In my usual scouring of the web, I came across a young and very talented craftsman named Rasmus Fenhann. His work is beautiful and I wanted to share it with you.
He's been the recipient of many danish design awards and has had his work commissioned for several projects and is a gifted antiques restorer as well. He also does custom work.
above: Rasmus in his workshop.
above: Some of his tools in his workshop.
Theatre chair Graduation design project by Rasmus Fenhann
laminated Maple veneer, Stainless steel, H:850 W:600 D:600
This chair is made for the new National Theatre that is going to be located near the harbour in central Copenhagen.
Rasmus says "I wanted to make a chair that looks light in the space as an individual element. The chair is saving space so that the audience can come closer to the actors. It is possible to make the chair with upholstery inside for concert hall acoustics."
He makes other beautiful wood furniture products and custom commissions as well. The custom pear wood Architect's Portfolio he made for his sister way back in 1997 is stunning.
His hiKARI collection (2005) of lamps crafted of Oregon pine are an elegant homage to japanese lamp design:
Lamps in Oregon pine:
The minimalist design comes from geometry. Rasmus Fenhann is using the old polyhedral shapes in a new way. The 6 lamps are made by equilateral polygons, which make the lamps simple, poetic and functional: the light is allowed to spread to all sides, and the handmade paper gives a soft and pleasant light.
From the 18th to the 22nd this past April 2007, as part of the Milan Furniture Fair, the Fondation d’entreprise Bernardaud and the ECAL-Ecole cantonale d’art de Lausanne University of Art and Design Lausanne presented (at the Grand Hôtel et de Milan) projects in porcelain by students produced by the Bernardaud Factory.
These projects were selected following a workshop run by Alexis Georgacopoulos, head of the Industrial Design department of the ECAL, and Augustin Scott de Martinville, a professor at the ECAL.
“The idea initially was to look again at the traditional image of porcelain, which tends to be associated with tableware, by integrating it in different ways into the day-to-day environment,” explains Alexis Georgacopoulos. Students rose to the challenge by designing a range of varied and original objects: finely sculpted dominoes, a vase consisting of stacked plates, a chandelier with eight hundred small porcelain discs exploiting the material’s transparency, an enamelled cone in which to enjoy an ice-cream, four vases transformed into loudspeakers around an ingenious acoustic system… With humour, elegance, poetry and bravado, each piece questions lifestyles while subtly integrating the manufacturing constraints of porcelain.
The mission of the Fondation d’entreprise Bernardaud, set up in 2003 by Michel Bernardaud, is to renew the way porcelain is perceived. Based in Limoges, it invites designers of all nationalities from around the globe to re-invent this material, to generate bold interactions, to explore new territory and ultimately to find new uses for this material. “We have been delighted with this collaboration which combines innovation and know-how and greatly appreciated the fact that the ECAL, one of the most prestigious design schools, wished to conduct a study of this still largely unappreciated material…” explains Hélène Huret, the Fondation’s director.
“Carte Blanche”
Private viewing was Tuesday 17 April 2007 from 7pm “Au Grand Hôtel et de Milan”,
Sala Verdi, (1st floor), via Manzoni 29, 20121 Milan.
Exhibition ran from 18 to 22 April 2007 (11am to 8pm).
This exhibition is supported by the University of Applied Sciences Western Switzerland (HES-SO) and the Economic Development unit of the Vaud Canton
High-definition images available from the sites www.ecal.ch or www.bernardaud.fr, and on CD-ROM on request.
Information:
Ecole cantonale d’art de Lausanne
4, avenue de l’Elysée
CH-1006 Lausanne
Tel +41 (0)21 316 99 33
Fax +41 (0)21 616 39 91
E-mail pierre.keller@ecal.ch www.ecal.ch
Fondation d’entreprise Bernardaud
11, rue Royale
F-75008 Paris
Tel +33(0)1 43 12 52 06
Fax +33 (0) 1 43 12 52 01
Press e-mail: sdufresne@bernardaud.fr www.bernardaud.fr
So, like many bloggers this morning, I came across this wonderful ad and was going to post it as follows:
Fabulous new stop-motion animation with Clay Bunnies for Sony's Bravia tv:
Credits Title: Play-Doh Client: Sony Bravia Ad agency: Fallon, London Creative director: Juan Cabral Executive creative director: Richard Flintham Agency producer: Nicky Barnes Account director: Ben Cyzer Director: Frank Budgen Production company: Gorgeous Enterprises Producer: Rupert Smythe Song: Rolling Stones, She's Like A Rainbow
And, of course, the making of:
And then the controversy began. At first I thought that the post on Gizmodo was an overreaction.
Given that I'm an Advertising Creative/Art Director (yes, that's my "real" job) I was ready to defend creatives in the business for often using artists as their source of "inspiration". Something that has been happening in all art forms for centuries. After all, Kozyndan's work is clearly inspired by Hokusai, so why can't Fallon London be inspired by Kozyndan?
Above: Kozyndan's Bunny Tsunami
Above: Hokusai's Wave
Given that this is not Sony Bravia's first spot to use lots of colorful animation as a metaphor for a good color television, and that Kozyndan works in a static medium and this is tv, I thought maybe they initially intended to use Kozyndan as the actual animator (which, perhaps is why they requested samples of his work).
After all, I could see the process happening as such. But then decided that "illustration' wasn't a good metaphor for high def tv, so they decided to go with stop motion animation.
This is all a guess from having sat through hundreds of pre-production meetings.
But then the ugly comments began to appear. And frankly, I'm not sure how I feel now.
Do you think the spot should have credited Kozydan? Do you think it should say "Inspired by Kozydan? but then should it really say "Inspired by Kozydan, who was inspired By Hokusai"?
First from Gizmodo: Sony Bastards Ripped Off the Bunny Tsunami Ad What the Hell. When I saw this morning's post on the awesome Sony Bravia Bunny Ad, featuring multi-hued rabbits climbing through a cityscape transforming into a tidalwave, I assumed it was the work of my favorite artists, the LA-based kozyndan. By my front door, I have a framed print of one of their limited edition NYC bunny panoramics, which I've put below. Aside from this, they're probably best known for reworking of Hokusai's "Great Wave off Kana gawa" with bunnies inserted in the place of the white wash, which was featured on a Giant Robot magazine cover. I was only half right about kozyndan's involvement with this Sony project, unfortunately. They were robbed: For pretty damning proof, watch the video, and read on.
Apparently, the Passion Pictures animation studio ripped off kozyndan's after requesting samples of their work and never called them back. Dan just wrote me an email about it to confirm that this is pretty much the story, at least from their side.
I hear this happens often in advertising, but that doesn't make it fucking right. I guess it's not Sony's fault, but they should at least get their money back or get Passion Pictures to give a fair chunk to the artists. I'm pissed and not sure what I, or anyone else can do about it. Thoughts? [Passion Pictures vs KozyNDan]
To add insult to injury, someone from Passion Pictures contacted us almost two years ago asking to see samples of our work (including this panoramic) as they were interested in working with us. We sent them samples and then heard nothing from them ever again. (It should be noted though, that the more likely culprit is the ad firm who hired Passion Pictures, Fallon.)
It's not like KozyNDan are so outside of mainstream media that nobody would eventually notice. I still love the ad, but this certainly takes some of the magic away. I've seen it happen so many times at big agencies - there is little regard for the line between inspiration and flat-out plagiarism, and often a complete lack of conscience or even understanding why it's wrong. (Some people call it "business", but psychiatrists call this kind of behavior "psychopathy".)
