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Audi Design Strikes A Chord With A Bosendorfer Concert Grand Piano




In the past, I wrote about the unusual and amazing pianos of Schimmel and Bosendorfer.


Now, Bosendorfer and Audi Design have collaborated to bring us a modern sleek and beautiful Concert Grand (this is not the first time the Austrian company has worked with a car design studio, they also teamed up with Porsche Design a few years ago). At a price of approximately 100,000 euros, ($139,027.90 USD), the piano will be unveiled July 16th at the celebration of Audi's centenary.

from the press release:

The Audi Design Studio team in Munich decided to tackle the task of housing a concert grand piano in an Audi "outer skin".

The question was: where to start? How could Audi’s design philosophy be interpreted for a grand piano – an instrument with a closely defined form and function? An active process began, during which the designers came up with a surprising number of design approaches.

The team from Design naturally cooperated closely with the specialists at Bösendorfer, since Audi itself is clearly not in a position to build grand pianos.

Bösendorfer, on the other hand, has stood for excellent quality and correspondingly good acoustics since 1828. For Audi, the top priority was not to exert any adverse influence on the instrument's sound.

In the end, the Audi designers walked this tightrope with success. Although various elements directly associated with the case of the piano were modified, the acoustics were unaffected. But the Audi Design grand piano is certainly "different", even at first glance. "Generous surface areas ensure formal clarity; there are no decorative applications, the edges and lines are sharply drawn, the joints logically positioned. All these are important aspects of the Audi design," says Designer Philip Schlesinger, who implemented the project at the Concept Design Studio in Munich. One of the most striking features is the lid, which extends without a break down to the base – an Audi innovation that yields a large, one-piece surface.

See for yourself:



From above, the lid is seen to be recessed into the main case. In the side view, the elegant curve of the treble side is not interrupted by a joint line. The underside of the case is allowed to rise moderately at the rear, away from the performer. This is an optical device: "It draws the observer's attention subtly to the pianist," Schlesinger explains. To reduce the sense of weight on the treble side, a slim aluminium-look leg is used. The same simple style with its hint of the technical world is applied to the pedal lyre.





The keyboard has no wings at the ends. In the same spirit of purist design, the designers have concealed the hinges in the lid above the keyboard. The lid itself can be opened at an unobtrusively integrated handle.




Another Audi idea is to be found directly beneath the keyboard – one that does away with the risk of bruised or scratched knees: "The lower front edge of the keyboard housing and the beam used to make it more rigid have been rounded off. This new outline is distinctly better from an ergonomic point of view: it protects the pianist's knees," says Schlesinger.



When the main lid has been raised and secured with the two-position metal prop, the interior catches the eye immediately.



Whereas the classic piano black finish predominates on the outside, the designers have chosen typical Audi colours for the interior. The cast frame is in grey instead of the usual bronze colour, and the felt damper strips in natural white instead of wine red.



The Audi Design signet has been greatly reduced in emphasis to harmonize with the instrument's overall appearance: it appears on the right front edge of the keyboard lid as a precisely formed, polished stainless steel inlay. As on all pianos from this Vienna manufacturer, the Bösendorfer name is displayed above the center of the keyboard.




The decision to design an Audi concert grand piano is a logical consequence of many years of cultural involvement by the brand with the four-ring emblem. This includes the high-quality jazz meetings at the Audi Forum in Ingolstadt where the Audi Design grand piano will in future be seen and heard.

The Audi Design grand piano will have its world premiere at a major ceremony held on July 16, 2009 in the Audi Forum Ingolstadt to celebrate Audi's centenary. The new instrument can be ordered via the Internet at audi@bosendorfer.com.

All images courtesy of Audi Design.

See more amazing pianos here.

1 Cup Sugar, 2 Cups Talent. Bake To Perfection. The Threadcakes Contest.



above top: Darkside of The Garden T-shirt at Threadless; bottom: A cake baked on the design

Everyone likes t-shirts. And cake. So what a great idea it was for Chris Cardinal to start Threadcakes in 2007, an online cake competition in conjunction with the user generated design t-shirt site, Threadless.com.

The contest turns art into edible art. The premise is straightforward, interpret (not replicate, per se) the image on any of the PRINTED t-shirts at Threadless into an actual baked and edible cake.

No contest was run in 2008, but they've brought it back with a vengeance this year. The contest began on June 15th and runs through August 3rd. It's not too late to enter. You can read more about the competition and the rules here.

The contest has two categories, 2D and 3D and there are already many drool-worthy entries into each. The contest runs for a few more weeks, so you cake bakers still have plenty of time to give it a try.

There are already so many incredible and impressive cakes entered, it was very hard to narrow it down to just a few to inspire you (or to light a flambé under your butt). But here are some incredible entries side by side with the t-shirt art that inspired the cakes.

T-shirt Art on the left, Cakes on the right:

above: Children Under The Bed (3D) by Jessi Wilbanks

above: Catburger (3D) by Jessica Dell

above: A Banana Slipping on a Banana Peel (3D) by burton wills

above: Beauty before Death (3D) by Monique Presley

above: The Apple (3D) by Judy Steiner

above: Water, Just Water (3D) by Catherine Hofler

above: She Doesnt Even Realize (3D) by Nicole Jeans

above: True Love Will Find You In The End (2D) by Katie Eickhoff

above: Long Journey (3D) by Midori Sickel

above: Invasion (2D) by Amanda Noll


To learn more or to view all the entries thus far, go here.

Visit Threadless T-shirts here.

The MJ Memorial Photos You Really Want To See: The Coffin, The Brochure, The Kids, The Hearse & More



It's over. The funeral and the memorial service for the King Of The Pop have occurred and the Jackson family is now having their own private luncheon at the Beverly Wilshire Hotel in Beverly Hills.

Nina Levy's Family Portraits Make Yours Look Less Frightening.



above: family resemblance, 30" x 24" EDITION OF 6 + A.P.

Artist Nina Levy has been living and working in Williamsburg, Brooklyn since 1996. A prolific photographer and sculptor, her work has been widely exhibited across the United States, including The National Portrait Gallery in Washington, D.C. where her life sized portraits of four artists' heads hung as part of the gallery reopening in 2007 (shown below):


above: a view of the installation in the National Portrait Gallery in the Smithsonian, 2007

above: life-sized self-portrait sculpture Spectator, 2002 (also used in the 2007 National Portrait Gallery installation)

An artist who has long worked with body parts made of oil-painted resin, gypsum or clay, fiberglass, cast polyurethane and other materials for over a decade to create large outdoor sculptures, indoor installations, portrait heads, and self-portraits in many forms, created her own series of family portraits or 'family resemblance' from 2006-2008.


above: Woman with huge fist (self-portrait) 2008

She has a very impressive education, graduating Phi Beta Kappa and Summa Cum Laude from Yale with a B.A. in English and Art in 1989 and she received a Masters in Fine Arts from The University of Chicago in 1993. She's also the mother of two young boys, whom are frequently the subjects of her recent photographs. But these aren't the kind of family photos you're used to seeing embellishing hallways and mantels.

To say that her portraits of herself and her family, consisting largely of her two sons, Archer, now 6 and Ansel, now 2, are bizarre is an understatement. Creepy and disturbing may be more appropriate descriptors for some viewers.


above: Nina's older son Archer with giant prosthetic baby head,2007

above: Nina's youngest son Ansel with giant prosthetic baby head, 2007

What's respectable, and certainly unexpected nowadays, is that there is no digital manipulation involved in her photographs. She actually sculpts the enlarged body parts or prostheses and then juxtaposes them with her subjects, so that the size relationships you see are actual real physical representations.



Babies eating babies, children cradling what look like lifeless bodies and small-framed, vulnerable boys sporting hulk-like hands and steroidal limbs are the subjects of some of her these recent photos. Here's a look at much of her family portraits and family resemblance photographs, 2006-2008:





Nina explains: "I have been interested in using fragmentation and shifts in scale to explore both discomfort with the human body and with other people"








"I started to make photographs, mostly featuring myself interacting with a series of sculptural props and prosthetics that I modeled and fabricated from clay or plaster and cast in resin," she says.



I am now the mother of two small boys, and the primary subject of my work has become my own dysfunctional parenting and the often overwhelming intensity of small children"






"Ansel, however, boycotted my last photo shoot," says Nina, "and is under-represented... but thanks to the promise of a highly desirable set of action figures, Archer was willing to assist me"







"The photographs were, and still remain, very low tech - there is no digital manipulation," says Nina. "All of the objects and people in the images exist exactly as they appear."



Special thanks to the UK's Telegraph for the quotes from the interview with Nina.

HER PORTRAIT COMMISSIONS:

Her commissioned portrait heads are available cast in resin, ultracal or gypsum painted with oils and in more traditional treatments and materials (bronze, plaster, cement). Please contact Nina Levy for more information.

See her website here.
To check out her work prior to 2002, go here.
all photos: NINA LEVY/REX FEATURES

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