide boom. 120,000 visitors came to a single exhibition in Hamburg, 500,000 to the National Gallery in Berlin.
Source: an article in the Frankfurter Allgemeine (only in German)
Seeing the film my question is, if every organic designed can be labelled as "nature design"
Thursday, October 4, 2007
The travelling exhibition was first made as a Spanish contribution for the Expo 2005 in Aichi, Japan and was shown at the Saitama Museum of Modern Art. Later it travelled around the world. I visited the exhibition in Athens.
The tour through time begins with Gaudí’s modernisme in the Art Deco period, and moves forward to the rationalist Gatepac movement until functional and post-modernism industrial design.
See also our picture album from the exhibition:
|300% Spanish Design|
Objects: 150 items in exhibition (1880-1980)
Link to the museum
- Poster art from Japan after World War II
- Danish and Swedish Design: consumer products, furniture and environmental design.
- Design 2000 Project: works by artists from more than 50 countries to celebrate the end of the millennium.
Article about the museum in "Beijingscene"
Wednesday, October 3, 2007
The permanent exhibition of the Museum of Decorative Arts (Uměleckoprůmyslové museum) consists 4 halls on one floor. It shows a lot of handcrafts, especially baroque household goods, clothes and furniture, the 20th century seems to be under-represented.
I expected exhibits of cubism and functionalism, both very important for Czech and European design, but was disappointed: Cubism was represented by only one armoir in this building and nothing was displayed on functionalism (perhaps both are displayed in the dependances)
The important comtemporary Czech typography was represented by 6 posters with font samples from Marek Pistora and the corporate design manual of the museum (it could be more). Interesting was the exhibition Models&Prototypes showing sketches with design of baroque items. You can see how that the division of labour was high developed even this time.
I suspect that the rich collection is not displayed in an exhibition, some topics have own external buildings in Prague:
Cubistic exhibits are shown in the Museum of Cubism (Celetná Street)
19th, 20th and 21st century art at the Trade Fair Palace (Dukelských hrdinů Street)
Prague Jewellery Collection (Cihelná Street)
The National Museum is very big, several departments show the history of geology and flora & fauna (worldwide) and the history of civilisation (Czech and Slovak Republik). The exhibition concept seems old fashioned but is in very good condition, so it is an exhibit itself. I hope it will be preserved and not be changed.
See the picture album of the visit:
|Prague, Sept. 2007|
FACTS Museum of Decorative Arts (UPM)
Founded: 1818 (building from 1885-1891 Arch: Josef Schulz)
Permanent exhibition renovated in 2000
FACTS National Museum
Founded: 1885 (building from 1897-1899 Arch: Josef Schulz)
Objects: 14,000,000 items
Thursday, September 27, 2007
Wednesday, September 26, 2007
...Why have chairs assumed so much importance? We all need comfortable objects to sit on, and to suspend us at the correct height to type or eat, while, we hope, saving us from back pain. But isn't it odd that something that was designed to do just that should occupy more cultural space than arguably more useful and complex objects? How has the chair been loaded with so much symbolism and meaning, and attained such stratospheric prices? And will it be as important to the design history of this century, as it was to the last? ...
The complete text: an article in the Herald Tribune
Photo: C. Vittoratos in the exhibition 300% Spanish Design in Athens
I waited the last day to visit Habitare 07. Already the reputation of ahead! had spread: this was the part most interesting regarding new concepts, experimental design and fresh outlooks. Most of the pictures that accompany this text are from ahead! and concerned design production companies, design associations and manufacturers (showroom Finland: verso design, secto design, selki-asema, Formverk, Rintala interiors, adora textiles, the Artisans, Designers and Artists Cooperative of Fiskars, onoma art, and more), design schools and their stands (Turku University of Applied Sciences, Lahti Institute of Design, University of Lapland and University of Art and Design Helsinki), and the “container village”. The last was a conglomeration of cargo containers, each housing an exhibit-installation of Finnish or international designers, such as Jurgen Bay, Ola Kolehmainen, Bruno Borrione, Ludi Architects, Ilkka Suppanen, Jasper Morrison & Naoto Fukasawa, and the Diesel Creative team of Renzo Rosso.
My overall impression of ahead! is that once again one of the most favored themes of aspiring design exhibitions was the CHAIR. I find the theme unchallenging although it sells enormously. The Lahti Institute of Design had a conceptual aspiration to present an ambiance as a design
product. Lahti’s room though because of its product vacuum was attracting very little visitors; in other words it wasn’t selling well. In ahead! one could find interesting design pieces with a certain dignity in the use of material, the execution of the design and the purity of the design itself. One could find austere Finnish design furniture and objects, as well as more playful ones by the younger
generation of designers; however, a fair is a fair and all is a consumption trick. Paradoxically, it is when this trick is invested withdifferent layers of meaning that it sells best. I felt this with the
“container village.” All an all ahead! was not that innovative, but it transmitted the tranquil reassurance that things are not stale but rather promising (regarding aesthetics, creativity and economic viability).
Final note: Design for People vs. People for Design
Finland is not famous for its customer services (funny to say that to Greeks who are neither particularly polite). There are instances that justify this ill reputation as well as graceful exceptions. While admiring the exhibits of the furniture manufacturer Piiroinen, I tried the resized classic chair PK1. A metal part in the back rest was protruding and I hit slightly my upper back. The representative of the company came to talk to me. I explained my reserve about the chair. The tired young woman looked at me with her smiling face and told me with the most natural way: your body is wrong for the chair; we haven’t heard this complain by anyone else. She found hard to accept that maybe there was a small design issue to improve especially since the chair was enlarged 6% from the original design.
I am one of those believing that Design for All is a fad, although it does create awareness, especially amongst designers, about our discriminatory misconceptions. However, it is one think to hear that an object is not suitable for oneself and quite another to hear that oneself is not suitable for an inanimate object.
Michail Galanakis, UIAH Helsinki (email:Michail.Galanakis@taik.fi)
See also our great picture album from the fair:
|HABITARE, Helsinki 2007|
Almost all important cars of the 20th century are displayed in the museum, from luxury linousines like Duisenberg (USA), Mercedes and Maybach to mass motorisation of the 1950ies with great American dream cars and popular Europan supersmall size cars.
The highlights are the Bugattis, even an extremly rare Royale (only 7 were built) and of course the airplanes. Sinsheim is the only place where you can see and compare the Concorde and its Russian counterpart, the TU-144 and make your own oppinion if the design was stolen or not.
My personal favourites were the three JU-52 planes (one of them was temporarely restored in the museums court, after two decades on the roof of the museum) and an unrestored crashed and rusty Porsche 356 Speedster.
From a design aspect it is interesting to see the interiors of the planes, (even if they are incomplete, the interior of the Concorde was designed by André Putman).
See also our picture album from the museum:
|Technik Museum Sinsheim|
Objects: 3,000 objects on 50.000m²
(over 300 cars, 40 racing cars, 200 motorcycles, 27 locomotives, 60 airplanes)
Visitors: 1.000.000 p.a.
Thursday, September 20, 2007
Kari Korkman is the soul behind of it all and calls himself I think a design producer is a very nice and approachable person. My only question about these events is that they are one off every year and take place all together in the end of summer beginning of autumn. In the dark winter months very little is happening (apart from the Forces of Light that have been shrinking every year). On the other hand, as Helsinki is a small capital and Finland in general has a strong tradition and appreciation of design, you can imagine that everything that is happening is showcasing in Helsinki.
By this I mean that there are a lot design shops, galleries, and design is more or less part of every day life for the middle class. It is interesting though that for instance Marimekko which is a legendary brand has a huge range of products to fulfill needs and desires of lower income earners too. As I say: there is no household without at least one Marimekko product. From my perspective Finnish designers are somehow trying to overcome the conventions of Finnish design and without losing their distinct identity to become more international. Multiculturalism in this small country is a big issue, as NOKIA expands and internationalization worries especially peoples of recent nations.
Michail Galanakis, UIAH Helsinki (email:Michail.Galanakis@taik.fi)
see also the post below
Link to a article of WDR TV (in German) with a Link to a report on their WEBTV
Wednesday, September 19, 2007
The organizers promised, as in previous years, a point of communication and relaxed interaction. Big names of Finnish design and industry, and new talents co-exist and the effect is a design wonderland, with smaller and bigger surprises. All design fields are represented here; industrial, ceramic, interior, fashion and textile, furniture, and architecture. Panel talks, side exhibitions, like the one with the biggest names of French design, are all enriching an institution such as the design partners, part of Helsinki Design Week.
My favorites were the mobile lamp by Mikko Pakkanen, the silk cocoon and latex lamps, the concrete bench incorporating old fabrics and high technology. Interesting was the IKEA fashion collection where IKEA sponsored fashion and interior design creating an atmospheric living room.
Michail Galanakis, UIAH Helsinki (email:Michail.Galanakis@taik.fi)
See also our picture album from the exhibition:
|Design Partners, Helsinki 2007|
Helsinki Design Week is an event for designers and consumers
arraged for the third time (2005, 2006,2007).
It is combined with the "Habitare" furniture fair and the
"Architecture and Design Day"
Tuesday, September 11, 2007
(Dr. Paul Polak, International Development Enterprises)
The exhibition at Cooper-Hewitt, National Design Museum analyzes 30 humanitarian design projects. It is on view through September 23, 2007.
