Tom Chung: Local Source
Interview published,Tom Chung, fall 2018.
It did not take long before my friendship with Tom Chung was established. When we met at an exhibition opening, we arranged to meet in his studio the next day and I felt completely at ease—so much so that I felt I had known him for a long time. I was new to the city and Tom Chung was the perfect welcoming ambassador.
It was not strange that our friendship developed so quickly. Chung is part of a generational shift, fostering a young network of creative people in Toronto that utilize the cities tapestry to cross-pollinate and create new constellations of collaborative designers, photographers and artists. Another reason is that Chung is enormously convivial. As a designer, he is practical and economic, however, it is within his contextual sensitivity that makes his work both distinct and rooted...
London Design Biennale: Jesper Eriksson’s Coal: Post-Fuel
Design strategy and writing, Swedish Pavilion, Somerset House 2018.
Coal: Post-Fuel presents Jesper Eriksson’s showcase for future alternative use of coal, with the aim to introduce a disruptive re-evaluation of the material. This exhibition presents a speculative future of coal, and a proposed value shift in the perception of the material—beyond mere energy extraction.
Displays of imaginative, plausible objects, extrapolates coal as an organic building material. The discourse aims to give the material a different image, known not for releasing carbon dioxide, but for enclosing it. The demonstration is led by London based artist and designer, Jesper Eriksson, who will present a body of work, including floors, objects and hand carved sculptures in solid coal—Britain’s most iconic material.
ICON: Icon of the Month
Article published in Icon #138 Aug 2018.
Wilton C. Dinges, engineer and factory owner, arrived early, yet the room was already filled with generals and military officials. Dinges and the military buyers were meeting for the first time in a hotel in downtown Chicago. Introduced as the owner of the Electrical Machine and Equipment Company, or Emeco, a metal workshop from Pennsylvania, Dinges stood before these figures of federal power with only an aluminium chair in his hand.
The year was 1944, and the men remarked on the lightness of the chair. ‘It would be perfect for the new submarine we’ve just acquired, but will it last on a navy ship?’ Dinges guaranteed that it would be impossible to break the chair, adding that it would indeed be non-corrosive and torpedo-proof. The men laughed and looked at the lightweight chair before them. ‘Let me demonstrate,’ said Dignes, ‘I will throw this chair out of the window, only to return it to you in perfect condition.’ The men could not believe what they saw. The chair fell eight floors before hitting the concrete pavement. It was brought back without a scratch. The government contract for the 1006 Navy chairs was signed that same day, specified as being for a chair capable of withstanding fire, weather, war and sailors...
+Halle: Workspace Furniture
Article published at +Halle, May 2018
There is no doubt that we could collectively learn more from individual end-user responses to furniture installed in the office. In the case of Henning Larsen’s new architecture office, +Halle has placed furniture on trial, in a collaborative quest to use furniture as vehicle for a better performing and more democratic working environment.
In the 1950s, Eberhard & Wolfgang Schnelle came up with the concept of Bürolandschaft or the open office landscape. The purpose was to create a social-democratic environment with organic groupings of desks, designed to encourage conversations, using potted plants and filing cabinets as informal dividers.
Its subject was egalitarianism. ‘It's quite simple’ Sarah Müllertz, Partner and Head of Interior at Henning Larsen, says; ‘The open office is dead, today's workspaces are about people and how they can perform their best. Yet you cannot design anything anymore without asking people how they work and why they work as they do.’
Disegno: Data Faking
Article published in Disegno #18 April 2018.
The past year has brought with it a series of bizarre ethical violations centred around the car industry: manipulated emission reports; fabricated specs on steel quality; and, finally, revelations of exhaust tests that involved pumping diesel fumes into airtight containers filled with crab-eating macaques...
Order a copy of Disegno #18
or read the full story here
Clerkenwell Design Week: Relay Design
Modertor, a conversation on Investigative Design, May 2018.
A dicussion held at Relay Design Agency’s exhibtion during Clerkenwell Design Week as part of the +Halle and Baux program.
The conversation was focused on what an investigative design process entials, hearing Jonas Pettersson, CEO and co-founder of Form Us With Love thoughts on where critical design iterations begin.
‘Today, we live in a reserch economy and it really comes down to the questions you ask and your ability to listen,’ Pettersson said.
Manerba: Apollo Collection
Interview and catalouge text published in April 2018.
Shane Schneck was spring-cleaning his Design studio on the Southern island of Stockholm, a retail space built in the 1920’s with large windows facing the street. He de-cluttered, trying to hide the cables of the grouped desks alongside the legs of the tables. Shane wanted the workspace to be functional and tidy, yet work in cohesion, creating an atmosphere at ease. The next morning, not satisfied with the improvised arrangements, Shane began drawing a desk that would solve the infamous problem of cables tangles being visible. It was a punk piece, Shane said: but it was just a prototype...
Clerkenwell Design Week: Prototypa
Three exhibtions and talks, May 2018.
A new edition of Prototypa in London during Clerkenwell Design Week as a part of Shaw Contract week long series Design Sense. Prototypa is an articulation of where design is headed, knowledge shared through an informal and participatory dialouge.
The program included sessions with Stephen Miller at Design Council, dicussing healthy placemaking, Thijs Marteens at Cradle to Cradle sharing insights on circular economy and Vicky Lockhart at Well Building Institute dicussing how to evaluate for a sound community.
Three dialogues with thought leading industry practitioners, allowing for a deep-dive, behind the refined outcome of designed things and places, to reveal the iterative methodologies that define rationales in better design.
Manerba: Flowered Office
Catalouge text published in April 2018.
Today, working environments have become fluid, acting as mirrors of our process as opposed to a given output. People use desk spaces like canvases in their own right, mobile and versatile, serving as hubs for the activities around them. The Litta collection is a comfortable table and desk series that embraces Manerba’s commitment to belonging, always providing a welcoming place to sit and a gathering place, whether placed in an office, a dining room or a lounge....
Fuorisalone Milan: New Way Home
Design Talks at the exhibition Hemma–Stories of Home with Beckmans College of Design, April 2018.
‘Emerging Swedish design stories—future homemakers.’
What makes a home? Blurred lifestyles, emerging dynamics and new mobility, have changed our relationship with the notion of a home forever. The next generation designers from Beckmans College of Design, have approached a sensory idea of a home, depicted as an original place with identity and character that not only exists as brick-and-mortar but in our minds and hearts. Together we introduce an opportunity to reinterpret, redesign and evaluate, what constitutes as livable space.
Participating designers, Hanna Wik, Jennie Adén, Jonathan Nilsson and Lisa Lindh.
Advisory: Placemaking Strategies
Strategy and writing, 2016–2018
Strategic consultant for independent mix-used urban developments in Toronto, Dubai, Hong Kong, Bangkok, Shanghai and Tokyo. As part of a series of on-going projects, in collaboration with creative agency Winkreative, developing brand strategy, naming, master plans, and editorial strategies, for neighbourhoods, quarters and buildings.
Interwoven: Arne Hendriks and The Incredible Shrinking Man
Article published in Interwoven March 2018.
‘The Dutch artist and exhibition maker Arne Hendriks believes humans have been brainwashed into worshipping abundance. With his long-running art project The Incredible Shrinking Man, he is combining research, ethics and social engagement to find a way to culturally reverse the human desire for more.‘
Link to the article...
Bolon: Projects We Love
Article published in Projects We Love, Issue 2018.
A feature on Swedish Design brand Bolon’s Triannial Review, and the ideal balance between new ideas and citical evaluation of the old. Including a dicussion with Bolon Designer Klara Persson on the opportunity for the team to formally meet to dicuss Bolon’s exisiting collections and find which they might be improved.
Content & Editorial Direction; Bolon and Disegno Works.
For a copy of the magazine, go to: www.bolon.com/en/projects-we-love/2018
Stockholm Furniture & Light Fair: Prototypa
Three exhibtions and talks, February 2018.
A series of talks held at A House co-working space, during Stockholm Design Week for Prototypa. A critical forum that began exactly a year ago, invented to shed light on the most telling part of the design process—prototyping.
After exhibitions and talks in Stockholm, Milan, London, and Toronto, Prototypa returned for a fifth edition, including MDD Testing Grounds, BAUX and an industrially designed City Jacket.
Stockholm Furniture & Light Fair: Hear Us Out
Design Talks with Beckmans, February 2018.
Beckmans College of Design shows design collaborations with six of Sweden's most renowned furniture producers – Blå Station, Gärsnäs, Johanson Design, Källemo, Massproductions and Materia at Stockholm Furniture Fair, February 6–10.
12 final-year students in Product Design have collaborated with one industrial partner each, to produce a prototype. The result of the collaboration is shown in the exhibition Hear Us Out in the Greenhouse at Stockholm Furniture Fair.
Two Design Talks were arranged during Stockholm Furniture Fair in which students and representatives from the companies are included in the panel. The first talk discusses the relationship between industry and designer, and the second talk is about prototyping. The talks are moderated by design strategist Lia Forslund.
Spritmuseum Stockholm: Champagne Exhibition
Writing, December 2017
Form Us With Love designs Champagne, an exhibition at Spritmuseum in Stockholm, portraying the bubbly drink in a gridded system. Made of birch wood, pink plinths and tailor-made modular light fixtures, this grid is all about the ushering of a personalised mental engagement. Prototyped using VR, the exhibition is an industrially designed platform, allowing the audience to recognise where to skim through and where best to take a deep dive.
‘The entire interior is made of white stained timber, lit by a sequential white pendant; a pared-down architecture, used as a neutralizer. We did not want to use the stereotype of Champagne as neither “traditional craft” nor “glitz and bling”, but rather something dry and industrial,’ John Löfgren, Creative Director and Co-Founder of Form Us With Love, explains.
IIDEX Toronto: Prototypa
Four exhibtions and talks, November 2017.
After successfully hosting design forum Prototypa in Stockholm, Milan, and London, Form Us With Love is invited to IIDEX in Toronto during the two-day long fair hosting the fourth edition of Prototypa. The part of the design process that accumulates prototyping, will be unpacked in four talks with Toronto's leading industry practitioners, curated and hosted by Form Us With Love and moderated by Lia Forslund, in collaboration with IIDEX Canada and Shaw Contract Group.
Jamie Wolfond from Good Thing, reflected on his dual designer-manufacturer mindset, followed by Tom Chung founder of Tom Chung Studio, who discussed material-economic ways to explore an idea.
Thomas Fougere of Thom Fougere Studio talked about prototyping through an investigative perspective, this followed by a session with designer Brian Richer from Studio Castor, who revealed the bridge between sculpture and design.
Advisory: Loews Hotels & Co
Strategy and Writing, 2016–2017.
Strategic consultant for the brand strategy overhaul of Loews Hotels & Co, designed by Winkreative. This resulted in the renaming of the parent company, a robust visual identity system and tone of voice guidelines.
With half a century in the business and an diverse portfolio of properties across the US, Loews Hotels have a proven heritage, but lacked a unifying brand vision. The given strategy helped to crystallise a brand positioning and purpose for the next chapter.
Read more at Winkreative ...
London Design Festival: Prototypa
Seven exhibtions and talks, September, 2017.
As part of Design Frontiers held at Somerset House during London Design Festival, Swedish design studio, Form Us With Love and Lia Forslund hosted Prototypa; a seven-day series of talks, workshops and exhibitions, in collaboration with Swedish Design Moves, The Grand Award of Design, Formex Nova, Visit Sweden and the Swedish Embassy London.
Acting as a forum for physical ideations—as opposed to finished products—Prototypa is an articulation of where design is heading, involving chance, accidents and intuition as well as, quality control, systems and methods of future advancement.
The clash between the craft and machine become a central theme, as the works on display illustrate a significant shift towards an almost artful intersection.
Read full summary by Tim Spears editor of Designboom ...
Disegno: A Milanese Marble
Article published in Disegno #15, Summer 2017.
A featuring on the forgotten history of Silipol, postwar Italy’s suggestion for resolving the porous boundery between industrial product and artisan craft.
Images by Teresa Giannico
Disegno #15 is available at Disegno's online store
Fuorisalone Milan: Prototypa
Four talks held During Fuorisalone, April 2017.
During Milan design week this April, Prototypa hosted by Form Us With Love temporary inhabited a Milanese architecture practice, to engage in the second round of Prototypa—a four-day series of talks on the act of prototyping. Four conversations in an honest setting, delivering actual and speculative design assessments to a keen and curious audience.
Disegno: Risk Assessment
Article published in Disegno #14, Spring 2017.
The article covers the case of the Ikea Odger chair from a quality control perspective, unveiling what it means to risk assess a design from both a social and a scientific rationale.
‘A quality controller stands in a test lab, speculating on the weaknesses of a new chair. “What if the customer sits on the backrest?” he wonders. “Adding a bit of curve, using the shape properties as opposed to adding more material, is a way to play it smart,” he resolves.’
Buy Disegno #14 here
TID Canvas: Creative Platform
Strategy and writing, 2017.
This spring, Swedish watch brand TID is launching a new collaborative platform, TID Canvas, inviting a selection of artists and designers to interpret the brand's iconic TID No.1 watch, resulting in a limited annual production.
TID Canvas 001 designed by Form Us With Love was launched in April, along with the annual handover or Italian ‘Staffetta’, a perfect interception by Clara von Zweigbergk, selected designer of TID Canvas 002.
‘We want to embark on a creative programme of temporary collections. The goal is to make TID a natural platform for experimentation. Each watch is completed within twelve months and launched in the spring, for collectors as well as new customers to explore and enjoy,’ says Ola E. Bernestål, CEO of TID.
+Halle: Creating Human Spaces
Strategy and writing, March 2017.
‘It is time to challenge the composition of office environments and public spaces. A day at work might have become less physical; yet, greater demands are made on surroundings to be evocative. Dwell time in public may have increased, and yet a range of diverse—both lively and quieter— areas are needed at all hours of the day. At +Halle we research, analyse and think carefully about how we put together, facilitate and create furniture that helps people get the most out of the environment they are in.’
Svensk Bokkonst: Award
Award received for the I—X book, March 2017.
The I—X publication edited by Lia Forslund was this March awarded by the Swedish Book Art Association, 'to serve as a model of emulation.' This chronological compilation of design studio Form Us With Love’s ten years of practice, designed by Hendrik Nygren Design, is a monograph filled with design process, insights and reflective thinking.
'The act to present extensive material across many pages, in a large pocket format, is clever. Form, function and attention to the economy of production are cohesive and gives the book the chance to reach a large audience. The cover creates a unity with the appendix that complements the main publication,' the Swedish Book Art Jury's formal statement read.
The annual selection of awardees are currently on display at the Swedish National Library, and at other libraries and institutions in Sweden and abroad.
Link to the awards page ...
Interwoven: In the mind of the quality controller.
Article published in Interwoven March 2017.
‘The quality controller gazed at the grey plastic chair. Sporadically, he scribbled on a note pad. He’d spent the morning imagining catastrophic possibilities: legs breaking, back rests snapping, seats cracking—things he had seen happening to chairs just like this one. The thoughts were haunting...‘
Link to the article...
Stockholm Furniture & Light Fair: Prototypa X Shane Schneck
Talk held at Form Us With Love February 2017.
This February, Form Us With Love opened their studio in central Stockholm to the public, introducing Prototypa, a mini-series of exhibitions, dialogues, and workshops under the theme of prototyping.
First out, was an exhibition and dialogue with industrial designer, Shane Schneck, the man behind the celebrated studio Office for Design. In an informal talk, moderated by Lia Forslund, insights were found, including ways in which materials are used in prototyping to inform the outcome, and how a quick prototype differs from a slow one.
‘I always make analog prototypes, using paper for instance, before I start 3D printing or creating a digital design file. It is important for me to start with something where I can reach quick conclusions before I get too tied up in a particular form,’ Shane Schneck explains.
Stockholm Furniture & Light Fair: Prototypa X BIG-GAME
Talk held at Form Us With Love February 2017.
Day two, welcomed the design challenge ‘Q&A with BIG-GAME’ curated by Form Us With Love. A travelling interpretation exercise initiated by Swiss design studio BIG-GAME. Within the realm of prototyping, the result became an exhibition of ten ideations by Form Us With Love mirroring ten objects designed by BIG-GAME, moderated by Lia Forslund with an emphasis on the shared commonalities of a process, as well as some interesting iterations or ‘hacks’ of the Swiss designs.
‘This is the eight time we do the Q&A, and it is interesting to see how this particular challenge became entirely about discovering the ideation process, as oppose to the interpretations of the finished product,’ Augustin Scott de Martinville, Elric Petit and Grégoire Jeanmonod, founders of BIG-GAME reflects.
Stockholm Furniture & Light Fair: Prototypa X Workshop
Workshop held at Form Us With Love, February 2017.
The mini-series then culminated in a final assessment, a prototype workshop hosted by Lia Forslund and Form Us With Love, including a push pin, eggs, paper, and scissors. In ten multidisciplinary teams of three, seventeen different nationalities collaborated to create an impressive array of paper engineering—woven belts, interlocked containers and perpendicular wrapping techniques.
‘I was so proud to see the studio filled with creative people from all over the world coming together in craftsmanship, using very few means. Within just two hours we had incredible design results,’ John Löfgren, Creative Director at Form Us With Love recalls.
Stockholm Furniture & Light Fair: Swedish Design Moves
Writing for installation, February 2017.
On a mission set by the governmental body, Visit Sweden, Form us With Love was asked to curate an installation at the baroque town house of Tessin Palace, showing a selection of architecture, design, and fashion that would answer the question, ‘where?’ is Swedish design moving.
‘Swedish Design Moves’ at Tessin Palace, is a peek into the yet to be finished—the midst process and the raw. Introducing a selection of prototypes, placed in a baroque setting. A staged contrast, curated by Swedish design studio, Form Us With Love.
Providing physical ideations from Swedish architects and designers—as opposed to products—reveals a gathered sense of where Swedish Design is heading but it also displays methods of future advancement. The clash between the crafted now and the polished past becomes a central theme in the exhibition, as many works on display illustrate a significant shift towards an almost artful curiosity.
As mankind’s increasing social and economic behaviour threatens the quality of our environment, ‘Design Moves’ becomes a tool to reconsider what progress might mean, incorporating learning from each other’s future realities.
+Halle: For Now
Writing for +Halle, June 2016.
In a world of constant occasions, where a sense of waiting is a minute lost not found, Chris Liljenberg Hallstrøm has designed For Now, an anticipated collection of sofas, chairs and coffee tables for Danish design brand +Halle.
Debuting at Orgatec 2016, the For Now collection mirrors the industry wide attitudinal shift to a more humane office interior, emphasising cultures and individuals, in an ambidextrous take on the work place.
ÉC A L: Cross Lecture
Lecture held at Ec a l, November 2016.
Invited by ec a l’s theory unit to talk about Quality Control, as part of the cross lectures, enabling students to build a critical and personal discourse to support, strengthen and foster their artistic practice.
Punāh: Material Archive Research
Research conducted, November 2016.
In a design era of material exploration, exhibitors around the world have been keen to show what is inside their products. Perhaps it comes down to designers urge to prove their most progressive abilities, resulting in an exercise that finally moves parts of the material agenda outside of it's virgin realm. This conscious design quest has fuelled the recent boom in alternative materials on display, from forest wool to mushroom mesh. But beyond the pure discovery of these materials, the configuration of production withstands. Implementing by-products at an industrial scale has never been simple nor easy.
Research involves a conversation between an Indian conglomerate, a corporate material archive and a design studio, unpacking the challenges and opportunities of a non-virgin material archive.
London Design Festival: Communicating the Intangible
Writing for installation, September 2016.
The Air is Not Visible was an installation build for the 2016 London Design week. The piece has been exhibited along the MPhil/PhD Research Degree Work in Progress show at the Royal college of Art, Communicating the Intangible, during the London Design Week.
‘A man is walking in a neat trail towards a glass tower. He memorises the directions, walking carefully through the maze. Dedicated, just like a winged black suited sugar ant, he spends his day swarming around the lights of his screen. He is a worker, propagating a new, tall built nest. You can hear the tapping on his keyboard, seeking to stimulate response like virtual secreted commands of promised territory...’
Advisory: Macro Advisory Partners
Strategy and audit, presented August 2016.
Strategic consultant for the rebrand of Macro Advisory Partners, a boutique consulting firm that offers long-term strategic counsel, helping key decision-makers in business, finance and government navigate the complex intersection of global markets, geopolitics and policy.
A new brand was designed by Winkreative setting MAP apart from their competitors yet still conveying the right level of gravitas. This balance carries through to their website, where select case stories provide a discrete and coherent overview of their intricate global assignments.
Strategy and launch for new design, 2015.
Swedish design studio Form Us With Love, continues the successful collaboration with Swedish watch brand TID, presenting TID No.2, a refined continuation of TID No.1. By following up on the existing form and creating yet a new design Form Us With Love's shows strength in producing long-term and ever-evolving structural range developments. ‘We believe that a durable collection framework is at the core of ever brand’, says Form Us With Love.
Form Us With Love: The I—X Exhibition
Writing for installation, February 2016.
In a first major retrospective at Konstakademien, The Royal Academy of Fine Arts in Sweden, design studio Form Us With Love presents a number of early pieces, celebrated classics and new work—exploring a decade of industrial design consultancy, business ventures and civic projects. In the short film by Jonas Lindström, we get the chance to explore the space and ideas behind the exhibition.
Form Us With Love: The I—X Book
Book published, February 2016.
The I—X book is a featured design dialogue. Turning ten, Design Studio Form Us With Love figured it was time to stop, evaluate and discuss what really made all that difference. Days of conversation about design, process, people and value turned out to be priceless information looking ahead. The studio decided to distribute these conversations, so that others might learn from it. The book, edited by Lia Forslund and designed by Henrik Nygren Design is available at Konst-ig from February 2016.
Balance Sheets: R.M.B.S.
Balance Sheets, Edouard Malingue Gallery in Hong Kong, June 2015.
We begin at the end with a receipt printer, a critical text machine that operates at the press of a button. Out comes a short dark tale of the investments made in the years before the financial crisis. The story is shot through with the jargon of the financial industries—‘credit-default-swaps made on subprime-mortgage bonds’—and inspired by the dusky light of Francisco Goya’s etching The Sleep of Reason Produces Monsters (1797). Work made in collaboration with Franek Wardynski.
Royal College of Art: Albertopolis
Book published, May 2015.
Voices of fifteen writers, as they rewrite, renegotiate and perhaps even reinvigorate a familiar constellation of institutions. Albertopolis—17 essays, 117 pages and 1 podcast–aerial overviews and urban critiques, unexpected encounters with Mormon elders, sparring scientists, tea room spies and cursed stones.
The term ‘Albertopolis’ was coined in the 1850s as a facetious nickname for London’s new quarter of art, design and innovation. Today, Albertopolis remains a network of venerable museums and institutions sprawling south of Hyde Park, under the watchful gaze of its instigator, Prince Albert.
Royal College of Art:
The Ecologies of Publishing Futures
Invited to talk at symposium, November 2015.
Invited to this one-day international symposium bringing together academics, designers, storytellers, publishers and students, in order to explore the book and its lifecycle, speculating on publishing futures including the role of writing, designing and the processes of mediating, distributing and reading.
Spritmuseum Stockholm: Beer Exhibtion
Writing for installation, February 2015
Form Us With Love designs and curates Beer exhibition at Spritmuseum in Stockholm, celebrating the science and art of beer making. In responds to the growing number of connoisseurs, passionate brewers and beer fans, Form Us With Love has designed a beer exhibition based on the culture of craft and experimentation.
Writing for installation, April 2015
Hyperstore is an artist collective that investigates the precarious future of mass consumption. It calls into question the authenticity of online retail experience, how our perception of reality is shaped through the layers of trade we consume. Hyperstore collapses the distance between the online and the IRL.
Tunica Magazine: The Order of Things and All That
Article published in Tunica magazine, S/S 2014.
‘Anna Sorenson is a conceptual artist, a child of the 80’s, a constant traveller and nomad. When I was invited to her current home in Brussels, I envisioned archival desks and shelves filled with objects from her escapades around the globe. