3.31.2007

CA Boom Design Show 4 is This Weekend

+ An Architectural Tour Through Venice

Well, this weekend is CA Boom Design Show 4 here in Santa Monica. The kick off party was last night and thanks to Jean Aw of NOTCOT you can feel as though you were walking through the show and get a look at some of the items being showcased this year in the Barker Hangar via her gallery of photos. You can view them by clicking here.

Today's walking architectural tour (One of the coolest things about the CA Boom show are the architectural tours) is in Venice, CA. For those of you who aren't able to make it, here's a few pics of the five homes they will be seeing today:


Sharkey Residence
by du Architects
More Images & Project Details

AK Live Work
by Sant Architects
More Images & Project Details
One window house
by Touraine Richmond Architects
More Images & Project Details
chroma color house
by translation of space
More Images & Project Details
mhouse
by XTEN Architecture
More Images & Project Details
Now you kind of feel like you are there!
If you can't get to the show this weekend, check out CA Boom's site for all the cool things you've missed.

3.30.2007

Fun New Finds From David Weeks

For those of you who miss Butter NY (I know I do) it's good to know that David Weeks Studio is still going strong. An extremely talented designer best known for his interiors and lighting in retail, restaurant and retail applications, he has come out with a few new super fun products for 2007.


Above: David Weeks in his Brooklyn studio

David Weeks does it again. And again.
First fun new release, coming next month (April) are these 3 fun and funky silicone resin Gorilla ashtrays!
Now with a Robot theme and a Skull theme as well.



Spring 07A new edition of the Gorilla ashtray will be in stores starting in April.
Produced by Areaware, the silicone ashtrays will be offered in three versions, to suit the domestic requirements of goths, geeks, and primate lovers.


Above: Close-up of one of David Weeks' new silicone ashtrays, the Robzilla


above: The Skullrilla ashtray


Now in pink

In addition to those, he has designed these three new votives for Kikkerland (see below):



Where can you get them?
the candles will be available for sale at the gift shop of the Santa Monica Museum of Art in May.

And, as a dog lover, I couldn't very well forget to introduce you to Shiner Stout-Weeks, David's hound labrador mix:

Product Pick Of The Week:The Erosion Sink by Gore Design Co.

Gore Design Company's Erosion Sink combines the best of nature, design and functionality. And clearly, I am not the only one who thinks so. Recipient of positive press and even awards, this sink is a winner for both your home and the environment.

+ Gore Design Co. was awarded the Organic Design Award, presented by organicarchitect in recognition of their Erosion Sink which “embodies the organic spirit by being both innovative and environmentally friendly”.

+ The Signature Erosion Sink is featured in the February 2007 edition of Dwell Magazine on page 50 in the “In the Modern World” section.



Gore Design Co. was founded in early 2004 by Brandon Gore as an answer to the lack of eco-friendly countertop options in the residential and commercial market. From the very beginning, the focus was to create an environmentally responsible alternative to other products, such as granite and Corian, while simultaneously demonstrating environmental leadership. No small feat.



Holding true to these core beliefs, Gore Design Co. continues to be the leader in eco-friendly concrete design and creation. From utilizing industrial byproducts such as fly-ash, to incorporating reclaimed materials, using heavy metal free pigments and voc-free sealers, Gore Design Co. continues to set the bench mark of sustainable design excellence.



We are proud of our eco-friendly concrete products. We call our proprietary concrete blend of high quality ingredients and recycled aggregates “Recycrete™”.Our eco-friendly concrete products include exceptional concrete countertops, sinks, fireplace surrounds and hearths, kitchen islands, furniture and art. In the area of metal fabrication we can create unique gates, artistic doors, and exquisite furniture and art. Our environmentally responsible custom cabinetry is composed of “green” materials, such as Plyboo and formaldehyde-free products. Each piece is handcrafted by skilled artisans in our Tempe studio.

For more information on this fabulous sink and other Gore Design products, click here.

Gore Design Co., LLC
2111 S. Industrial Park Ave., Suite 115
Tempe, Arizona 85282

3.29.2007

When Your Decor Kills Your Date Life

Great article from today's New York Times with some added photos and commentary by me.

NEW YORK TIMES
"It's not you, It's your apartment"
By JOYCE WADLER
Published: March 29, 2007
all photos by Chester Higgins Jr./The New York Times

DATING is fraught with disappointments, so you can imagine how delighted a single woman might be to find someone like Albert Podell — particularly after she Googles him and learns how rich he is. Last year, Mr. Podell, a 70-year-old lawyer, gave N.Y.U. Law School $2.9 million. He goes out four nights a week, to the opera, symphony or theater. He is well read. He says he has traveled to 162 countries.


Above: An Acquired Taste Albert Podell, a wealthy lawyer, has a rent-stabilized apartment filled with souvenirs from travels that has changed little since 1973. “What do I need a fancy place for?” he said. Women have complained about everything from his home’s size to the “glamour photos” of ex-girlfriends.

Then comes that magic evening when the woman is ready to go back to his place.

“It’s totally unchanged, like it was when I went to law school in 1973, a time warp,” Mr. Podell says of his small one-bedroom in SoHo, a description that seems plausible, given the hot pink living room with the futon seating and the fraying contact paper on the kitchen cabinets.

The place is also dimly lighted, which, once you examine the kitchen nook in daylight, is probably not such a bad thing. The cabinets hold nothing but a six-month supply of powdered milk for Mr. Podell’s cereal, so that he can keep his trips to the supermarket to a minimum; the Formica countertop is peeling; the stove has been disconnected from the gas feed. (Mr. Podell, who usually eats out, sees no reason to waste fuel.)

All these things have proved detriments to love, but none so effectively as his sheets. Mr. Podell likes the ones from the ’60s and ’70s that tell a story: sheets with intergalactic battles or pink hippopotami or the Beatles. Since these are no longer available in adult-bed sizes, Mr. Podell’s sheets are now 30 to 40 years old. The fading is such that a person who saw one in a Salvation Army bin, having lost everything she owned in a fire, would remind herself that there was no reason to be desperate. The fading, however, was apparently not the reason that the sheets became a deal breaker.


above: Albert Podell said his sheets had sabotaged at least one romance.


“I was dating this very nice woman, I thought,” says Mr. Podell. “I was ready and she was ready to do the big deed. I take her to my apartment, go into the bedroom, and fling back the sheets, and she said, ‘My husband had these sheets and he was a mean-hearted son of a bitch and you must be like him and I’m leaving.’ ”

Spring is here and the restaurants will soon be filled with anxious and hopeful couples, ordering wine, dusting off their most luminous lies, thinking they might finally have found love. Then they will see their dates’ homes for the first time. And suddenly some of them will realize that they cannot be with this person a moment longer — or at the very latest, because that wine was not cheap, beyond the next morning. A few whose homes have been romantic deal breakers may, like Mr. Podell, know what went wrong and choose to ignore it, seeing their apartments as a reflection of their brave refusal to bow to conventional taste.

“There have been at least 40 women who’ve said, why do you live here?” he says.

Make that 41. Why does he live here?

“Ever hear the words ‘rent stabilized’?” says Mr. Podell, who’s paying $702 for a one bedroom in SoHo. “What do I need a fancy place for? A lot of people want to show off their wealth. It ain’t me, baby.”


Above: Date Repellent? Bob Strauss refuses to “blandify” his apartment by getting rid of his stuffed baby seal, even though it puts some women off.

Then there is Bob Strauss, 46, who writes dating advice for match.com and has a real stuffed baby seal in his apartment. He didn’t whack the seal on its silky little head, it’s a family piece inherited from a rich aunt and uncle in Miami.

It is displayed along with Mr. Strauss’s South Park and Sonic the Hedgehog figurines and Lego collection.


Above: Deal Breakers Bob Strauss, likes to date “challenging type people” who can handle his Sonic the Hedgehog figurines and Lego collection.

“It’s provocative,” he adds. “I like going out with tough, smart, aggressive, challenging type people. It’s fine with me if they want to argue about it; I don’t want to blandify my apartment to make myself generically acceptable.”

Most people, however, will never know how their homes sabotaged their romance. They operate under the assumption that if the garbage has been discarded and the dog hair removed, the house is romance-ready. They are unaware that such seemingly insignificant details as a Klimt poster or harsh overhead lighting are proof to some that they are not dateworthy. For these poor innocents, a guide.

No Stuffed Animals, Even If You Are Dying

Alison Forbes, a founder of The Art of Everyday Living consulting service in Los Angeles, is often called upon to help make homes relationship-ready. It was her sorry duty to inform us that the stuffed animal pandemic continues. She believes it may show a reluctance to grow up — or, in cases where the stuffed animals cover the bed, a reluctance to make space for another person.

Jason Bunin, the 36-year-old bad-boy chef at the Knickerbocker Bar and Grill in Greenwich Village, echoed her disapproval.

“You see it more in younger girls, like between 21 and 25,” Mr. Bunin says. “Pink, purple, teddy bears, unicorns, all over the bed. I’d just whack ’em off with my arm.”

Why do men dislike stuffed animals?


Most men really dislike grown women with stuffed animals

“Too cutesy and immature.” Also, Mr. Bunin says, if you were to get involved with someone like that, you’d have that garbage in your house.

Mr. Bunin, by the way, is on the dating scene no more. He married Caron Newman earlier this month in an Elvis-themed wedding in Las Vegas. You can check out the video at cupidswedding.com. Mr. Bunin is the one in the black sequined tuxedo.

There Is a Reason Nice Buildings Are Not Named for Norman Bates

Sure, you can save money by moving into your mother’s house, but as always in matters of romance, you must first ask yourself: Would James Bond do it?

If you are still thinking about the answer, consider the experience of Adria Armbrister, a 30-year-old program coordinator at Columbia University’s School of Public Health. Ms. Armbrister met a man online through Yahoo and after a month and a half of e-mailing they had dinner. It went well: The man, who was 29, owned a business, he did not ask Ms. Armbrister to pay for her own meal or try to borrow money. On the second date, they stopped by his house to pick up an umbrella. The house had belonged to his mother, who had died five years earlier. The plastic-covered gold sofas and the heavy gold tasseled lamps suggested to Ms. Armbrister that her date had not redecorated — never a sign of an enterprising personality. But the deal breaker came when she saw his room.

“We walked up three flights of stars to the attic,” she says. “It looked like a teenager’s room. The computer was up there and the twin bed, his clothes were all over the floor. I was like, uuuuuh-huuuuh. He didn’t even seem sorry that he lived in a 12-year-old boy’s room, this was like normal behavior. It said to me, this person is not grown up yet. It was frightening. He’s lived his whole life in the attic.”

What did her date do for a living?

“He was in the real estate business.”

The Word “Ex” May Be Substituted for the Word “Mother”

It is also a detriment to romance when one’s date shares a roof with a former spouse.

“I met him at a function,” says a woman who is a lawyer in Manhattan and has been divorced for several years. She would speak only on condition of anonymity. “It was like” — and here she sings — “across a crowded room. He was very upfront about his living arrangement. He said he and his wife had one of those huge Upper West Side apartments with four bedrooms. She lived in one, another couple lived in another one, whoever was in need of a home is in the third one. Every morning, they go to the kitchen and have coffee together. I couldn’t picture myself in that scenario. It was like Frasier and Niles with that father and Daphne. He was very cute, but then I realized he was totally unsuccessful.”

Although the Stasi Were Said to Love It

“I can’t sit in a room with overhead lighting,” says Michele Slung, a freelance book editor in Woodstock, N.Y. “It makes me feel like I’m in a police interrogation room. I believe in lamps that are casting warm glows, and anyone that doesn’t understand that, I can’t be in their house, men or women. It’s a matter of warmth; it makes people happy.”

Ms. Slung insists on pink light bulbs, her preferred shade being Dawn Pink. She also uses amber lampshades.

“I don’t think I could ever like somebody who got their lighting wrong,” she says. “What this probably means is that I’m not in the market for a guy. If I ever found a guy with a beautifully lit house I would propose — although probably his wife would have done the lighting.”

In the Afterglow of Love, Nobody Ever Reaches for a Hammer

Michael Longacre is a New York graphic designer. He believes that design people are aesthetically demanding, but in the case of one brief affair, the problem was a more basic sort. “This was a great looking guy, who worked on Wall Street,” Mr. Longacre says. “He wore like $2,000 suits, but his great pride was really, really expensive shoes. He told me he had 50 or 60 pairs of these Italian shoes that are $750 a pair. I go to his apartment, there was no framing on the doors, there were like test colors on the walls. He’d started work on it several years earlier. I said, ‘You’ve spent $30,000 on shoes, but you’re gonna renovate your own apartment when you get around to it?’ He also showed me his waterless bong. Having high-tech marijuana equipment is another deal breaker for me.”

We Aren’t Kidding About the Klimt


Above: Gustave Klimt's The Kiss. Too trite for Adam Handler to handle

Adam Handler, who is 35, lives in Atlanta where he does grass-roots organizing for CARE. He is now married. But five or six years ago, when he was single and living in Washington, D.C., a nascent relationship was destroyed when a woman he’d been dating invited him back to her apartment.

“On her walls she had my two most despised pieces of art,” Mr. Handler says. One was “The Kiss” by Gustav Klimt. “I happen to hate Klimt, but ‘The Kiss’ is the most trite and overdone and what made it worse, it was in her bedroom. Then there was the Robert Doisneau photograph of this couple kissing.”

That black and white photo taken on a Paris street in the ’50s? That’s kind of romantic.

“It’s romantic when you’re 16,” Mr. Handler says. “At some point you need to outgrow it.”

The romance, while it did not end that evening, ended soon after.

“She was attractive, she was smart, she was all the things I thought I would have liked in a woman, but I decided I didn’t trust her judgment,” Mr. Handler says.

What was his wife’s place like when they met?

It was a studio in Manhattan, Mr. Handler says, with a few really nice antiques. She also had a very impressive set of Le Creuset cookware. He had just about the same amount of All-Clad. It worked.

A Touch of Raffia Might Have Helped. But We Doubt It


Above: Evan Lobel bought and decorated a $2.4 million loft. When his boyfriend returned from work with the Peace Corps, he found it too opulent; the couple broke up.

Evan Lobel knows how to put together a welcoming apartment — in addition to being the owner of Lobel Modern, a vintage furniture store in lower Manhattan, he’s a designer. But even that doesn’t guarantee success.

“I was dating somebody very seriously,” says Mr. Lobel, who is 42. “He went away for a year to work in the Peace Corps. The two of us were in love. I said, I’m gonna wait, I’m not gonna be with anyone else, and I lived up to that. When he came back, we were supposed to live together. I thought, wouldn’t it be a nice surprise, after a year of living in huts, to live in a nice big, beautiful apartment.”

While his boyfriend was posted in Swaziland, Mr. Lobel sold his 1,200-square-foot Chelsea apartment and bought a 2,500-square-foot loft, with a fireplace and stone bathrooms. It was a frightening financial leap. While his old apartment sold for $1.5 million, the new one cost almost $2.4 million. He brought in beautiful pieces: a cabinet by the midcentury designer Tommi Parzinger; a Karl Springer chandelier with an estimated value of $25,000.

Then his boyfriend returned.

“He said, ‘What is this? I can’t live in a place like this, I was just around people who were hungry and dying,’” Mr. Lobel says. “In the end we were breaking up. For a while I regretted even buying that apartment.”

It’s Not My Place, It’s You

Matt Heindl, who is 34 and does Internet marketing, remembers two terrible dating experiences. The first involved a woman who was a nail biter — he discovered this in the cold light of morning when he found bits of her nails on the bedside stand. He also has a vivid memory of the mildewed towel she offered when he took a shower.

“It kind of smelled like dog,” he says, with a tone of disgust. “I can smell it now.”

The second experience involved an artist who lived in an East Village tenement. As he entered her apartment, a free-flying parrot relieved itself on his head. Then a large rabbit darted out from somewhere and licked his feet. A baby gate separated a second rabbit from the first — there had been a nasty penis-biting episode, his date explained. Also, the kitchen wall was covered with antique egg beaters, which looked to Mr. Heindl like weird tools.


Above: On Second Thought: Matt Heindl was turned off by rabbits in Breck Hostetter’s apartment, but eventually came around. They are now married and have a child.

Mr. Heindl and his date, Breck Hostetter, have now been married two years, and have a 9-month-old daughter, Greta. She operates Sesame Letterpress out of their home in Carroll Gardens. It is named, Ms. Hostetter says, after a parakeet who passed away at age 12.

Can Mr. Heindl explain how a deal breaker turned into marriage?

“I seriously thought, ‘Shall I run? No, I like her, I like her, I’ll check it out,’ ” he says. “I thought about it, I asked myself, ‘Why are you doing this?’ and I decided it showed she can really nurture, because one was like a really old rabbit, a geriatric rabbit. And she baked, obviously.”

So there it is — if your date doesn’t get your rabbit or your seal or your light bulb, he or she is not the person for you. Mr. Handler, the Klimt hater, now believes he was probably looking for a reason to break up with the woman he was seeing because she wasn’t right for him.

Mr. Podell, of the cartoon animal sheets, proudly fills a page with the household complaints of his dates. They include the size of his apartment, the lack of a coffeepot, the nonexistent stove connection, the lack of closet space. His love life, however, is great. He has a 22-year-old Russian girlfriend, whom he met in Malta. They have taken vacations to Asia, Europe and India, with Mr. Podell footing the bill.

Mr. Podell’s girlfriend lives in Moscow.

She has never seen his apartment.

DWR Kibbitzes About KoolHaas

THE CHARACTER OF COLOR


above: Dutch Architect Rem Koolhaas

Architect Rem Koolhaas turned up in San Francisco last month and gave a presentation to a packed house composed mostly of students at the San Francisco Art Institute. I was lucky enough to get in and find a seat on the floor in front of the first row. Sitting quite close to him, I was almost as transfixed by his body movements, mannerisms and words as I was by his slideshow. Rem Koolhaas cuts a unique profile – skinny, big eared, tall and hunched over the podium, he is equal parts intensity, intellect and designer machismo dressed in black, like a stalking heron ready to strike. He has a great sense of humor as well.



At his best, it was like listening to Dylan Thomas with an almost poetic flurry of words and images held together by a global world view and cynicism about man's intentions and the effects of modernism. At his worst, well there was no worst. It was one of the most entertaining and provocative design presentations I have ever attended. If you get the chance to hear Koolhaas speak, don't pass it up.

Koolhaas ripped through 134 slides that varied from frustrated clients' emails to global maps of his own design, hand drawn esoteric charts to photos of urban landscapes taken from helicopters and more. Click here for examples. He is a master presenter, a skill he must maintain as a rock star architect having to compete for major projects with the other marquee names. "I am always in competition with ten of my best friends," says Koolhaas, "and resort to unusual tactics to get the commission. It is very legitimate to question my motives." Koolhaas admits he is complicit in the "obscene extravagance" of "starchitecture" and sees no end in sight. But he identifies the evil forces and takes shots at them and their buildings (and at himself) in words and images. The text below is just one example of the slides he presented:

"The Enemy: Suits, with mustaches and receding hairlines with suspect waistlines huddled in a collective pose of preemptive servility, architects from a city that was put on the map by a single outrageous building when it was nothing – grown-up preemies of the Bilbao effect – they peddle their soulless wares with shameless calculation – Anglo termites of pragmatism – or tell reassuring fairy tales like the 'Skyscraper as Citizen' as if to four year olds."


above: the new Casa da Musica by Dutch superstar architect Rem Koolhaas

Few of Koolhaas' own buildings were included in his presentation and he appears to have little interest in talking about himself. Instead, he prefers to pounce on political, economic and global ideas that he then uses to frame his largely conceptual work. Decrying Dubai as a bad theme park for architecture, Koolhaas used elegant graphic slides to show how architecture has followed the fortunes of oil and the stock market in a new but "poisonous" silk route of trade across Europe. The yen, the euro and the dollar are held up as symbols of support and corruption, made elegant through his barrage of graphics and language. Less is not more with Koolhaas. He revels in complexity while simultaneously showing examples of new works that he designed with generic intent.


Above: the Dutch Embassy in Berlin, designed by Koolhaas

There are not many people who can be self-effacing and arrogant in the same breath, but this maybe Koolhaas' genius. It certainly is his character. He checked his watch perpetually throughout his presentation as he had to make a flight that night. But he slowed down after his talk and listened and responded to audience questions in the style of the best teacher, with spontaneous responses that made every question seem more insightful than it was. He is at his best in this role, the ideas guy, which makes it fitting that he also teaches at Harvard.


above: Koolhaas' Seattle Public Library


I wrote a piece on his Seattle Public Library recently click here to read it . If you get the chance to visit this facility, it is a phenomenon and is in keeping with the spirit of the man himself, though it was designed with significant input from the community. Before seeing the library, I was familiar with Koolhaas' work for Prada in New York and the Guggenheim in Las Vegas, but it was the SPL that made me understand how it was that Koolhaas earned the 2000 Pritzker Architecture Prize .


above: Rem Koolhaas' Soho PRADA store

Koolhaas' Art Institute presentation was punctuated with bold graphic images and the seemingly intentional use of color to bring out ideas. His "barcode" concept for a European Community flag is an excellent example in the way it uses country colors, fused in bars, to create unity in disparity. How much more provocative and insightful this is when compared with the flag that was chosen, with its ring of stars that suffers in anonymity. Color is not a tool used frequently in modernism where industrial materials like glass, metal and plastic are the norm, and is more often associated with decoration and the covering up of surfaces. It takes a special character to make color work in modernism. Koolhaas is a special character.


above: Koolhaas' proposed new European Community Flag

Rob Forbes
Founder DWR

3.28.2007

Funky Find of the Week: Alberto Frias' Sleeping Pod

Alberto Frias' Transport- Illuminated sleeping pod!

Designed by Alberto Frias, this modern illuminated sleeping pod, called The Transport, uses led lights by Color Kinetics. It will be available at the CA Boom show in Santa Monica (see earlier post) for a mere 10,000$


To learn more about the Transport, click here.

3.27.2007

Elephant Poo Products For You!


While surfing the net, I found this unusual product via one of my favorite sites, Notcot.

Paper products actually made from Elephant Poo. That's right...Efelump Dung Journals and Notecards.

How do they do it?

The making of paper starts with the collection and processing of the dung pulp. Elephant dung is typically full of short to medium grained fibrous materials from the elephants diet which when processed makes excellent paper:

• We collect naturally dried elephant dung from elephant conservation parks and bring it back to our paper-making factory.

• We then pre-rinse the elephant dung with water, leaving only the fibrous materials from the grasses, bamboo & fruits they've eaten.

• Afterwards, we place the fibers into a giant pot of boiling water to ensure the fibers are super clean. After this thorough cleaning, any color that we may want to add can be added.

• Natural fibers from banana trees & pineapples are added to the dung mixture so the paper will be thicker & stronger.

• Once this is all mixed together, we separate the moist fibers into small “cakes' or “wafers” of about 300-400 grams each.
• The cakes are spread evenly over a mesh-bottomed tray measuring about 60cm by 90cm.

• The tray is leaned up against a tree, angled toward the sun and allowed to dry naturally for a few hours.

• Once dry, we peel the sheet of paper from the mesh tray and start making Poo Poo Paper products.

This is how we made the hand made paper stationary and our how to make recycled paper process!


above: Journals


above: Notecards

A Brief History Of The Elephant:


The elephant can be traced back 26 million years when there were many species that had similar characteristics as today's elephants. Today, only two living species remain: the African Elephant and the Asian Elephant.

Elephants have been used in various capacities by humans over the years. They wee used in the military and for heavy labor, such as uprooting trees and moving logs. They have also played a strong role in religion: a white elephant is considered holy in Thailand ; Ganesh, the Hindu God of wisdom, has an elephant's head.

Today, elephants are facing numerous threats: the disappearance of natural habitats due to human activity, and poaching for their ivory tusks, meats and hides, to name a few. Many experts believe there is little future for the elephant outside protected areas.

Elephants used to exist in great numbers across Africa and parts of Asia but today these gentle giants are endangered. Rampant ivory poaching from 1979-89 more than halved Africa 's wild elephant populations from 1.4 million to a mere 600,000. Today, numbers may be as low as 400,000. In Asia , it is estimated that no more than 40,000 Asian elephants remain in the wild.


above: Stationery

Commonly asked Questions:
Questions#1: Do your products smell?

This is by far the most asked question we receive! Our products do not smell at all...not like poo anyways! Our products smell like normal stationery type products although we have been experiementing with adding some nice aromas to our poo papers. We've had requests from cinnamon, lemon and coffee scented papers......we're working in this!!!!!

Our products don't smell because we allow the fresh elephant poo poo to completely dry up first then we thoroughly rinse and wash the elephant dung and all we're really left with are the fibres from the vegetation that the elephant didn't digest. That stuff doesn't stink!

Questions#2: How many journals can you make from an average piece of elephant poo?

We can make about 25 large sheets of paper from a single piece (or turd) of elephant poo poo!!! That translates into about 10 standard sized journals including the front and back covers! Neat, huh!?!?!?

Questions#3: Do you have other types of products?

Currently, we have over 150 unique items in our collection. Most of those items you cannot see on our website and need to go to the stores that carry our products for you to purchase. These products also include picture frames, photo albums, book marks, small storage boxes for keepsakes, gift bags and wine bags in addition to the many styles of journals, noteboxes, greeting cards etc. that we make and sell. We have many new products coming down the chute over the next few months and into 2007 so check back here regularly!

YOU CAN BUY ANY OF THE ABOVE PRODUCTS BY CLICKING BELOW!
Your source for hand made paper stationary.

3.26.2007

Design You Could Just Eat Up:
New Plasticware for Spring

If it's hip, it's here.
Spring has sprung and that means it time for picnics and outdoor entertaining!

Good design has crept into the plasticware market and here are just a few fabulous finds.

Clockwise from upper left: Pandora designs ornate plasticware, available in clear as well as other colors, Heavy Stainless-steel looking plasticware, Philipe Starck's fabulous new LUX dinnerware, and The Snap-a-Party by Fred.

Click on the item to be taken directly to the place of purchase.

Let Me Float This By You: Structures On Water



Okay, so the world is running out of room. Where to put the next wave of luxury hotels and offices? Why not afloat in the middle of our vast oceans?

Seems that the visionaries at Oceanic Creations already has this under development.

Temporarily named The Maya, this floating hotel is being built in Bulgaria and will be towed to Cancun.
See computer renderings below.



Above: The Maya Hotel as envisioned by OCCT




Above: The Maya Hotel at night

The following is reproduced from their site:

"OCCT, Oceanic-Creations Composite Technology, is a State-of-the-Art Construction Technology exclusively developed for the Swedish Royal Navy by the best engineers and scientists available.

The Oceanic-Creations Composite Technology represents a new generation of technological evolution, as well as exciting new ways to apply well-proven construction technologies. Since it was originally developed for military use it has been tested for reliability, strength and safety far beyond what is required in the civilian market.

The products offered by Oceanic-Creations are constructed with a virtually non-ageing, environmentally neutral and inert Composite Material and therefore requires almost negligible maintenance.




Above: Floating Offices; the future as seen by OCCT

OCCT offers a considerable lower LCC (Life Cycle Cost) compared to traditional and old expensive constructions in steel and concrete.

Oceanic-Creations was formed in 1986 with the strive to secure the rights to use the revolutionary composite technology that now forms the base for the company.

Oceanic-Creations AB consists of business concept developers and likes to emphasize the fact that the company is a small size company with astonishing views, competence and integrity.


Above: Chairman of the board of OCCT, Prof. Christer Karlsson

The business profile of Oceanic-Creations reflects the ambition to maintain the efficiency of a small-scale organisation combined with the strength of a competent flexible international organisation, build network and international contacts.

Oceanic-Creations have striking visions and projects with large potentials, projects that lay a stable foundation for a long-term steady growth.

The activities are predominantly in the marine field but not only floating objects. The concepts and the business structures created by Oceanic-Creations are based on either unique knowledge, materials, innovations or a combination of one or more thereof.

Oceanic-Creations composite material is made of inert material and works in harmony with nature and will through Oceanic-Creations products through its technology will help protect people, properties and ecological values."

Wow, seems the future is here.

3.25.2007

Grand Canyon Skywalk Opens-
You ready?


By now, you've undoubtedly heard about the Grand Canyon Skywalk, a glass bridge that extends from the western rim and susepnds you more than 4000 feet above the canyon! But in case you haven't, check this out. It opens next week!

And astronaut Buzz Aldrin will be the first to walk upon it!


above: Buzz Aldrin now

March 28, 2007 - The Official Public Opening Of The Skywalk

Grand Canyon West, a destination owned and operated by the Hualapai Tribe at the Grand Canyon’s western rim, announces March 28, 2007 as the official public opening date of The Skywalk. The Skywalk will be the first-ever cantilever shaped glass walkway to suspend more than 4,000 feet above the canyon’s floor and extend 70 feet from the canyon’s rim.

Access to The Skywalk will run from dawn to dusk and will cost $25 per person in addition to the cost of a Grand Canyon West entrance package. One hundred and twenty people will be allowed on the bridge at a time. Admittance is first come, first serve for walk up visitors; however, reservations can be made. Guests will enter and exit the walkway via temporary buildings while the adjacent visitor’s center is being completed. Grand Canyon West plans to issue numbered shoe covers – in order to avoid scratches and slipping - to each visitor that enters the open-air walkway.



Prior to the public opening in March, Grand Canyon West will host a “First Walk” event for media and VIPs. The first public figure to step on The Skywalk will be Astronaut Buzz Aldrin (see below).


Above: Buzz Aldrin on the moon




The historical rollout of The Skywalk structure, with the glass in place, is scheduled for February 27 to March 2. The initial part of the rollout process involves jacking the structure up off of the supports and then subjecting the structure to several days of thorough tests that replicate the conditions of final placement. After the final testing is complete, the multi-million pound steel enforced structure will be rolled out across the canyon’s edge, which takes multiple days. Immediately after the structure is in position, it will be seated and attached to the foundation. Details for a media event during the rollout will be revealed closer to the event.


Above: rendering of Visitor Center

Located at Grand Canyon West’s Eagle Point, The Skywalk facility will also include a 6,000 square-foot visitor’s center on three levels – underground, first story and second story – which will contain a museum, movie theater, VIP lounge, gift shop, and several restaurants and bars, including a high-end restaurant called The Skywalk Café that will offer outdoor patio and rooftop seating on the edge of the canyon. The second story will be where visitors can access The Skywalk glass walkway. The visitor’s center will also offer private indoor and outdoor facilities for meetings, special events and weddings.


Above: under construction



Above: Almost finished

An amazing vision come to reality. But I must confess, I don't think I'd want to walk on it with hundreds of people. If they're willing to do private tours, count me in...

3.24.2007

Karin Jurick Continues To Impress Me

Karin Jurick is not only one of my favorite painters, she's one of my favorite people. A beautiful woman, both inside and out (she no longer posts her picture on her blog, but I've seen it and she's so pretty), Karin's work is increasing in popularity and critical acclaim.

I simply needed to put this up because I was so touched by the gesture.
Please keep in mind, I've never even met Karin in person, but have long been in touch with her via e-mails since discovering her fabulous work and becoming a collector.

Once she read my blog and saw that my dog, Abbey, who was recently diagnosed as terminally ill, suffered a stroke a little over a week ago, and is now nearing the end of her 14 years, she actually painted a portrait of her.

Look!


I am touched beyond belief and wanted to share it with you all.
It's people like Karin who make this world a better place, with both her work and her compassion.

Menacing or Marketing?
D&G's Controversial Ad



Above: The ad that caused the controversy: Fantasy Gang Rape?




Above: The ad they seem to be running instead

Below article reprinted from MSN NBC

By Susanna Schrobsdorff
Newsweek

March 6, 2007 - The fashion design duo behind Dolce & Gabbana announced today that they are pulling a controversial print advertisement from publications worldwide following protests in Spain, and, egads, their home turf of Italy. The photo features a blank looking young woman in a bathing suit and high heels being pinned down by a glossy shirtless man while four other men look on.

Is the image glorifying gang rape or tapping into a sexual fantasy?
That may still be up for debate in some quarters. But Kim Gandy, president of the National Organization for Women says the ad indisputably promotes violence against women and has put it at the top of their Web site's page of offensive advertisements. Meanwhile, Stefano Gabbana says that he regrets the way the ad was perceived and insists that he and his partner Domenico Dolce were not intending to demean women. He adds that the image is artistic and was meant to "recall an erotic dream, a sexual game."

Provocative images have been a staple for D&G, whose other ads have featured sexy scenes including one of a nude man lying down while several other clothed men look on seductively. Another ad, which was pulled last year from British publications, featured women brandishing knives. The most recent controversy broke out last month when the Spanish government demanded that D&G's "fantasy rape" ads be withdrawn. The country was coping with a wave of crimes against women at the time and public outrage was high. The designers complied, but said that Spain was "behind the times." That claim got harder to maintain on Friday when 13 Italian senators also demanded that the photo be taken out of circulation. On Tuesday, Stefano Gabbana said that they did not mean to "cause controversy," and were pulling the ads. But when is an onslaught of attention ever bad for a company looking to stay on fashion's leading edge?

We asked Kim Gandy at NOW in Washington and Stefano Gabbana in Milan, Italy, about the ad and about that elusive line between sexy and exploitative. (Gabbano responded via e-mail.)


Above: Dolce & Gabbana

Excerpts:

STEFANO GABBANA

NEWSWEEK: Were you surprised at the criticism of your ads in Italy and Spain?
Stefano Gabbana: It was never our purpose to cause any controversy and instigate violence against women. From both human and emotional points of view, we certainly do not want to attack women, a sex for whom we have always declared our love, as the feminine market represents 60 percent of our worldwide sales. We are businessmen and the results that our company achieves demonstrate it.

How did you hope women would respond when they saw the ads?
In Italy, the image first came out Feb. 5, in the most famous and bestselling [Italian] newspaper ... at that time, there was no reaction. The effects did not arrive in Italy until after the poor Spanish reaction [to] the ad. We understand that in Spain there is a truly important social emergency as far as violence against women [is concerned], which is why we did not want to offend anyone, so we immediately withdrew the image from all Spanish press. We want to reaffirm that the image does not represent rape or violence, but if one had to give an interpretation of the picture, it could recall an erotic dream, a sexual game.
Women's groups say the ads promote violence against women. Is that an overreaction?
We respect other people's opinions, but we do not look at it in this way.

Can you talk about how you navigate the border between what's considered sexy and what's considered offensive?
Sexy and offensive are two concepts very far from each other. Sexy can become vulgar according to how the item is worn and interpreted. From our point of view, we like to enhance everything that is beautiful and sexy in a woman; but, never offending, demeaning or being vulgar. We have always been in love with women and our collections are dedicated to their beauty.
Has your agency ever shown you a campaign that you thought went too far?
We do not work with agencies; we personally develop the campaigns' concept with photographers and art directors. From our point of view, we do not feel that we've ever gone too far.

You've been in the business for 20 years and your advertisements have successfully pushed the envelope before. But a number of your campaigns this year have gotten some bad press. Is this the strongest, or most negative reaction you've ever gotten to your ads?
We are sorry that unfortunately other campaigns also weren't understood, but we want to reaffirm that we never had the intention of causing noise or controversy in any way.

One might expect these kinds of images to attract protests in America, which is considered a little more prudish about sex than Europe. Are you surprised at the complaints about the ads in your home country—a place which is not known to be repressed?
As we already said, the reaction blew up in Italy only after it did in Spain. When it came out in February nobody was appalled, the reaction arose after a while, following what had happened in Spain. We are shocked because we do not agree, but we respect other people's opinions and do pay attention to the frustrations the advertising has caused worldwide.

Will you pull the ads from Italian publications?
The image will not be used going forward worldwide. It will come out only in publications that we could not block, because of printing deadlines.

KIM GANDY

NEWSWEEK: Where is the line between an ad that is about a sexy fantasy and something that is offensive?

Kim Gandy: The line there is whether one considers rape to be a sexy fantasy. The Dolce & Gabbana ad was a stylized gang rape.

Were you surprised that the ad caused such a stir in Italy and Spain, but not when it ran in Esquire magazine here in the United States?
It surprises me a little bit because I thought almost anything could be in Italian and French ads to some extent. I guess this goes too far even for a society that has traditionally objectified women. It was interesting to me that the Italian senators who made this objection were both women and men and were from the ruling party and the minority party. It crossed gender and party lines.


Above:NOW's Kim Gandy says that modern girls are'bombarded with the message that women are there for sex and are available for sex at anytime'

Do ads like this successfully sell clothing to women?
I think they were trying to sell clothes to men with this one. The woman was wearing a kind of bathing suit, but presumably the men were wearing Dolce & Gabbana clothes. It was in Esquire [magazine] here in the States and the idea that even a stylized image of rape appeals to a broad readership of men is disturbing. Interestingly, in Italy it ran in some women's magazines, which may have been what generated the response there.

You've got a number of ads on your "Love Your Body" Web site that you've deemed offensive to women. Should they all be removed from circulation?
Some of those ads are just insulting and of course there's a difference between being insulting and portraying women as less than human—as people to be raped or assaulted. The bourbon ad that said "Your bourbon has a great body and fine character. I wish the same could be said for my girlfriend," is more insulting. I think that insulting various groups of people has become a lazy way of getting laughs or attention

Men are insulted a lot in ads too. Fathers and husbands are often portrayed as clueless. If everyone is being insulted can we pick out one ad or another for criticism?
The sexualization of girls is different. It has gotten extreme and that can't be good for our kids or our society. I don't want my two middle school daughters internalizing images which objectify women and I especially don't want their male friends internalizing them. They are bombarded with the message that women are there for sex and are available for sex at anytime. And as strong as parents try to be in educating our own kids and giving them good values, they get bombarded by messages from the outside for more hours per day than their parents have them.

Is advertising more demeaning to women today than it was 10 or 20 years ago?
Advertising is far more demeaning to women today than it was 20 years ago. In the 1970's and 1980's, we had a national project where you could send post cards to companies who used offensive advertising. It said that they were the recipient of a bad ad award. I'm sure if we looked back at some of the ads we were talking about then, they probably wouldn't even register as offensive now.

Dove has recently launched ads with nude older women as part of their "Real Beauty" campaign. Several big cosmetic companies are using older women like Christie Brinkley and Diane Keaton in their ads. Is there also concurrent trend toward ads that promote more realistic images of women?
In some ways yes. Thank goodness for the Dove campaign. Nike did something similar with the ads that show girls running and jumping and being athletic. And maybe cosmetic companies have finally figured out that women over 50 are using these products.

So the kind of nudity Dove is using is OK?
I'm not a great proponent of using naked women to sell products, but it's refreshing for a change at least to see a normal-looking woman who's not emaciated being used to sell products. The whole idea of airbrushing and elongating the necks and legs and enlarging eyes in advertisements is very dangerous. They are creating a standard of beauty that's impossible to reach. Even the models don't attain it. Yet this is what our daughters aspire to and what our sons are expecting. By these standards women and girls are always inadequate and they're always buying the next beauty treatment trying to catch up, trying to be something they can't ever be.
© 2007 Newsweek, Inc.

Double Standard?


Now what amazes me is the double standard here. Take a look at the two following Dolce & Gabbana ads that ran without any controversy. You're gonna tell me these don't imply gang rape as well?





So, what gives? You tell me....

3.23.2007

And You Thought a Rabbit's Foot Was Odd...

Japanese Lucky Golden Poo Charm

Who needs a Rabbit's foot when you can have a Golden Lucky Poo?


The humorous description below is credited to Think Geek:
"For those of you who don't know, the kanji for "lucky" in Japan is very similar to the shortened form of the Japanese word for "poo." Hence the brilliant Japanese played with the pun and the Lucky Golden Poo was um..born. But, contrary to popular belief, golden poo is lucky in more places than just Japan. It is also lucky in Ireland. Extensive research on the internet has shown without a doubt that the famed Pot o' Gold that Leprechauns protect is actually a Chamber Pot o' Gold (i.e. lucky golden leprechaun poo). And don't even get us started on the "Goose Who Laid Golden Eggs" story. Eww.

Anywho, we're now offering Lucky Golden Poos because we know how much everyone can use a little more luck in their lives. We recommend attaching them to your cell phone (as the Japanese do) for only lucky calls. You could attach it to your Wiimote for extra luck in gaming (Wii and Poo, together again!) You could buy the 2-pack and do both! Or you could keep one Lucky Poo for you and give one to a deserving friend. Because nothing says friendship than sharing Poo.

Each Lucky Golden Poo is about .5" in diameter and is covered with a golden metallic substance (except for some of the bottom, where the Poo meets the conveyor belt). "


So, need a little luck?
Buy yourself a Golden Lucky Poo just by clicking on the above image or go here.

Apple TV is here. What's next? The ichannel?



State of the Art: New York Times
Apple TV Has Landed
By DAVID POGUE
March 22, 2007

In the technology world, conventional wisdom says that we’ll soon be saying R.I.P. for the DVD. Internet downloads are the future, baby. No driving, no postpaid envelopes. Any movie, any TV show, any time.

Only one problem: once you’ve downloaded the shows to your computer, how do you play them on the TV?

Now, there are people — at least 12, for sure — who actually watch movies right on their computers, or who wire their PCs directly to their TV sets.

The rest of us, however, are overwhelmed by cultural inertia. Computers are for work, TVs are for vegging out, and that’s final.

No wonder, then, that when Apple announced Apple TV, a box that can connect computers and TVs without wires, the hype meter redlined with millions of search-engine citations, a run-up in the Apple stock price and drooling analysts.

After many delays, Apple TV finally went on sale yesterday for $300, but there are plenty of companies trying to solve what you might call the “last 50 feet” problem. A couple of prominent examples: In addition to its game-playing features, Microsoft’s Xbox 360 ($400) performs a similar PC-to-TV bridging function; in fact, it even has its own online movie store. Netgear’s week-old EVA8000 ($350) also joins PC and TV, but adds an Internet connection for viewing YouTube videos and listening to Internet radio.

And so Apple TV has landed. How does it stack up?


Above: Apple's TV comes with an ipod-like remote

In looks, it sits at the top of the heap. Apple TV is a gorgeous, one-inch-tall, round-cornered square slab, 7.7 inches on a side. It slips silently and almost invisibly into your entertainment setup. (You can’t say that for the Xbox, which in comparison is huge and too noisy for a bedroom.)

The heartbreaker for millions, however, is that Apple TV requires a widescreen TV — preferably an HDTV. It doesn’t work with the squarish, traditional TVs that many people still have.

Apple defends its audience-limiting decision by saying that the future is HDTV; Apple is just “skating to where the puck is going to be,” as a product manager put it.

Apple TV doesn’t come with any cables. You’re supposed to supply the one your TV requires (HDMI, component video or HDMI-to-DVI adapter). They cost $20 at Apple’s online store.

So what is Apple TV? Basically, it’s an iPod for your TV. That is, it copies the iTunes library (music, podcasts, TV shows, movies) from one Mac or Windows PC on your wired or wireless home network to its 40-gigabyte hard drive and keeps the copy updated.



The drive holds about 50 hours’ worth of video or 9,000 songs; if your iTunes library is bigger than that, you can specify what subset you want copied — only unwatched TV episodes, for example.

At this point, you can play back videos, music and photos even if the original computer is turned off or (if it’s a laptop) carried away. (Photo playback requires iPhoto on the Mac, or Photoshop Album or Photoshop Elements on Windows.)

A tiny white remote control operates Apple TV’s stunning high-definition white-on-black menus, which are enlivened by high-resolution album covers and photos. You can see the effect at apple.com/appletv.

The integration of iPod, iTunes and Apple TV offers frequent payoffs. For example, if you paused your iPod partway through a movie, TV show or song, Apple TV remembers your place when you resume playing it on your TV. Cool.

Although only one computer’s files are actually copied to Apple TV, you can still play back the iTunes libraries of five other computers by streaming — playing them through Apple TV without copying them. Starting playback, rewinding and fast-forwarding isn’t as smooth this way, and photo playback isn’t available. But it’s a handy option when, say, you want to watch a movie on your TV from a visitor’s laptop.

All of this works elegantly and effortlessly. But there are lots of unanswered questions that make onlookers wonder if Apple has bigger plans for the humble Apple TV.

For example, it has an Internet connection and a hard drive; why can’t it record TV shows like a TiVo?

Furthermore, it’s a little weird that menus and photos appear in spectacular high-definition, but not TV shows and movies. All iTunes videos are in standard definition, and don’t look so hot on an HDTV.

And then there’s the mysterious unused U.S.B. port.

Still, if you stay within the Apple ecosystem — use its online store, its jukebox software and so on — you get a seamless, trouble-free experience, with a greater selection of TV shows and movies than you can find from any other online store.

But in Netgear’s opinion, that approach is dictatorial and limiting. Its new EVA8000 box plays back many more video formats, including high-def video; can play the contents of any folders on your Mac or PC, not just what’s in iTunes; offers Internet radio and YouTube videos; and works with any kind of TV. It can even play copy-protected music — remarkably, even songs from the iTunes store (Windows only).


Netgear's TV

Unfortunately, this machine (2 by 17 by 10 inches) is as ugly as Apple’s is pretty. Its menus look as if they were typed in 12-point Helvetica. The software is geeky and unpolished; for example, during the setup process, it says “Failed to detect network” if no Ethernet cable is plugged in, rather than automatically looking for a wireless network.

The Netgear model is also filled with Version 1.0 bugs, including overprinted, blotchy menu screens and incompatibility with Windows Vista. Netgear promises to fix the glitches, but concedes that it timed the EVA8000’s release to ride the wave of Apple TV hype.

The two-year-old Xbox 360 is far more polished. Like Apple TV, it can either stream photos, music and videos (Windows PCs or, with a $20 shareware program, even Macs) or play them off its hard drive.


Above: Microsoft's Xbox


What’s different, though, is that you can’t copy files to this hard drive over the network; you can download shows and movies only straight to the Xbox from Microsoft’s own fledgling online store. You can buy TV shows for $2 each ($3 in high definition), or rent movies for $4 ($6 for high def). Microsoft movies self-destruct 24 hours after you start watching them. (Apple movies cost full DVD price, but at least you can keep them forever.)

Note, too, that the Xbox’s primary mission — playing games — doesn’t always suit music and movie playback. It can’t get onto a wireless network without an add-on transmitter ($100 — yikes). You can’t control the speed of a slide show or fast-forward through a song.

And in general, the included game controller makes a lousy remote control. There are no dedicated buttons for controlling playback; instead, you have to walk through the buttons on an on-screen control bar to reach, say, the pause function.

And alas, these products can require a journey through the hell of home networking. The Xbox couldn’t get online at first, thanks to an “MTU failure.” A Microsoft techie in India named “Mike” claimed that my cable-modem company would have to make a change in my service. (He was wrong; a router setting had to be changed instead.)

When the Netgear EVA8000 couldn’t get on the network, I waited 30 minutes to speak to a technician, who announced that I’d shortly get a call back from a senior tech. Five days later, I’m still waiting. (The solution was to uninstall — not just turn off — Microsoft’s OneCare security suite.)

In the end, these early attempts to bridge the gulf between computer and TV perfectly reinforce the conventional wisdom about Apple: Apple TV offers a gracious, delightful experience — but requires fidelity to Apple’s walled garden.

Its rivals, meanwhile, offer many more features, but they’re piled into bulkier boxes with much less concern for refinement, logic or simplicity.

Put another way, these machines aren’t direct competitors at all; they’re aimed at different kinds of people. Microsoft’s young male gamers probably couldn’t care less that they can’t change the slide-show speed, and Netgear’s box “is for people who are more experienced,” according to a representative. “This is not for the random person.”

Apple, on the other hand, is going for everybody else, random people included (at least those with HDTV sets). And that, perhaps, is Apple TV’s real significance. To paraphrase the old Macintosh advertisement, it’s a computer-to-TV bridge for the rest of us.

3.22.2007

Desktopography's Nature Desktop Exhibition



Desktopography has posted their third annual natural wallpaper exibition. This 2007 collection of 40 beautifully designed nature-themed desktop wallpapers by selected designers are all available as free downloads for your Mac or PC in the appropriate resolutions.

Desktopography has been doing this since 2005 and the selections continue to grow. The 2005 and 2006 selections are also still available for download. They are a non-profit, fun project site to share with friends and family.

Here are a few examples of their lovely new desktop wallpapers:







So? what are you waiting for, go get 'em! Right here.

Mattel + MAC = Moola



Cosmetics Business
MARKETING
Colour cosmetics - "Sorry Ken, Barbie loves MAC"
Sally Morgan

Barbie, Mattel's best-loved, famously controversial doll and Estée Lauder's MAC cosmetics have collaborated to create a new make-up line targeting adults. So how does this fit with the luxury goods market?



North Americans will be the first to buy MAC's new Barbie collection of bright sugary pinks, buttercup yellows and warm green cosmetics from 13 February this year. Europe and the rest of the world will see them in stores in March. With prices ranging from $10 for a nail polish to $20 for beauty powder, the prices would be affordable for teenage girls reliant on pocket money. Along with the packaging - the pink Barbie emblem added to MAC's trademark black - it would be easy to assume that this was precisely the market for which the line is designed. But these products are, insists MAC, most definitely aimed at 20-30 year old women.



For three years, Estée Lauder and Mattel have been negotiating the association of MAC and Barbie. As any half of a brand extension deal will attest, it's vital to get all details right. In order to entice and combine two disparate markets, the balance, focus and compatibility of the brands involved are crucial. Do it right and you effectively double your ideal customer base, in turn raising the profile and marketability of the brand. Get it wrong and you risk a humiliation such as that experienced by Burberry when it's famous plaid was adopted by chav culture, resulting in a temporary wilting of their luxury market influence. However, three years is a long time for such negotiations and these, industry sources have revealed, have been particularly tricky to finalise, with MAC being reluctant to sign off.

Image Conscious



Despite the market strength and longevity of Barbie, the brand has been the center of repeated controversy regarding negative female image. The doll has been pilloried by feminists as having a grossly disproportioned body. This in turn led to watchdog bodies vilifying her as a damaging role model for impressionable young girls. MAC's reluctance to court such negative sexist attention is understandable; to risk offending its customer base of, “professional make-up artists and fashion forward consumers… All races, All sexes, All ages”.

It's also impossible not to at least nod towards a slight unease at a seductive adult cosmetic product being based on a child's doll and the dubious messages this association could convey. As the cosmetics side of the association, MAC could be interpreted as exploiting the already fragile innocence of today's female youth.


Above: Original 1959 Barbie® Doll

There is obvious financial potential to the partnership of course and the combining of these two brands should wield serious clout in the marketplace. MAC was credited in Estée Lauder's last annual report for being significant in the $6.3bn parent company's 13% net make-up sales increase ($274.8m). MAC's Small Eye Shadow, Studio Fix, Lustreglass and Pro Longwear Lipcolour products alone generated $70m in revenue. The vast Barbie empire, meanwhile, generates more than $3.5bn in sales globally. And Mattel has already seen great success with its first lines aimed at adults with as much as $100m coming from sales of adult targeted clothing, mainly in the Far East.

Adult Audience



Both companies insist that their new line is aimed purely at adults, and are going all out to project this view. The line, named Barbie loves MAC, will also form MAC's spring range and is to be accompanied by a limited edition MAC themed Barbie doll. But this too, manufacturers insist, is aimed at their grown-up customers.

“This is intended to be a very sophisticated make-up collection, designed for adults - not children,” said Peter Lichtenhal, general manager of MAC Cosmetics“. He stressed that their target audience is definitely not teenage, but also that it was light-hearted. “It's a collection that's fun,” he continued. “One of the things that we do is bring fashion and glamour to the make-up market.”



Former marketing manager of girls' brands at Mattel, Annabelle Kuhn, thinks the new collaboration is perfectly natural. “Barbie has always been more of a lifestyle brand for girls, way beyond being just a toy,” she said. “Barbie's core positioning and equity revolves heavily around fun, fashion, glamour and aspiration. I would say that is also the core to the cosmetics industry and the luxury goods market as a whole.”

Various Barbie products for young girls are now well established including apparel, publishing, room décor and a fragrance. And there is a whole range of collectible dolls aimed at adult consumers. Kuhn was part of the 2003 campaign that first linked top-flight fashion designers with the brand when she launched the limited edition Armani Barbie. Since then, Diane von Furstenberg, Anna Sui and Zac Posen have all dressed Barbie. These designer dolls retail for around $100 so are clearly aimed toward a grown-up market, but at the rather niche area of adult Barbie fans who want to own a special grown-up version of their childhood favourite.


Above: Designer Zac Posen's Ken and Barbie® Dolls


Above: Designer Diane Von Furstenberg's Barbie® Doll

The Barbie loves MAC collection is the first time Barbie has been aimed directly towards the open adult marketplace. It's also the first time Barbie has been linked to make-up in a 'Barbie comes of age' way, and by partnering MAC Barbie then appeals to perhaps the broadest cosmetic market there is.

“The Barbie loves MAC collection is the first time Barbie has been aimed directly towards the open adult marketplace”


Above: The Limited Edition Gold Label MAC Barbie® sold out upon release here in the US and abroad in a matter of days. Now, they're selling for upwards of $200 on ebay. If you can find one.


MAC as Maverick




Above: Viva Glam Spokeswomen for 2007

MAC has a reputation as something of a maverick, revolutionary brand. It heralded RuPaul as an icon, redefining traditional notions of feminine beauty. And with the Viva Glam range, it has created an effective means of raising funds with which to award grants to HIV organisations. Possibly MAC is the only adult cosmetic brand capable of successfully approaching a collaboration with Barbie. While all other leading make-up houses associate their products with real Hollywood or fashion faces - Elizabeth Arden with Catherine Zeta Jones, Rimmel with Kate Moss - MAC dares to be different. Caroline Geerlings, senior vice president of global marketing for MAC said: “we pride ourselves on doing the unexpected.”



Above: MAC ads featuring Rupaul

On a corporate level, the links between MAC and Barbie are strong. Richard Dickson, senior vp of marketing, media and entertainment at Mattel, has a background in cosmetics himself. He was involved, as vp of brand management and merchandising, for Estée Lauder when they acquired Gloss.com. This is an e-commerce site Dickson helped create and launch and he's helped smooth the concept of the collaboration with MAC.

Dickson, like Kuhn, is convinced that adult make-up and perhaps other adult products too are a natural direction for Barbie to take. “The core Barbie brand is distributed in many different ways,” he said. “It's the largest lifestyle brand for women. If you grew up with Barbie, the girl in 1959 is now 60-odd years old. This is a brand that's crossed generations, that has a legacy.” Executives of both companies have also expressed their surprise at the similarities in the artistic process used in the design of both Barbie and MAC products. Barbie loves MAC is all about evoking nostalgia in women; it wants to tap into memories of their innocence when dreaming of adult glamour as a child. According to Lichtenhal, “this collection is about the fun of applying make-up, and about fashion and style”.

Both sides are going all out to promote the positive elements of the Barbie brand and the fun aspect she will bring to complement the professional quality of MAC cosmetics. James Gager, senior vp and creative director of MAC worldwide steered his definition of Barbie kitsch by saying: “There's a classicism to Barbie that will never go away.” And when compared to such girly yet sophisticated brands as Pout, Stila and Benefit, the Barbie loves MAC collection appears well on trend.

Barbie's popularity is without question and, Kuhn believes, will eclipse any perceived controversy. She hails the partnership with MAC as “original and innovative”, one she compares to the collaboration of sport and music through Apple Ipod and Nike or Lambourghini cars with Versace-designed seat covers. Indeed, in the modern marketplace, brand association is steadily gaining on new product development as the ultimate goldmine of opportunity. Kuhn, who is currently brand controller of carbonates at Britvic and helped link, among others, the Pepsi brand with David Beckham, predicts that increasing numbers of big name brands will enter into associations.


Above: Barbie Loves MAC t-shirts sold out at most all MAC stores

She speculates that Estée Lauder's ultimate aim with Barbie might be more long-term and far reaching than just MAC. “It's brands with strong, succinct points of actual or perceived differentiation that will continue to enjoy growth,” she says. “I think the marriage of MAC and Barbie is a good example of this. MAC has a strong potential long-term concept layer while Barbie has many facets and associations. I can see a multitude of potential themes and product forms coming from this line.”

Barbie loves MAC is planned at this stage as a limited edition offer only. Head executives will not be drawn on whether they would consider an extension to the range, saying only that they expect the limited stocks to last eight to 12 weeks. But industry sources are estimating sales of between $8m and $9m in North America alone, with the majority coming from the cosmetics line.



Above: The Barbie Loves MAC Cosmetics collection now available at all MAC stores.

With grown-up make-up being the one area as yet unexplored in terms of Barbie's appeal, and 'mini Barbie's boudoir' areas being installed in selected outlets, the campaign is certainly not a small one. Gager commented that this cosmetics range will be a chance for women to “revisit fantasies [from when they were young girls] when they wanted to wear make-up and never could”.

After such a long planning stage, the limited availability time of just two to three months seems very short. Of course, this could be to inspire initial interest before a longer run is given the go-ahead. And if it's cult status that is sought, then this range, even prior to launch, is already well on the way to becoming iconic. One of the limited edition MAC Barbie dolls recently sold on Ebay for $105. The retail price is just $35.

Despite announcements that a Barbie loves MAC microsite would be available now through the US MAC site, at the time of writing this was still not accessible. However, cosmetic blog sites are already debating the new collection - a month before it's even available in the states. Despite MAC's cautious approach, the new collection is now the primary focus of anticipation for everyone involved or interested in the cosmetics industry. If the market takes to the new range as enthusiastically as the online community seems to have, the end result could be more a case of MAC loves Barbie than Barbie loves MAC.

3.21.2007

Funky Find Of The Week:
The Percushion


A Pillow With A Built-in Bluetooth phone


By Urban Tool, the perCushion

For those of you who like talking on the phone while falling asleep, here's the perfect product for you...the Per Cushion!

description from their site:
Touching future communication!

Remember the times before our mobile digital lifestyle, when communication with a close friend stood for something emotional and touching. It can again with the soft and relaxing perCushion. Your cell phone notifies the digital cushion wirelessly, via Bluetooth and enables you to pick up the call while relaxing on your sofa.



dimensions
length 66 cm
height 30 cm
depth 13 cm
Details

material: cotton velvet with foam core.
The cushion is connected with your mobile wirelessly via Bluetooth.
integrated fabric interface: an activating/standby button, a Bluetooth pairing button, a button for answering calls and indicating LEDs furthermore a microphone and loudspeakers.
The lithium ionic battery can be charged with the enclosed charger.

Wanna buy one? You can right here.

3.20.2007

A Pen That Inspires More Than Words:
Montblanc Art



Montblanc Young Artists World Patronage
This unique project gave young and upcoming artists the platform to present their name and talent to a broader public and the international art scene in particular.

The concept was to have more than 300 Montblanc boutiques worldwide act as a gallery and exhibit simultaneously for a single artist with one particular artwork for a period of almost 6 weeks. The common theme for the artworks is the creative interpretation of the world famous Montblanc star (see image below).



The individual "star"-works were reproduced and exhibited in the Montblanc boutique windows.The original artwork became part of the Montblanc "Cutting Edge Art Collection" - one of the various Montblanc initiatives to support contemporary art and demonstrate the brand's commitment and contribution to art and culture.

Montblanc presented 5 young artists from all over the world in 2005. The selection of the artists and artworks took place together with reputed experts from the international art and culture scene.

1.
Nicole Wermers
Hintergrund Schneegestöber 2003

About the artist
Born in 1971 in Emsdetten, Germany, Nicole Wermers studied art at the University of Fine Arts in Hamburg and in 1999, she received her Masters of Arts in Fine Art at the Central Saint Martins College of Art and Design, London. From 2003-2004 she had an artist residency at the Delfina Studio Trust, London. Nicole Wermers lives and works in Hamburg and London.