Link to the exhibition
Wednesday, September 5, 2007
Friday, August 3, 2007
Frankfurt, Deutsches Architekturmuseum (DAM) 1988
The late 1980ies in industrial design were dominated by the "anything-goes" mentality. The DAM decided to anwer with an exhibition what could be criteria and impulses for future design developments. This exhibition organised by Prof. Volker Fischer showed from functionalism to postmodernism all design movements and companies of this time.
The catalogue is itself an important discourse and was edited many times. Design authors like Jochen Gros, Volker Fischer, Volker Albus and Matteo Thun write about themes like "miniaturisation and design" or "neo-barock influences in postmodernism".
Myself in 2000 I learned from this book to prepare my design studies.
Our "List of some design history relevant exhibitions" gives you an overview on important milestones of exhibitions and helps you searching concrete informations about themes of design history.
Friday, July 20, 2007
Even if the presentation of prices was followed by many articles in the press, the collection was looking for a permanent home for a long time. On April 1st, the Plagiarius Museum in Solingen, Germany officially opened its doors to the public, unveiling a parade of 300 original products alongside their knock-off inferiors.
Similar, but with a focus more on brands is the Musée de la Contrefaçon in Paris
Wednesday, July 18, 2007
Actual there is an exhibition about chairs and about Apple Design
Link to the digital design museum
Tuesday, July 17, 2007
An other interesting exhibition currently at Gent Design Museum is "Kitsch, Camp or Design"
The short film Eames Lounge Chair Assembly (1956)
Friday, June 29, 2007
During the Third Reich parts of the collection were sold or gifted. After World War II the collection growed again especially with donations of big companies like Siemens or Olivetti. Even if the Neue Sammlung was a leading collection it had no museum to display its permanent collection. The communication was by special exhibitions and books. The books edited by Hans Wichmann are today an important reference and often the only source were some design objects are explained.
The turnover came with the opening of the museum in Nuremberg (1999), the resonace of visitors and media was great. After this success the Bavarian government gave the money for a second museum in Munich (2002), a third specialised in ceramics opened in Weiden.
A homeless museum
Until 1997 it was housed in ground floor premises on Mitropoleos Street. Today it is searching for a permanent home. Even so it remains active with exhibitions abroad, film shows and lectures.
The problem of homeless museums is well known: A+D in Los Angeles lost its home, the Neue Sammlung in Munich had until 2003 no permanent exhibition (even it it was the greatest design collection in the world). It is hard to understand why politicians do not support design museums. It seems to be easier to finance a traditional or archaelogic museum, even if design museums are more successfull.
Wednesday, June 27, 2007
Tuesday, June 26, 2007
Architecture: building by Frank O. Gehry, 1987
(extension:former fire station, architect:Zaha Hadid, 1993)
Objects: 3000 Objects
Friday, June 22, 2007
Nobody will visit this design museum only to see the Panton chairs, old Apple computers or Alessi products. The argument to see the design collection is the smart selection made by the well know design author Prof.Dr. Volker Fischer. An other argument is that the visitor can easily compare with pre-industrial design products in the other rooms.
Last renovation: 1985
(new building by star-architect Richard Meier)
Objects: 30.000 Objects (design and art decoratif)
EXHIBITS INDUSTRIAL DESIGN (HIGHLIGHTS)
Bel-Air Lounge Chair (1981, Memphis-Group Milano)
Têtê-à-têtê Chair (1983, Colorcore Formica, NY)
Chippendale Chair (1984, Knoll itl.)
CNC-Lab Furniture (1995, HfG Offenbach)
During a trip though the Netherlands in 2003 I visited this museum. Some months before it was renovated. Unfortunatly it has too many highlights in other departments like the famous Pieter Brueghel's tower of babel, so industrial design is secondary for visitors. The curators try to mix the exhibits to solve this, and the confrontation is well done. Design and art on the same wall seems to be the best concept to explain and display the difference between art and design.
To place different chairs in the cafeteria is a good idea toward a closer participation of visitors.
Today it is much easier to find good pictures, so the future requirements will be a good selection or a guided tour through the exhibits of design history. I hope they will do it, because their database is quite big now.
Link to the Virtual Design Museum of TU Delft
Link to the pdf. document
Link to the article
Thursday, June 21, 2007
Source: their website in June 2007
Is this a good argument? It isn't! Who wants to see so many things (even if only a selection is displayed) ? But: Where will you have the chance to see original products by Christopher Dresser or rare products by Marianne Brandt? Come here, and ignore Eames chairs and Peter Behrens water kettles, see direct only the rare things!
Last renovation: 2002 (new building)
Objects: 70.000 Objects (all dep.)
Visitors: 1.000.000 p.a. (2003-2004, all dep.)
As a visitor of I want to share impressions with other visitors. This source should prove the information on design relevant topics exhibited in museums and designmuseums in general.
Join us, you are welcome!