Wednesday, March 10, 2010

BRUCE MAU STUDIO: THE INCOMPLETE MANIFESTO



"Now that we can do anything, what will we do?"


"Written in 1998, the Incomplete Manifesto is an articulation of statements exemplifying Bruce Mau’s beliefs, strategies and motivations.


1. Allow events to change you.
You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.

2. Forget about good.
Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you'll never have real growth.

3. Process is more important than outcome.
When the outcome drives the process we will only ever go to where we've already been. If process drives outcome we may not know where we’re going, but we will know we want to be there.

4. Love your experiments (as you would an ugly child).
Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.

5. Go deep.
The deeper you go the more likely you will discover something of value.

6. Capture accidents.
The wrong answer is the right answer in search of a different question. Collect wrong answers as part of the process. Ask different questions.

7. Study.
A studio is a place of study. Use the necessity of production as an excuse to study. Everyone will benefit.

8. Drift.
Allow yourself to wander aimlessly. Explore adjacencies. Lack judgment. Postpone criticism.

9. Begin anywhere.
John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere.

10. Everyone is a leader.
Growth happens. Whenever it does, allow it to emerge. Learn to follow when it makes sense. Let anyone lead.

11. Harvest ideas.
Edit applications. Ideas need a dynamic, fluid, generous environment to sustain life. Applications, on the other hand, benefit from critical rigor. Produce a high ratio of ideas
to applications.

12. Keep moving.
The market and its operations have a tendency to reinforce success. Resist it. Allow failure and migration to be part of your practice.

13. Slow down.
Desynchronize from standard time frames and surprising opportunities may present themselves.

14. Don’t be cool.
Cool is conservative fear dressed in black. Free yourself from limits of this sort.

15. Ask stupid questions.
Growth is fueled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant.

16. Collaborate.
The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.

17. ____________________.
Intentionally left blank. Allow space for the ideas you haven’t had yet, and for the ideas
of others.

18. Stay up late.
Strange things happen when you’ve gone too far, been up too long, worked too hard, and you're separated from the rest of the world.

19. Work the metaphor.
Every object has the capacity to stand for something other than what is apparent. Work on what it stands for.

20. Be careful to take risks.
Time is genetic. Today is the child of yesterday and the parent of tomorrow. The work you produce today will create your future.

21. Repeat yourself.
If you like it, do it again. If you don’t like it, do it again.

22. Make your own tools.
Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference.

23. Stand on someone’s shoulders.
You can travel farther carried on the accomplishments of those who came before you. And the view is so much better.

24. Avoid software.
The problem with software is that everyone has it.

25. Don’t clean your desk.
You might find something in the morning that you can’t see tonight.

26. Don’t enter awards competitions.
Just don’t. It’s not good for you.

27. Read only left-hand pages.
Marshall McLuhan did this. By decreasing the amount of information, we leave room for what he called our "noodle."

28. Make new words.
Expand the lexicon. The new conditions demand a new way of thinking. The thinking demands new forms of expression. The expression generates new conditions.

29. Think with your mind.
Forget technology. Creativity is not device-dependent.

30. Organization = Liberty.
Real innovation in design, or any other field, happens in context. That context is usually some form of cooperatively managed enterprise. Frank Gehry, for instance, is only able to realize Bilbao because his studio can deliver it on budget. The myth of a split between "creatives" and "suits" is what Leonard Cohen calls a 'charming artifact of the past.'

31. Don’t borrow money.
Once again, Frank Gehry’s advice. By maintaining financial control, we maintain creative control. It’s not exactly rocket science, but it’s surprising how hard it is to maintain this discipline, and how many have failed.

32. Listen carefully.
Every collaborator who enters our orbit brings with him or her a world more strange and complex than any we could ever hope to imagine. By listening to the details and the subtlety of their needs, desires, or ambitions, we fold their world onto our own. Neither party will ever be the same.

33. Take field trips.
The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic–simulated environment.

34. Make mistakes faster.
This isn’t my idea – I borrowed it. I think it belongs to Andy Grove.

35. Imitate.
Don’t be shy about it. Try to get as close as you can. You'll never get all the way, and the separation might be truly remarkable. We have only to look to Richard Hamilton and his version of Marcel Duchamp’s large glass to see how rich, discredited, and underused imitation is as a technique.

36. Scat.
When you forget the words, do what Ella did: make up something else ... but not words.

37. Break it, stretch it, bend it, crush it, crack it, fold it.

38. Explore the other edge.
Great liberty exists when we avoid trying to run with the technological pack. We can’t find the leading edge because it’s trampled underfoot. Try using old-tech equipment made obsolete by an economic cycle but still rich with potential.

39. Coffee breaks, cab rides, green rooms.
Real growth often happens outside of where we intend it to, in the interstitial spaces – what Dr. Seuss calls "the waiting place." Hans Ulrich Obrist once organized a science and art conference with all of the infrastructure of a conference – the parties, chats, lunches, airport arrivals – but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.

40. Avoid fields.
Jump fences. Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the fences and cross the fields.

41. Laugh.
People visiting the studio often comment on how much we laugh. Since I've become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.

42. Remember.
Growth is only possible as a product of history. Without memory, innovation is merely novelty. History gives growth a direction. But a memory is never perfect. Every memory is a degraded or composite image of a previous moment or event. That’s what makes us aware of its quality as a past and not a present. It means that every memory is new, a partial construct different from its source, and, as such, a potential for growth itself.

43. Power to the people.
Play can only happen when people feel they have control over their lives. We can't be free agents if we’re not free"

Bruce Mau is a visionary.

click click

xo.s

ps- shoutout to sam sam!

pps- why is blogger being whack? I hate borders on my images. Grrr.


Monday, February 22, 2010

FRANCOISE HARDY



Ever just feel like you could use a little more Francoise Hardy in your life to lull you to sleep?

bonne nuit.

xo.s

Wednesday, February 17, 2010

VANESSA BRUNO SS2010

vanessabruno-Le Bel Eté-SS2010 from presse vanessabruno on Vimeo.

I saw stills of this video on Scout Holiday - one of my favourite blogs ever- last week and I can't take my eyes off of it..... or Lou, of course. How can you??

Spring/Summer! (It's snowing where I am)

I shared it on facebook and the boys thought it was boring. This one's for the girls.....

click click Vanessa Bruno


xo.s

SANTIAGO YDANEZ



David Delfin and Gorka Postigo; collectors of Ydanez' work, in their home






I stumbled across the work of Santiago Ydanez very recently and haven't stopped staring. I have always been especially fond of portraiture for the obvious reasons: its ability to convey an acute and wide variety of human emotions; conveyance of striking realism or shocking mutation as seen in expressionist work; and always the intense reading of the EYES.

Ydanez works on 200cm canvases with minimalist colouring. Many of his pieces are done with more variation in hue, but I've chosen the above to showcase because I LOVE the strong contrast in his use of black and white.

What's most intriguing is his brushstroke; his work leans toward expressionism in its wild application of paint, however, it is evident that there is extreme calculation in his gestures. His portraits are not born of improvisation or of loose emotional abandon, but of painting used as an instrument and not an aim unto itself. It is an extremely successful pairing of opposite schools of thought.

While researching Ydanez I came across one of the reference images he had shot himself for one of his many 'untitled' works (top). He covers his subjects' faces in everything from (what looks to be) food colouring to whipped cream before photographing their screaming, twisted visages.

It's brilliant. So powerful. Be sure to have a look at the gallery video!

click click

xo.s

Friday, February 5, 2010

THAT'S NICE














Back in April I did an iPhoto mashup-type post that I'm feeling again today. Enjoy.

xo.s

Wednesday, February 3, 2010

WALLPAPER GRAD DIRECTORY 2010

Valentin Vodev, RCA, London

Robin Grasby, Northumbria University, UK

Norihiro Sueyoshi, Tama Art University, Tokyo

Niek Van Der Heijden, Design Academy Eindhoven, The Netherlands

Karoline Lagerqvist, Beckmans College of Art & Design, Stockholm

Johanna Hartzeim, Koln International Academy of Design, Germany

Joel Escalona, Universidad Autonoma Metropolitana, Mexico

Jaebom Jeong, Hongik University, Seoul (love this)

Helena Karelson, Kingston University, London

Giannina Capitani, RCA, London

Edward Robinson, Northumbria University, UK

Delphine Frey, ECAL, Lausanne

Daniel Svahn, Beckmans College of Design, Sweden

Colin Kelly, Savannah College of Art & Design

Bjorn Jorund Bilkstad, Oslo National Academy of the Arts, Norway
(This piece was chosen for the cover; a storage unit of axiometric cubes that look
shallow from a distance but reveal their depth as you approach)

Beatrice Durandard, ECAL, Lausanne

Bastian Bischoff and Per Emanuelsson, HDK, Gothenburg
(of Humans Since 1982)

Wallpaper always knows. Each year the magazine showcases their favourite pieces by graduates from some of the best schools all over the world, and I'm thrilled that this year's 'Design' category is showcasing an equal number of female students to their male counterparts. My graduating class had about 7 women in it total, out of nearly a hundred. Boys, don't go into ID if you're looking to pick up.....

But I digress.

Geometry, hand crafting, and allowing materials to rule seem to be the focus this year. I only chose my favourites of the favourites, so have a look at Wallpaper's site for the rest, as well as for grads chosen in Illustration, Fashion, Photography, Architecture and Graphics.

The future looks bright.


xo.s

ps- if you follow regularly, you'll recognize the last piece: 'Clock Clock' by 'Humans Since 1982'!

Wednesday, January 20, 2010

INFOGRAPHIC MONEY CONCEPT







I just saw this on designboom and think it's brilliant.

"Tokyo-based designer Mac Funamizu wondered what would happen if we rethought how coins were designed with an infographic perspective. He remarks on the merits and drawbacks of round coins, and while he acknowledges their benefits, he wanted to see if they could be redesigned in a way that was more universally understood. This would benefit travelers and people not accustomed to a specific currency...... each coin (has) an infographic form that corresponds to a pie chart"

Absolutely, there are drawbacks. But Funamizu is sure to point out that he designs concepts on his blog simply to explore new ideas that he knows might not translate perfectly into a real-life market. He invites readers to leave their feedback and even take his idea further- perhaps even into production- if they contact him. He is a working industrial and graphic designer and he designs and posts concepts on his blog for his own enjoyment.

I love that there is someone willing to share their ideas without the expectation of monetary benefit. Some of the projects are copyrighted, but for the most part he invites people to make them happen if they feel inclined. Most people hoard their ideas in fear that someone else will make a profit; why not share them if you have no intention of producing and allow someone else to bring your thoughts to fruition?

And the coins are great. Helvetica, you're a paradigm.


xo.s

Tuesday, January 19, 2010

PIXIE MARKET, MY LOVE















It pains me to give up the goods, but this one with the zippers is on sale for $75.
They have our size and everything. Buy it because I can't. Sigh.






Dear Pixie Market,

I'm yours. If you'd have me I'd never look twice at another retailer. I have yet to make my first purchase because I can't even afford groceries at this point, but when my day comes- and it will- I'm blowing a wad.
Would you look at this stuff? The designers they carry often have little more than a myspace page and are making these masterpieces in their homes! The most wonderful part is the price point- it's not cheap, but very affordable for the odd splurge, even for a student. You can feel good buying because these remarkable pieces are made by hand, with love, in limited amounts.
It's grungy, it's beautiful, even comfortable looking. STUNNING.

I know I'm a puddle, but I honestly think pixie market has it done PERFECTLY. Their first shop is in the Lower East Side, NYC and one just opened- I believe- in L.A. Spirit airlines has 60$ flights to NYC. Just sayin. This is the first time I've ever planned to hop on a plane to shop somewhere for an afternoon.

I'll treat myself one of these days. Until then, I'll live vicariously through you.

xo.s

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