About her work
In her collages and installations, Nicole Wermers explores the temptations of beauty and artificiality. She frequently assembles cut-outs from car, luxury goods and perfume and wine advertisements and creates three-dimensional works that combine elegant forms from the collected experiences of modern life. Her works are both aesthetic and useful and evoke contemporary reality.

Produzenten Galerie

2.
Sophy Rickett
Bodensee 2003

About the artist
Sophy Rickett was born in 1970. She studied at the London College of Printing from 1990-1993 and at the Royal College of Art from 1997-1999. She has had recent solo exhibitions at the Centre pour l´image contemporain Saint-Gervais, Switzerland, the Emily Tsingou Gallery, London and The British Council in Rome. She is currently based in London.



About her work
Sophy Rickett’s large-scale photographs are best known for their precise abstraction and purity of form. Her work is primarily non-narrative, and she photographs locations on the edge of mainstream society – peripheries of cities, road edges and parks. Her photographs are frequently taken at night and capture a tension between reality and fantasy.

Emily Tsingou Gallery

3.
Harrie Gerritz
Composition (in the beginning of the night) 2003

About the artist
Born in 1940 in Wychen, The Netherlands, Harrie Gerritz studied at the Academie voor Beeldende Kunst in Arnhem, The Netherlands. He spent several years working in New Guinea before returning to Europe to continue his studies at the Academie voor Beeldende Kunst in Arnhem. In 1996, 1999 and 2004, he was a Visiting Professor at the Fachhochschule in Hamburg. He has had recent solo exhibitions at the Galerie Clement in Amsterdam, Seasons Galleries in The Hague and A&A Galerie in Hasselt, Belgium. Harrie Gerritz lives and works in The Netherlands.



About his work
Harrie Gerritz regards himself as a landscape painter though his paintings explore more the essence of the landscape. His “imaginary” landscapes straddle the balance between figurative and abstract art, and focus on the emotional power of colors and the graphic rhythm of lines.

Harrie Gerritz website

4.
Deborah Ligorio
Math_0032 2003

About the artist
Born in 1972 in Brindisi, Italy, Deborah Ligorio studied art in Bologna, Milan and Paris, and participated in several study programs in Italy and the US. In 2003, she received a video and film fellowship in Berlin and a residency at the MAK Schindler Artists and Architects in Residence Program in Los Angeles. Deborah Ligorio lives and works in Milan and Berlin.



About her work
Deborah Ligorio investigates themes and issues related to physical, virtual and emotional space in her video, photography, and internet projects. In addition, through the realization of custom living units, she explores the relationship between living space and individual peculiarities, mood and character.

Deborah Ligorio's website

5.
Christian Schmidt-Rasmussen
Untitled 2002

About the artist
Christian Schmidt-Rasmussen was born in 1963 in Copenhagen, Denmark. He studied at the Royal Danish Academy of Fine Arts from 1986-1992. He had a recent solo exhibition at the Galleri Nicolai Wallner, Copenhagen and his work was featured in the 2002 exhibition, Private/Corporate, at the Daimler Chrysler Contemporary art gallery in Berlin. Christian Schmidt-Rasmussen lives and works in Copenhagen.



About his work
Christian Schmidt-Rasmussen's new paintings are inspired by signs and advertisements from popular culture. Their vivid colour surfaces have a brash directness that stems from his unique and expressive arrangement of colour and form.

Galerie Nicolai Wallner

3.19.2007

Art that will Floor You:
Amazed Ltd




Looking at a rug or carpet as a valuable and pretty piece of art is nothing new. From Navajo Indian rugs to Persian rugs to 18th century french rugs, the value as well as the craftsmanship has long been heralded. But Madeleine and Dudley Edwards of the UK have taken the art of the rug one step further. It's now 'conceptual'.

In addition to their talent for combining shapes and color, they have created carpets that conjure up nature, technology, spirituality and even trompe de'leoil. By carving textures such as tire tracks, garden mazes, footprints of humans and animals, the raked sand of a zen garden, crop circles and even the illusion of a broken window, their products become more than functional and beautiful, they become conceptual art.

Just take a look at a few of their creations below.






As applied artists Madeleine & Dudley Edwards of Amazed LTD. enjoy the opportunity of working with Architects and Interior Designers. The following quote is taken directly from their website:

“Bouncing ideas back and forth can be fertile ground bearing rich fruit. We often feel like session musicians being invited to jam. And like any good session musicians the first attribute is a willingness to ‘listen’ to what others are trying to achieve and to respond accordingly, whilst bringing something ‘uniquely ours’ to the mix. Reacting positively to other peoples creations can serve as a metaphorical springboard helping us to achieve greater heights. This symbiosis can bring about something entirely new that wouldn’t have been possible from working in isolation. For our modus operandi – we always aim to harmonize or contrast with the surrounding architecture thereby ensuring that our artwork would be an integral/indivisible part of the whole”. In turn, Interior Designers and Architects view their rugs and wall hangings (with the tactile soft warmth and sound insulating properties) as ideal compliments to today’s hard cold surfaces like laminates, glass, steel, marble and stone.


Together or independently Madeleine & Dudley have exhibited at the following gallery/venues:

Robert Frazer Gallery, London; Arts Council Touring Exhibition to Edinburgh, Glasgow and Cardiff; Madam Tussauds, London; The British Gallery, Atlanta, USA; Galerie 5, Geneva, Switzerland; The Association of Illustrators Gallery, London; Allgood Plc, London; The British Interior Design Association, London; Sothebys, London; Bonhams, London; The Dean Clough Gallery, Halifax; The Musee d’ Histoire Contemporaine, Paris; The V&A, London; The Tate Gallery, Liverpool; The Schirne Kunsthalle, Frankfurt; and The Kunsthalle Vienna.



Forthcoming shows

Dudley’s work will be exhibited at The Whitney Museum of Art in New York May 07.
Their rugs don't just adorn the walls and floors of just anyone's home or office. Take a look at a few of their clients:

CORPORATE CLIENTS

The British Pavilion, Montreal; Admiralty House, London; The Central Office of Information, London; Wolf Olins & Partners, London; The Saudi Arabian Ministry of Defence, Riyadh; Jones Lang La Salle, London; Eversheds, Manchester; Qatar Bank, London; HQ Global, London; St James Homes, London; ISIS Asset Management Group, London; Urban Splash Properties, Liverpool & Manchester; Hirsch Bedner, Hong Kong & USA; the Sheraton Ocean Grande Resort, Japan and Laing O’Rourke, London.

PRIVATE COLLECTIONS

Lord Snowdon, Sir Paul McCartney, Lord David Queensbury, Ringo Starr, David Bailey, Mary Quant, Lord Lew Grade, Tori Amos, Prince Abdul Aziz-Zaidan, Hugh Grant, Jonathan Cainer, Andrew Rosenfeld, Christen Ager Hanssen and Daniel Bedingfield. The late - Henry Moore, Sir Hugh Casson, Reynor Banham, Lord Paul Reilly and Dudley Moore.

3.18.2007

Bracelets That Blab. Words Worn On Your Wrist.


Bangle Bracelets that have something to say, literally and figuratively - seem to be all the rage this spring.

Selling out at lightning speed ever since a mention in the New York Times, are Jessica Kagan Cushman's carved resin bracelets, a more affordable (and more politically correct) version of her Ice Age Mammoth Ivory Tusk Carved Bracelets. See below:


Above: Jessica Kagan Cushman's Bangles for $125 each. Available from Ravinstyle




Above: Not to be outdone, is designer powerhouse Chanel with their resin carved bangles spouting phrases and words about design, style and luxury.




Another, less pricey option at 39$ are Janna Conner's decoupage bangles, also available at Ravinstyle

Always witty and graphic, is the fabulousSonia Rykiel and her ivory and black resin bangels. $150.00 a piece. Available at Sonia Rykiel, NYC and Boston.



So, arm yourself this spring with the fashion accessory that does the talking for you.

3.17.2007

Kiss Me, I'm Wearing Nike's
OR Happy St. Paddy's Day



Nike has created a limited edition shoe for St. Patrick's Day.

I thought you might like to see what the Athletic Leprechauns are wearing these days:




Nike Air Max 90 QK
Special Edition for St. Patrick's Day!
One day a year, everyone wants to be Irish. Get into to the spirit of St. Patrick's Day with this quickstrike release of the Nike Air Max 90!

The Nike Air Max 90 was first released in 1990 and was known as the Air Max or the Air Max III until 2000 when Nike reissued these classic Nike running shoes. The Air Max 90 was originally produced with a Duromesh upper, synthetic suede, and synthetic leather. The striking color combinations, clearn lines made the Air Max 90 highly sought after in its original release and still extremely popular today. The all black and all white leather models are the most sought after and also extremely difficult to find.

Interested in purchasing? You can buy it here.

Jesus? Che Guevara? Nope, It's Designer Fabio Novembre


Above: The artist seated in his 's.o.s. sofa of solitude'


Below is A Chat with Fabio Novembre, Italian Architect, from Icon Magazine, peppered with images I found:

“Ever since i was a kid I hated the fact that someone kicked us out of paradise, you know? I wanted to go and squat in the forbidden tree. I wanted to live with the serpent and eat apples every day. Nobody can kick me out of paradise.”

Fabio Novembre is sitting cross-legged on a low chair in his almost-complete new studio-cum-house, which is plain and empty and damp from the incessant rain outside. It has the air of a chapel and the meeting feels like a private tutorial with some kind of paramilitary love priest. Novembre is wearing a guerrilla-chic jumper that resembles a bullet-proof vest, and an army cap with a red star. His discourse, which invokes Che Guevara, Jesus Christ, sex and transvestitism, is delivered with the fervent sensuality you’d expect of an Italian: “I really live through love,” he exclaims. ”It’s the only fuel in my engine.”



His rhetoric is intoxicating – it’s only weeks later, when transcribing the tape, that the monologue comes to seem faintly ridiculous. But such is the power of charisma.

Novembre, 37, is a Milan-based architect whose work – mostly interiors for hotels, bars and nightclubs – features rich materials, such as gold and faux crocodile skin, and highly sensual forms. His style has been described as “narcissistic neo-baroque”.

He has designed some singular pieces of furniture including the spectacular, coil-shaped “And” sofa for Cappellini and until recently he was creative director for mosaic company Bisazza; Novembre uses mosaics with a three-dimensional exuberance not seen since Gaudí.


above: His interior for Bisazza

He was brought up in Lecce in southern Italy and although, like any good nihilist, he despises labels, he admits that memories of his home town have pervaded his work. “Lecce is the capital of the baroque in Italy,” he says. “I don’t believe in architectonic DNA, but for sure I breathed that atmosphere for 17 years.”



The studio-house, his latest project, is comparatively restrained, except for the first-floor living quarters, which are supported by a broad tree trunk. At the top of this column, a vivid green mosaic dotted with apples flows out across the soffit and up the walls. A huge serpent snakes amid the foliage, its mouth poised to snap shut on a fat red apple: Novembre’s new house is the forbidden tree of his childhood fantasies.


above: The studio house interior

The tranquility of the space will be shattered in a few weeks when Fabio and his retinue move in. “The place where I am now, there’s no walls. My bed is on wheels. Everybody has the keys so people can arrive any time of the day, so it’s more like a squat than a studio or a house. This is going to be the same, but even bigger. I really believe in space to be used as the factory of the world, to cross, to intersect, to put things together. That’s really the way I live. There’s no difference for me between life and work. I don’t make any division; it’s impossible.”

A visit to his website (www.novembre.it) confirms this: photographs of Novembre in a variety of guises – and states of undress – enjoy equal billing with the images of his work. One photo has him made up like Jesus, complete with fibre-optic crown of thorns, and is accompanied by the slogan “Be your own messiah”. What’s that all about?



“I wrote a little pamphlet called ‘Be your own messiah’,” he says, explaining that the project is a reaction against his staunchly Catholic upbringing. “The provocation was to pitch myself as Jesus Christ. I really like Jesus – I think he’s a good guy – but I hate all the bullshit around him. This is the big problem of our Judeo-Christian tradition: we’re all waiting for the fucking prophet! As a kid I hated the image of the sheep and the shepherd. In church everybody used to say, ‘Ah, you are the sheep, and the shepherd is going to save you’. Fuck! I hate being a sheep. There are no shepherds. Be your own messiah.”



Over the years Novembre has turned up for photo shoots looking like a deranged kung-fu fighter, a muscle-bound mystic, a louche rock star or, today, a Cuban revolutionary. This stream of alter egos is perhaps a way of voicing his anti-establishment instincts without alienating himself, or revealing his vulnerability, in a deeply conformist country. It’s not me criticising the church, he seems to be saying, that’s just a character I was playing.

“I like to think of heroes as the stars of our darkest nights,” he says. “There are moments when you feel so lonely and you have a lot of trouble, but when you think of people you adore like Federico Fellini, Carlo Moldino, Che Guevara, Jesus Christ as well; they had the same troubles, but look at them! They really did what they wanted to do.”

Novembre studied architecture because it offered him the broadest possible education: architecture schools in Italy teach students about philosophy, sociology, literature and art. “In Italy, you choose architecture just to open your mind, not to have a profession. It has never been oriented to how to build buildings. When I came out of there I couldn’t put one brick on top of another.”


Above: his interior for the Shu restaurant in Milan, 1999

Italian architects are uniquely disadvantaged since besides the peer pressure of working amid the world’s richest architectural heritage, it is difficult to build anything remotely adventurous in the country.


above: Hotel Vittoria, Florence

“Regulations here are so strict; they’re bullshit,” says Novembre. “The Hotel Vittoria in Florence, which opened late last year] I designed – I couldn’t touch the street frontage. I wanted to put something on the street to serve as a sign for the hotel. I fought and fought until the city architectural commission and I were almost kicking each other. But of course they cancelled it. In Italy, to build, is impossible. Im! Poss! I! Ble!”

As if to stick two fingers up to Italian conservatism, Novembre filled the hotel’s interior with sweeping brocade-patterned mosaics and spiralling leather, Corian and lamé surfaces. Many designers are using organic forms and floral patterns these days, but in Novembre’s hands, the specimens have been pumped with fertiliser and have taken over the greenhouse.

Novembre’s work is often unashamedly physiological – his L’Origine du Monde nightclub in Milan featured huge murals depicting naked women, a pair of legs straddles the entrance to his Anna Molinari store in London and the ceiling of his Shu Café in Milan is held up by a pair of oversized arms. “My main inspiration is the body of women. All my architecture is very organic not because I decided to be organic but because to me, probably I still refer to my mother’s belly. Our first house is always our mother’s belly. In a way I’m still there; I look for things that are soft and comfortable and curvy and sensual.”

Yet, unusually for an architect, he never draws: these voluptuous configurations are instead conveyed verbally. “I cannot draw at all; I am not gifted at all with my hands. I really am not able to transfer my vision in drawings. But I can talk about them and I can write; I am really gifted.”

For his early projects, he would submit proposals to clients as poetry and convey instructions to builders through gesticulation. “I used to call it action designing. I would be on site with the workers and I’d say, I want something like this over there, okay, and from there to there you go like this, drawing with my hands but without actually putting it on paper. Like an orchestra director.”

Novembre has now built up a team of architects and designers, so the production process has become a little more conventional. “My staff have become my hands,” he says. “But still when I work with craftsmen, I go to where they are working and try to make them enter in the mood of what I’m trying to achieve.”

Now, after around 15 years in practice, Novembre has his first new-build commission: a new headquarters for fashion house Meltin’ Pot in Apulia, southern Italy. Novembre will build a conference centre and hotel alongside an 18th-century villa owned by the company.

Many architects might see a project like this as their big break, but Novembre is surprisingly laid back about his career trajectory. “I don’t have ambitions,” he says languidly. “I don’t want to do too much. I just try to live the best way I can; try to make the best of each day. People always ask ‘what’s your dream project?’ and I say, ‘to get to the end of the day and to be proud!’ I don’t have these kinds of goals. I call it the Renzo Piano syndrome: when you start doing too many things. I’m very self-critical so I accept really few jobs. When I do a piece of design, it’s really a piece of my heart. It’s not just another chair. Otherwise I don’t do anything.”

coming soon:
Fabio Novembre had an impressive showing at the 2008 Milan Furniture show. Be sure to see my post on that!

3.16.2007

Meet Michael Govan, My Hero.



I was so happy to come across the article below in the NY Times, especially in light of the tragedy of the tearing down of Richard Neutra's famous Maslon House in Palm Springs. in 2002.

Richard Neutra's Maslon Home in Palm Springs before demolition:


The Maslon House after Mr. and Mrs. Richard J. Rotenberg of Hopkins, Minnesota destroyed it in 2002:


A Museum Takes Steps to Collect Houses


By EDWARD WYATT
Published: March 15, 2007

LOS ANGELES, March 14 — Shortly after moving here last year to take over as director of the Los Angeles County Museum of Art, Michael Govan started looking at houses — not as a place for him to live but as potential museum pieces.


Above: Michael Govan, Director of LACMA and hopefully, The Savoir of L.A. Architecture

His idea — one that has rarely, if ever, been tried on a large scale by a major museum — is to collect significant pieces of midcentury residential architecture, including houses by Rudolf M. Schindler, Richard Neutra, Frank Lloyd Wright and his son Lloyd Wright, and to treat them as both museum objects and as residences for curators.

While he has yet to acquire any properties, Mr. Govan said this week that he certainly had his eye on some, including Frank Gehry’s landmark residence in Santa Monica, a collage of tilting forms. In an interview Mr. Gehry confirmed that Mr. Govan had discussed the idea with him but said that no agreements about the house’s future had been reached.

Below: Frank Gehry residence, Santa Monica


Mr. Govan, who moved here in March 2006 from New York, where he directed the Dia Art Foundation, said his project had been driven by the immediate impression that in Los Angeles, a city defined by outdoor spaces, architecture is inseparable from art.

“It started with an effort to rethink the museum, looking at the resources that are both locally powerful and internationally relevant,” he said. “It’s clear that the most important architecture in Los Angeles is largely its domestic architecture. I’ve talked certainly to a number of people who have interesting architecture, and I’m beginning to talk to other people about raising funds to preserve these works.”

The potential cost of the houses varies widely. Many of the most distinctive properties, in Beverly Hills or the Hollywood Hills, have most recently sold for millions of dollars. Others, like Schindler’s Buck House, on Eighth Street, barely two blocks from the museum, sold for less than half a million dollars in 1995, although it clearly would be worth more than double that today.

Below: R.M. Schindler's Buck House in Los Angeles


Mr. Govan was reluctant to discuss his plans in detail, partly because he has taken only “baby steps,” he said, but also because he does not want to set off bidding wars for houses in which he is interested. He said he hoped the museum could either buy houses or have them donated, the same ways that a museum would go about acquiring paintings or sculptures.

“This whole initiative will depend on generosity,” he said. “In the same way that someone would donate a Picasso, we want people to think of ways to see these houses as works of art and to think about ways to preserve them.”

Although he said he had received an “enthusiastic response” when he presented the idea to the museum’s trustees, “we have no funds at the moment” dedicated to the effort, he added.

But the idea has already started to generate chatter in the architecture community here. Richard Koshalek, president of the Art Center College of Design in Pasadena and a former director of the Museum of Contemporary Art, said Mr. Govan’s effort was “not only crucial for the city of Los Angeles but for the history of modern architecture.”

“Architects learn from other architects,” Mr. Koshalek said. “This history will be lost if people like Michael do not take this kind of initiative.”


above: Richard Koshalek, President of Pasadena's Art Center College of Design (my alma mater)

While owning an architecturally significant house in Los Angeles has long carried a certain cachet, many potentially valuable works have fallen into disrepair or been greatly altered by renovations undertaken by a succession of owners.

“A number of them haven’t been touched,” Mr. Govan said. “But many have been badly renovated and fundamentally changed. So I think it’s kind of the last chance to try to preserve a group of these as a collection.”

Mr. Govan’s idea is perhaps all the more remarkable because the Los Angeles County Museum does not have a department of architecture or design, unlike some older institutions, including the Museum of Modern Art in New York.

But one of the museum’s first acquisitions after Mr. Govan moved to Los Angeles, after 12 years as director of Dia, was a high-rise office interior by the Modernist architect John Lautner.

The Lautner office was formerly owned by James F. Goldstein, a real-estate investor who had Lautner design the space in 1987 for the 20th floor in a building in Century City, the commercial development on Santa Monica Boulevard in west Los Angeles.

In 2005 Mr. Goldstein was informed that his lease for the space would not be renewed, and a foundation devoted to saving Lautner works began seeking a patron who would preserve the space.

The Los Angeles County Museum initially turned down the proposal because museum officials felt it did not have the room to display the 800-square-foot office. But once Mr. Govan arrived, he seized the opportunity to acquire the work for an undisclosed amount and use it not as an exhibit but as an office — specifically, his.

Below: The 850-square-foot office that John Lautner designed in Century City.


The museum now plans to install the office, which includes copper walls, a wood ceiling and a floor of black slate, as part of the renovation of the May Company building, a former department store that is on the western edge of the museum’s 20-acre campus on Wilshire Boulevard. That renovation is planned for 2008 or 2009, and Mr. Govan said he hoped to use the space as his regular office, allowing visitors access to it as an exhibit on weekends.

Similarly, he said he hoped to use the houses that he collects not strictly as museum pieces but as housing for museum staff members, a perk that he said he believed would help the museum attract new curatorial talent.

“A lot of curators here have sought out interesting houses,” he said. “I thought, ‘You could just have house tours on a regular basis to allow the public to have access to them.’ ”

Although it does not have a design collection as such, the Los Angeles County Museum of Art has hardly ignored the city’s architectural history. In 1987 it organized a tour in the Silver Lake community of houses by Schindler, Neutra and other architects of the 1920s, ’30s, ’40s and ’50s. In 1965 the museum published “A Guide to Southern California Architecture,” a book that, although out of print, is prized by real-estate agents here who specialize in architectural gems.


Above: Charles and Ray Eames at work

Various Los Angeles organizations have also sponsored tours of houses that were built as part of the Case Study program: two dozen prototypes of modern architecture, by Charles and Ray Eames, Neutra and Pierre Koenig, among others, that were commissioned by Art & Architecture magazine and built from 1945 to 1964.

Silver Lake, an area around a man-made reservoir in the hills east of Hollywood, is the site of dozens of houses that would be potential acquisitions for the museum. The 2200 block of Silver Lake Boulevard, for example, has no fewer than five houses by Neutra, who was encouraged to migrate from Vienna to Los Angeles by Schindler, who was himself born in Austria and had worked in Chicago and Los Angeles as a construction supervisor for Frank Lloyd Wright.


Above: Schindler's Wilson House in Silver lake

Schindler’s work is also ubiquitous around Los Angeles. In 2001 the magazine ArtForum listed 32 significant works by Schindler, several in the parts of Los Angeles that visitors to the city rarely get to, including Torrance, Glendale, South Central and Woodland Hills.

Mr. Govan said that because the institution was a county museum, he did not intend to limit his collection to the area immediately around the museum’s west Los Angeles location.

With Mr. Govan’s plans already being discussed in architecture and real estate circles, the museum is certain to face some competition to acquire properties, including that of Mr. Gehry. His Santa Monica house, built in 1978 and remodeled in 1993, is known for its distinctive exteriors, which include corrugated metal, plywood and chain-link fencing.

It is also in the sights of the National Trust for Historic Preservation, Mr. Gehry said, which has talked to him about its registering the house or acquiring it once he completes a new residence in nearby Venice, Calif.

“In the meantime,” Mr. Gehry said, “I’m living in it.”

permalink

3.15.2007

Now That's A Cover, Girl


LIMITED EDITION COVER

Now some of you may not know the word "lenticular' but you know what it is. It's multiple images printed on a special type of material that allows the image to 'move' when you tilt it. Some people call them Flickers, some call them Motion cards, but whatever you call it, it's the coolest magazine cover I have ever seen. Because I'm a suscriber, this was a pleasant surprise in my mailbox. But you won't find it on the newsstands, you'll have to order one of these from Wallpaper* if they have any left.

Wallpaper* March 2007 limited edition cover

Hussein Chalayan designs fashion about fashion which often looks nothing like most other fashion. And he experiments, in the most radical way, with form and material. All of which has given him a reputation as a somewhat difficult designer.

His collection for spring/summer 2007, though, brings together all of Chalayan’s passions and preoccupations – fashion as social fabric, formal experimentation – and makes them magical and mechanical, a steam-punk fantasy, shifting history and architecture.



The show was called 111 (the accumulated annum, as it happens, of show sponsor and collaborator, Swarovski), and was an elegantly executed and perfectly pulled off flip through 111 years of fashion’s back pages. Chalayan is now a designer of the cleverest but lightest and prettiest little dresses around. But while the main procession was more than a pleasure, the real jaw droppers were the five outfits that closed the show.



The first, a prim, high-necked Victorian corset dress which automatically opened itself, hitched up its hems, nipped and tucked and emerged slim, modern and flapperish. The dress above starts its pupation full and Forties, then balloons, deflates, flips, rises and comes to rest as a retro-futurist Paco Rabanne tribute shift. Meanwhile the hat morphs and moulds it self into bold new shapes. There followed amazing twitching and trickery, necklines unplunged and the show-stopping outfit retreated into a hat, leaving only a puff of crystal dust and a boldy bare-naked model. (There was something unsettlingly sexy about the styling and unveiling by hidden hands).

But if this was history as a magic show, it was also a look into the future and the further integration of gearing and wardrobe, wiring and evening wear. This is what we wore worn in ways we are only starting to imagine.



The March limited edition cover features Hussein Chalayan’s mechanical dress in spectacular lenticular action. To purchase a copy, call 44.1733 385170, while stocks last. The cover is also available to subscribers, so to ensure you do not miss out on future limited edition covers, subscribe by clicking here.

3.14.2007

Abbey Update

For those of you who wished Abbey good thoughts, she's getting an MRI today (the 14th) for what turned out to be an acute vestibular syndrome onset. As always, I will keep you posted.

In honor of her and all other animals, check out today's Funky Find of The Week.

Funky Find of the Week:
Moooi's Animal Furniture

Sing it with me everyone....Old MacDonald Had A Cool House....
Horse lamp, bunny lamp  and pig table!

Created Specifically for Front Design by Moooi, these fun “Animal things” are a sight to behold.

Horse lamp, Pig tray and Rabbit lamp

Who wouldn't want a horse to lighten up your living room and a pig to serve your guests?
Furniture to fall in love with at first sight, or hate forever.

Designed by Front Design for Moooi

3.12.2007

This, my friends, is Abbey.

Unfortunately the love of my life, my sweet dog Abbey, who turned 14 last week, is in the vet hospital tonight. So instead of a new post I am putting a picture of her so you can see why I can't really write about anything else.


Abbey, 13 yrs, January 2007

The Movie Sucked.
But The Titles Were Great.





At least, that's how I felt about David Fincher's Panic Room. Most of Fincher's movies have outstanding title design (think "FIGHT CLUB" AND SEVEN"). Yes, there are some terrific movies which also have terrific title design, but certainly, the two are not mutually inclusive.

On SubmarineChannel, they love a good main title. That's why they've started an online collection of the most stunning and original ones. Some are engaging or wildly entertaining, funny, exhilarating or deadly beautiful. Some are oozing with visual treats while others hit you hard with their bold and audacious style.



Subscribe to their monthly channel newsletter to stay up-to-date with the project: submarinechannel.com/newsletter.

SubmarineChannel is a non-profit production and online distribution platform for designers, interactive artists and the people who like them.

You may notice what seems like some obvious omissions, but that's because they are presently working on getting clearance rights to many of the main title sequences long revered as some of the best; like those by reknowned designer, Saul Bass'. See some of the movies for which he's designed the titles here: title sequences by Saul Bass.

3.11.2007

The Ultimate Bachelor Pad.



The Ultimate Bachelor Pad (for the west coast) as interpreted by the hip men's magazine, Esquire.
An old world structure outfitted with state-of-the art technology, this 17, 000 square foot home is set high on a ridge in Southern California has a 360 degree view of everything from the Pacific Ocean to Santa Monica. Architect; Charles Gwathmey.

With the help of some talented designers and developers (see list below) this home is truly outfitted with everything the hip, affluent male needs to keep himself occupied. Except, for maybe...a woman.
























Click here to learn more about the Esquire House.

3.10.2007

Meet Mr. Acrylic: Aaron R. Thomas


Above: Mr. A.R.T. himself


Aaron R. Thomas (ART) reinterprets some modern classics as well as designing and inventing his own, all in acrylic (As a matter of fact, he is sponsored by Plexiglas®).
Last year he was chosen as the lead designer to oversee the development of the Wasser Klar acrylic furniture line.

In addition to much whimsical design, he does make some high end gaming tables, beautiful lamps and more. Below are some images of his inventive and original furniture:


Above: gaming table



Some are frosted, some are hand painted.





All are fun.


above: The Lane Table made with a maple wood bowling lane top.

And all can be cleaned with a sponge.



I particularly like the acrylic eames LCW (pictured above).


Above: The DJ table he created for the Golden Globes, complete with Louis Vuitton Trunk!

In addition to creating furniture, Aaron also creates sculptures from acrylic as well as custom displays for things like auto shows.

Below is an example of one of his fun sculptures titled "Freeze":



The following is reprinted from his site:

Aaron R. Thomas (A R T™)
loves acrylic.

Aaron has an uncommonly intuitive way with acrylic, surely due, in part, to his lifelong exposure to the material. His Parents' acrylic workshop was his playground and he entertained himself learning to use the tools to manipulate the transparent plastic by watching his craftsman father at work. Aaron loved to turn secretly salvaged scraps into an efficient and appealing object that would bring beauty, joy, and vivacity into the world.

Aaron's philosophies of ART and Life stem from these formative experiences of the capacity for creation and invention to instantly change the world for the better.
Eliminating loveless design became his crusade.
Aaron's infectious passion and talent have enlisted a broad network of support and admiration across an intriguing variety of industries.
Aaron R. Thomas Design enjoys the exclusive sponsorship of Plexiglas®
Aaron creates custom unique pieces for top architects and designers worldwide.
Aaron's work is displayed in museums and exclusive private collections worldwide.


----------Aaron R. Thomas Website - Art in Acrylic
You can also see some of his other custom work and get information at another site of his: http://www.thomasplastic.com/

3.09.2007

Funky Find of The Week:
Swarovski Studded Refrigerator


Bling for your fridge? I can't believe it. But it's true.
Gorenje makes three versions of this real Swarovski® crystal studded refrigerator availabl for purchase.
It comes in black with white crystals or Aluminum with black crystals or in the extra special Limited edition which has a wider band of white crystals on a black fridge.

Below are some more images of these outrageous refrigerators:




Pictured above: The Limited Edition

From Gorenje. In addition to viewing these cool products, there a neat flash movie that introduces you to the Swarovski® studded appliances along with all the actual specs. Click here to go see it.

Nine New Fun Finds

If it's hip, it's here.

From tiny stags head pushpins to design it yourself underwear, here are nine fun finds available for purchase. Just click on the pic and you'll get more information.

See more of my If it's hip, it's here. list at ThisNext.

3.08.2007

Levis "Dangerous Liaisons" Commercial
Will Stand The Test Of Time


Brought to my attention by http://www.ibelieveinadv.com

The Dangerous Liaisons spot begins with a woman in her denim work wear looking through a window. Horse and buggy sounds alert us to a nineteenth century setting. With a knock on the door comes the beginning of the soundtrack, “Strange Love”, by Little Annie Bandez. As the man and woman take off a layer of clothes we see them appear in early twentieth century garb, he with a khaki top and shorter hair, she in a blonde wig and pink top. Next strip leads to the 1970s and long hair. And on the bed he reveals 1980s grunge jeans to match her white print shirt. Finally the strip reaches its climax with the new 2007 range. As they reach their point of intimacy we hear police sirens in the background.

Agency: BBH, London
Creative Director: Caroline Pay
Agency Producer: Davud Karbassioun
Art Director: Steve Wakelam, Dean Wei
Production Company: Rattling Stick
Director: Ringan Ledwidge
Producer: Sally Humphries
Post Production: The Mill, London
Music: “Strange Love”, Little Annie

3.07.2007

Gucci gets Punk'd.

Swiss Newspaper Falls for Prankster's Fake Gucci Ad
Published: February 27, 2007 10:00 AM ET ZURICH, Switzerland


Some people will do anything to appear in the papers. But few have the audacity of a man in Switzerland, who conned one of the country's biggest media companies into publishing a two-page ad he created of himself posing semi-naked beside a bottle of Gucci perfume (see above).

The man, who claimed to represent the Italian fashion giant, called up the Swiss weekly Sonntags Zeitung last week to book the expensive color spread in Sunday's edition, a spokesman for the paper said.

Christoph Zimmer told The Associated Press on Tuesday that the man asked for the 60,000-Swiss-franc (about $50,000) bill to be sent to Gucci. "We've spoken to Gucci and apologized for the mistake," Zimmer said. "We're going to try and get the money back from this guy, but we don't rate our chances."

The Milan, Italy-based Gucci could not be reached for comment. Zimmer said the paper fell for the scam because the call arrived too late for the advertising department to check whether it was genuine. It wasn't the first time that the mysterious model — a dark, handsome man appearing to be in his late 20s — tried to sneak his way into the limelight.

According to the Zurich-based daily Blick, the man attempted to book concert venues by passing himself off as Puerto Rican singer Chayanne. The paper said it narrowly avoided also being conned, but was tipped of the hoax by record company Sony BMG, which represents Chayanne.

The man is under investigation for alleged fraud, said Meinrad Stoecklin, a spokesman for police in the canton (state) of Basel.

3.06.2007

Decked Out Dunny Bunny

Talk about trends colliding.
VW continues to show how hip they are by co-oping with Kidrobot.com for this Special Edition Volkswagen.



AUBURN HILLS, MI – Volkswagen has teamed with Kidrobot, the world’s premier creator and retailer of limited edition art toys and apparel, to introduce a one-of-a kind, special Dunny Edition Volkswagen Rabbit. Volkswagen unveiled the 2-door, black Rabbit at the grand opening of the new Kidrobot store-gallery located at 7972 Melrose Avenue in Los Angeles on Thursday, November 9, 2006.



The Kidrobot Dunny Edition Volkswagen Rabbit features patterned high-gloss exterior, green tinted windows, headlights and taillights, and a green anodized aluminum accented interior, along with Dunny Rabbit patterned seats and a custom green molded shift knob. This vehicle is a unique partnership between Volkswagen and Kidrobot, demonstrating an exciting movement of the intersection of pop art and auto culture.



“The Volkswagen consumer expects the brand to innovate and stay ahead of the trends,” said Volkswagen’s Director of Brand Innovation Kerri Martin. “Our collaboration with Kidrobot brings two creative and innovative brands together to merge art, street culture and iconic design.”



Kidrobot is an urban pop art factory of collectible and limited edition artwork and toys from designers throughout the nation. Some Kidrobot merchandise feature joint ventures with well-known artists from various backgrounds, such as industrial design, music, graphic design, graffiti, illustration and fine art. Just like Volkswagen, Kidrobot distinguishes itself from other brands by being smart, creative and fun. Both brands share their place in pop culture while the partnership offers the ability to expose this unique project to the hip, trend-aware urban consumer.

"This partnership with Volkswagen, and the creation of the Dunny Edition Rabbit, was a great opportunity to take original art concepts to new heights, and bring to life a very diverse and urban clothing line" said Kidrobot founder Paul Budnitz. "The collaboration with Volkswagen was a valuable partnering since both the Rabbit and Kidrobot appeal to a similar young, urban crowd who relate to and appreciate very inventive products,” added Budnitz.

The Dunny Edition Rabbit will be displayed in front of the new Los Angeles Kidrobot store, and can be seen in numerous boutique retailers around the world after the premiere.


above: some examples of Dunnys

About Kidrobot:
Founded by designer Paul Budnitz in 2002, Kidrobot is the world’s premier creator and retailer of limited edition art toys and apparel. The products sold at Kidrobot merge urban street trends and pop art to produce limited edition, collectible toys and apparel. Many Kidrobot products feature unique collaborations by famous artists with backgrounds in graffiti, fine art, industrial design, graphic design, illustration and music. Kidrobot operates three store-galleries, one at 126 Prince Street in SoHo, New York City, another at 1512 Haight Street in San Francisco and a third at 7972 Melrose Avenue in Los Angeles. Kidrobot products can also be found at numerous boutique retailers around the world. Visit Kidrobot online at http://www.kidrobot.com/.

Below is some apparel & accessories available from Kidrobot.com so you can match your VW!




3.05.2007

Not Your Grandmother's Lladro (Thank God)

I've been known to describe my own personal hell as having to spend eternity in a room decorated with LeRoy Neiman paintings and Lladro sculptures, as Dixieland music plays and I am made to to eat Ambrosia Fruit Salad.


above: Ambrosia Fruit Salad

But every once in awhile I am forced to reevaluate my own strongly stated opinions. Lladro's 2007 spring collection has me rethinking my previously formed opinion of this highly popular, ridiculously overpriced line of decorative figurines.

Below is a picture of Lladro's "A Grand Adventure", priced at $34,000.00


Now, don't get me wrong. I still can't stand the majority of their muted-colored elongated people frozen in sappy moments illustrating bygone stereotypes of professions and family roles. While I can respect the craftsmanship, I simply can't stand neither the style nor the subject of their 'collectibles'. You'd actually have to pay me MORE than the price tag to display their $34,000 "A Grand Adventure" train scene in my home.


But Bodo Sperlein's Re-cyclos Collection, new this spring, is not the Lladro I grew to know and hate. (By the way, Bodo Sperlein designed the ever-popular omnipresent blog favorite Red Berry China Collection, some pieces of which can be seen below):




The Lladro 2007 Re-cyclos Collection, to be released this Spring, is created in porcelain with matte white and/or black finishes. The pieces are fundamentally modern in their design and are functional as opposed to decorative. The bottle stoppers, hanging lights, wall sconces, bud vases, jewelry and candle holders are sensuous in form and feel, and frankly (dare I say it) attractive.

Don't believe me? See for yourself:


above: bird ring from Lladro's 2007 spring collection


above: candle holder from Lladro's 2007 spring collection


above: Buddha HeadII from Lladro's 2007 spring collection


above: Winged wall sconce from Lladro's 2007 spring collection


above: Butterfly chandelier from Lladro's 2007 spring collection


above: Bird cuff links, porcelain and sterling silver, from Lladro's 2007 spring collection


above: Flower tapestry bud vase from Lladro's 2007 spring collection


above: Butterfly pendant lamp from Lladro's 2007 spring collection


above: Open necklace, 18k over sterling and porcelain, from Lladro's 2007 spring collection


above: Bacchus Ram bottle stopper from Lladro's 2007 spring collection

So, I guess from this day forth I will have to describe my own personal hell as being forced to eat Ambrosia Fruit Salad while listening to Dixieland, held captive in a room decorated with LeRoy Neiman Paintings and.... Hummel Figurine


UPDATE:

Since this post, Lladro has continued to contemporize their line with the RE: Deco line and wonderful works by Jaime Hayon and other contemporary sculptors and designers:





Visit the entire collection of Lladro here.

3.04.2007

Who Says Chandeliers Can't Be Hip?




Rock and Royal describes themselves on their site as such:

"Rock and Royal was established in 2005 as a trademark of Mothership. Rock and Royal’s core business can be described as “providing personalized advice to help you with your choice of exceptional chandeliers and photo realistic mosaic designs.”

Rock and Royal was launched on the 1st of September, at the Millionaire Fair in Cannes, France. Though they are based in Rotterdam, The Netherlands, our employees travel around the world to attend to our clients’ needs.

The art of making mosaics and chandeliers dates back many centuries. Today Arno Coenen and Hans van Bentem give these ancient techniques a new twist by creating photorealist mosaics and peculiarly shaped chandeliers. These works of art are one-of-a-kind, unique pieces, created in dialogue with our clients.

You too can enjoy a great custom-made chandelier or mosaic in your own environment! We would be pleased to exchange ideas and tell you more about all the possibilities.

A team of deeply committed employees are at your beck and call to provide you with your desired work of art."


A fairly subdued description given their amazing products. Personally, I'm more blown away by their chandeliers than their mosaics. So let me just share a few pictures of them with you.







Below is Chandelier artist Hans van Bentem



So, if you've got money to burn, very tall ceilings and a fondness for crystal, Rock & Royal's chandeliers are just the thing for you.

Goodbye Fanny Pack,

Hello Koffski!



Call it the Man Bag for the New Millenium, or the long overdue replacement for that famous fashion faux pas; the fannypack.
But finally there's something for men to wear on their belt that isn't an eyesore and will hold everything from their keys and wallet to their cellphone

The Koffski is available in both full size as well as a junior version. Also available are shoulder straps or belts with it.


It offers customized design in a thoroughly practical form and is extremely comfortable to wear. This bag for men (we know, an odd thought) is reminiscent of a gun holster and has room for a wallet, your mobile, a bunch of keys, your Montblanc pen, enough documents to have you travel once around the globe and plenty of credit cards to pay for your Martinis (shaken obviously...).


The junior version of the Koffski is assembled in a traditional leather manufacture in Solingen (famous for the knives usually...) using leather from the heart of Tuscany, a little village called Santa Croce sull'Arno, in between Florence and Pisa. The leather is left in a much less refined state and has a less dense surface, prone to aging in a different way than yesterdays version, more like traditional saddle bags. The metal parts are exposed to a spezial galvanization process, resulting in a matt appearance, resembling old silver...

This version isn't numbered, but has a branded logotype, that reminds you of the manufacturing process. It's available for purchase here.

3.03.2007

A :15 second giggle

As "hip" as I may proclaim to be, every once in awhile, something that ought to be on a site called socuteyouwanttovomit.com really gets me.

Here's one of those examples:

Ever wonder what a baby panda's sneeze sounds like?
Well, even if you didn't, it's worth a listen.


Funky Find of The Week: Bloomframe, The Insta-Balcony



Insta-Balcony! The Bloomframe®


This cool architectural gem (a balcony that folds open with the push of a button in 15 seconds and closes flat to be a window) was created by an architectural firm in Amsterdam named Hofman Dujardin.



It was presented as a prototype at the 2007 International Building and Construction Exhibition in Utrecht Netherlands last week. The design is patented and Bloomframe® is expected to be available for both commercial and private residences later in 2007.

Stop Sitting Up Straight!

Your mother was wrong: Sitting up straight is bad for you. Scottish radiologists confirmed in a study last year that a 130-degree angle of recline between torso and thighs reduces pressure on the discs in the lower back. This (and its sleek design) is why the ubiquitous Aeron chair was so ahead of its time in 1994. It deeply reclined by pivoting at the hips.

But designers find that the features of chairs like the Aeron (see image below) are lost on most sitters. The array of levers and knobs—recline tension, lumbar support, seat-pan depth, forward tilt—are commonly ignored by users, who only think to change the chair’s height.


above: The Famous Aeron Chair

This neglect has manufacturers such as Herman Miller and Humanscale looking toward the next frontier: a self-adjusting chair. “We’re working on a chair that will listen to who’s sitting on it and adjust itself to their weight,” says Bill Dowell, director of research at Herman Miller, which makes the Aeron.



Humanscale’s Freedom chair includes a counterbalance system that adjusts itself like scales to the sitter’s weight as he or she reclines, eliminating the need for recline controls.


above photo by Nick Kaloterakis

Or perhaps the chair of the future isn’t one at all. Chairs contribute in part to the high rate of back pain, which, according to the National Institutes of Health, affects eight out of 10 Americans. “Our notion of a machine for sitting may not make sense in a globalized world,” says Herman Miller designer Cameron Campbell. Galen Cranz of the University of California at Berkeley points out in her book The Chair that the Indian practice of squatting and the Muslim practice of stretching five times a day to pray have great ergonomic benefits. Ten years from now, one worker may settle into a low recliner, another will kneel on a soft carpet, and they’ll talk across a pile of office cushions.—

This article is reprinted from
THE FUTURE OF WORK-Pimp Your Cube 2017
The ultimate self-adjusting office chair plus seven more concepts that will make your daily grind a little smoother
By Peter Hall and Lauren Aaronson | February 2007 Peter Hall

3.02.2007

“Comic Abstraction: Image-Breaking, Image-Making”

Art Review | 'Comic Abstraction'
Visions That Flaunt Cartoon Pedigrees
By ROBERTA SMITH (reprinted from the NY Times)


The trouble with too many museum theme shows is that they begin with a viable idea and, through lack of institutional commitment, curatorial imagination or old-fashioned connoisseurship, fail to fulfill their promise.

This untitled 1990 painting below by Michel Majerus is among the works in MoMA's new exhibition:


So it is with “Comic Abstraction: Image-Breaking, Image-Making,” a sometimes perky but inoffensive and ultimately dispiriting exhibition of recent artistic endeavor at the Museum of Modern Art. Organized by Roxana Marcoci, curator of the department of photography, it brings together nearly 30 works in drawing, painting, sculpture, video and installation made over the last 16 years by 13 artists who borrow one way or another from comic strips, cartoons and animation.

The motor behind this show is a big idea: the lively and essential contamination of abstract art by popular culture that began with the Surrealists but has greatly expanded during the last 30 years. It could be argued that most new abstract art since the late 1970s has had comic aspects. After all, ironic self-awareness is one way that abstraction has dealt with the resurgence of representation and the splintering of the modernist trajectory.

A wall text outside the show’s first gallery lies in wait. It announces that the works on hand use the conventions of comics “not to withdraw from reality but to address perplexing questions about war and global conflicts, the loss of innocence and racial stereotyping.”



But in the end the works here are mostly cute, neat and perfectly pleasant, implying a view of contemporary art as mildly titillating but basically toothless entertainment. Thankfully there are some exceptions. For example, “Crazy Conductor,” a 1993 drawing on chalkboard by Gary Simmons, conveys the nasty racial caricature implicit in many animated cartoons. (Mr. Simmons’s 1996 “boom,” however, is simply a big, beautiful explosion — too close to its source, merely lifted without comment.)



Four paintings by Ellen Gallagher skewer Minimalism in general and Agnes Martin in particular with expanses of bug eyes and blubbery lips. At once gorgeous and barbed, these works are the most sustained and substantial efforts here, but their motifs are most potent in the smallest and earliest canvas; the others are elegant dilutions.



Sue Williams’s all-over paintings look similarly benign from a distance. Draw near, and you discover that her attenuated Pollock-like patterns roil with suggestions of body parts, bodily fluids and sexual couplings. Whether this payoff compensates for the emaciated effect of the work as a whole is debatable; it certainly lacks the punch of Ms. Williams’s nonabstract, savagely comical early feminist paintings, one of which appears in the catalog.

But otherwise too much here operates in some kind of vacuum, far from the madding crowd of ambition, recent art history, life or a deep engagement with the primary vehicle of visual experience, which is form. In little of it can you sense the force of a first-rate, profoundly engaged, here-for-the-duration artistic sensibility. This is because too many of the selections are early, sometimes promising work that never amounted to much, or are transitional, anomalous, derivative or tangential to the show’s theme.

In the case of Inka Essenhigh, Arturo Herrera and Julie Mehretu you have early works of limited promise that has so far not been fulfilled. In the case of Franz West and Polly Apfelbaum you have works that are charmingly whimsical but irrelevant to the show’s focus. Mr. West’s four small plaster and iron sculptures, called adaptives, are available for handling. Fun. “Blossom,” Ms. Apfelbaum’s stained-velvet Process Art floor piece, is named for one of the superheroic cartoon Powerpuff Girls and can therefore be construed as feminist. So what?



Like Ms. Gallagher, Philippe Parreno excerpts and repeats, but uncompellingly. His helium-filled Mylar “Speech Bubbles” from 1997 hover overhead, a dour, derivative meld of Claes Oldenburg and Yayoi Kusama plus Andy Warhol’s silver pillows. The caption rationalizes: They were once used as signs by protesters who wrote slogans on them.



Speech balloons also figure in Rivane Neuenschwander’s altered comic book pages, where they are blanked out with white (or occasionally blue) and the rest of the panels are bright monochrome colors. They provide some welcome if relatively pure visual intensity, regardless of what the label says about the cultural significance of the comics used. They might be better bigger, but then that would invite comparisons with Roy Lichtenstein, early Warhol and John Wesley.



Which is the problem with the efforts of Michel Majerus, a German artist who died in a plane crash at the age of 35 in 2002, especially if you factor in early Peter Saul and Albert Oehlen. A series of small canvases from 1996 have their comic moments, the best being a strange cross between an eye and an explosion. But the painterly fragments of images, words and letters of “Eggsplosion,” from 2006, could have been made in the 1950s or early ’60s. Best known for large, scrappy painted installations, Mr. Majerus clearly had talent, but not the time to find himself.



The megastar Takashi Murakami is represented by two paintings that feel like excerpts of his own work. “Cream” and “Milk” (seen below) are sparse, mural-size cartoon renderings of flung liquids that function best as backdrops to anime-inspired male and female figures that are present only in the catalog. Their markedly unabstract bodies are shown expelling the liquids implied by the paintings’ titles.


More comic installation than comic abstraction, Juan Muñoz’s “Waiting for Jerry” consists of the soundtrack of a “Tom and Jerry” animated cartoon: a cacophony of inferred chases, sneaks, skids, crashes, plops and general hysteria. Emanating from a lighted mouse hole cut in the old-fashioned molding of a small, dark room, it echoes throughout the show. The work is a refreshing anomaly, given the usual heavy-handed humanism of Mr. Muñoz’s figurative sculpture, but notice what engages you. I’ll bet it’s the appropriated soundtrack. Wonderfully complex, it bounces back and forth between descriptive and abstract, and represents the kind of concentrated thought and work that is missing from too much of this show.

“Comic Abstraction” would have benefited from more space, nerve and historical awareness. The catalog establishes no context for the origins of the comic in art, which gained speed with Pop Art. Also worth mentioning if not including in the show itself are artists like Mr. Oehlen and Carroll Dunham, both of whom are younger than Mr. West.

Especially pertinent is Mr. Dunham, whose automatist, Disneyesque excursions into the hormonal sublime, made in the 1980s and early ’90s, may be our moment’s richest, most disturbing, most perplexingly real works of comic abstraction. The efforts of several artists in this exhibition are nearly unimaginable without Mr. Dunham’s precedent.

Below is an example of Carroll Dunham's work:


Other artists whose work would have vitalized this show include Lucy McKenzie, Pipilotti Rist, Amy Sillman, Gary Hume, Josh Smith, Thomas Nozkowski, Chris Ofili, Monique Prieto, Joanne Greenbaum and, finally, Udomsak Krisanamis, whose work from the mid-’90s has a stand-alone power, even if it has yet to develop.

Beyond the big solo retrospectives that MoMA handles with expert aplomb, too many of the museum’s recent exhibitions have a veneer of political piousness that limits and shortchanges everything: art, artists, the public and the institution itself. In MoMA’s efforts to go beyond a formalist, linear view of modernism, the museum often seems to confuse sincere political intent with genuine, groundbreaking artistic quality.

No wonder it ends up showing shallow, label-dependent art rather than work that offers deeper, more contradictory encounters. Art becomes a kind of one-liner. The viewer looks a little, reads a label, says “I get it” and shuffles on. If you are new to art, you don’t know what you are missing. If you aren’t, you feel had.

“Comic Abstraction: Image-Breaking, Image-Making” continues through June 11 at the Museum of Modern Art, (212) 708-9400.

Meet The Nouveau Niche:
Your New Demographic

"NOUVEAU NICHE"





BusinessWeek called it 'The Vanishing Mass Market', Wired Magazine spoke of the Lost Boys and the Long Tail. Others talk about Niche Mania, Stuck in the Middle, or Commoditization Chaos.

Those at Trendwatching dubbed it NOUVEAU NICHE: the new riches will come from servicing the new niches! And while all of this may smack of wordplay, the drivers behind this trend stretch widely and profusely, and have been building for years. So even though you may be more or less familiar with the below, it's definitely time to incorporate NOUVEAU NICHE into your corporate vocabulary AND your business strategy. The move towards everything niche should definitely rank right up there with other mega trends like GENERATION C, MASSCLUSIVITY, MASTERS OF THE YOUNIVERSE and so on.

What's fueling NOUVEAU NICHE?

1. Consumers are more individualized than ever, expecting every good, service and experience to be addressing their unique and oh so important selves. Gone are the traditional demographic segments, the distinct consumer classes: this is all about being MASTERS OF THE YOUNIVERSE. Gone too are the days when, as BusinessWeek so eloquently put it; "the ideal was not merely to keep up with the Joneses, but to be the Joneses." In a NOUVEAU NICHE world, where the demise of institutions and their stifling conventions has unlocked latent hyper individualization, where it is all about 'me' (for better or worse), where being special will lend consumers status, to be mass is now every consumer's nightmare. Witness GRAVANITY, witness MASSCLUSIVITY. Even the few mass objects of desire that still manage to unite large groups of consumers -- iPods, Nokia handsets, or the Mini Cooper -- are likely to be customized and personalized the moment they leave the warehouse, website or store.

Consumers are also more experienced than ever. They expertly cut through the crap, ignore advertising, and know which quality and price levels are fair. They actively hunt for the best of the best, and the best of the best is often NOT mass. (The only mass they're willing to put up with is the stuff they don't really care about and can get on the cheap at Aldi or WalMart).

As Chris Anderson, author of the excellent Long Tail article points out, the only reason mass used to equal 'hit', had to do with the now outdated perception that if something sells well, it must certainly be good.

Now, with consumers not only being comfortable wandering further from the beaten path, but the beaten path also being much easier to leave (thank you WWW), they discover their taste is not as mainstream as they thought. Mass popularity was based more on what was available (think mass marketing budgets, limited physical shelf space, limited broadcasting channels, and a nearly complete lack of transparency), than on absolute laws of nature that dictated 'good' or 'bad'.



No wonder that retail and hospitality players, which currently find themselves at the forefront of the NOUVEAU NICHE slash best of the best revolution, are opening up specialized stores and venues as fast as you can say 'NOUVEAU NICHE'.

From British The White Company (above), which only sells white home accessories, to NY's Rice to Riches (twenty flavors of rice pudding, including endangered maple with sun dried blueberries) to fast-expanding Oil and Vinegar (twenty five kinds of olive oil) and so on.

On the US West Coast, the next big NOUVEAU NICHE thing is regional Italian restaurants, from San Francisco based A16 serving food solely from the Campania region and its capital city Naples, to LA's Locanda Veneta in Los Angeles and Genoa restaurant in Portland, Oregon (source: Debra Mustain, Springspotters).

Hospitality? Lake Tahoe's THE BLOCK hotel welcomes snowboarders (see our BRANDED BRANDS update below), while countless B&Bs (all with their own websites) around the world now cater to every alternative lifestyle, preference or inclination known to man.

However, all of this pales compared to NOUVEAU NICHE in the virtual world:

2. The combination of online transparency of supply, prices, recommendations and opinions AND near one billion online users enables a match-making game connecting insanely segmented supply with equally fragmented NOUVEAU NICHE demand. Choose from eBay's millions of sellers offering everything from the expected to the unbelievable.

Dive into iTunes' hundreds of thousands of songs, Amazon.com's hundreds of thousands of books, Netflix's tens of thousands of movies and documentaries. Or go to Nicheflix for even more off the beaten path choice. Or visit Mandy May, the world's first DVD rental service to focus entirely on chick flicks (source: Aisha Jordan, Springspotters).



Consumers looking for other people, not things, end up on niche dating sites like cyclingsingles.com, winesingles.com, datemypet.com, singlerepublican.com, democraticsingles.com (source: ABC News). Choice within these niche segments is growing, too: Jewish singles check out jdate.com, jewishcafe.com, jewishmingle.com, gefiltefishing.com, frumster.com.

Add to that the revolution in location-based search (see our READY-TO-KNOW trend), making transparency truly personal and local, and the ongoing proliferation of collaborative filtering ("customers who bought this title also bought..." -- an essential ingredient for consumers to find their way deeper and deeper into unbridled catalogues and databases), and NOUVEAU NICHE no longer 'just' enables consumers to stray from what or who they know, but actively encourages them to do so. (P.S. More on this in next month's TWINSUMER trend description.)

3. New production processes, mass (!) distribution, technologies and communication channels, all enabling global economies of scale and scope, allow for virtually everything to be made and broadcast, at whatever specification, and whatever batch size. China. India. Eastern Europe. USD 29 DVD players. Hudong-Zhonghua Shipbuilding Group's 8,530 TEU container ships. Airbus 380. New H&M and Zara collections every week. Podcasting. Virtual worlds. 254 TV channels. Google AdWords.

Ironically, the only mass worth studying may be the mass/abundance of virtual shelf space (inventory no longer equals costs) and communication channels. One marketing message and one product for every individual: it will truly be upon us soon.



But is it all about traditional producers becoming more nimble? Not at all:

4. New producers, including the millions of members of GENERATION C, are adding niche content in text, audio, video by the tera bytes, to be purchased by micro audiences. For all the talk of new opportunities for established niche producers and marketers, the most interesting next development for NOUVEAU NICHE may be driven by ordinary consumers, doubling as producers. Equipped with professional hardware, software, skills and their own showrooms/shops at amateur prices, they're already producing an avalanche of new content: books, articles, songs, photographs, videos; thereby adding billions of new products and items to pickings that are already immense. Just consider how hundreds of thousands of bloggers have already exposed many mass media outlets for the boring, predictable and bland one-for-all content factories that they are.

Next next? Crafts! Not only the world of technology is throwing professional goodies at amateurs, so are the more traditional DIY manufacturers: NOUVEAU NICHE will increasingly be a redpaper.com meets cafepress.com meets lulu.com meets boundlessgallery.com meets GENERATION C. We ain't seen nothing yet.

OPPORTUNITIES
The above is NOT spanking new, and neither is it complete (part 2 to follow soon). However, what IS new, is how rapid NOUVEAU NICHE is approaching its (dare we say it?) tipping point. Everything has been put into place to unlock consumers' need for NOUVEAU NICHE on a global and local scale.

Yes, NOUVEAU NICHE is work in progress, for you and for us. But above all, it's a mindset. To continue thinking of niche as unprofitable or even worse, unpopular, may equal commercial suicide. Expect every significant field in business to succumb to the power of NOUVEAU NICHE. Advertising. Publishing. Television. Food and Beverage. Hospitality. Dating. Entertainment. Electronics. Search. Financial services. And so on. We'll still need mass, whether it's for low cost goods or to satisfy sudden cravings to belong to a larger group. And something that is really, really good or desirable will still be able to reach mass status. But it will be mass by choice, not mass by scarcity.

Where to start? Study the Long Tail phenomenon, hang out in niche venues, experiment with Google AdWords, actively look for NOUVEAU NICHE manifestations while roaming the streets, waiting at airports, and surfing the web. Re-read our MASTERS OF THE YOUNIVERSE trend and keep an eye out for NOUVEAU NICHE, PART 2.

Should be enough to get you going, and hopefully the above will help you to introduce relevant niche goods, services and experiences before your competition does!
--

source:Trendwatching

3.01.2007

The New 2008 Olympic Logo:
Eeeuuuwww!



My apologies to the designer, but.. yuck.

Lowbrow Art Lunchboxes!

In the fall of 2005 La-La Land Gallery in Los Angeles held a custom lunch box exhibit featuring over 30 artists including those shown below created by Gary Baseman, Shag, Joe Ledbetter, Greg Simkins, Coop, Amanda Vissell and more.

Visitors to the gallery's website, lalalandgallery.com, voted on their favorite design from the exhibit. Dark Horse is proud to offer the top designs from the Hot Lunch exhibit as the newest additions to their current lunch box line.

And they are only $14.99! So, despite my mentioning in an earlier post that lowbrow art may not be the smartest investment, surely $15 bucks is!

Just look at some below (Click on the image to enlarge).

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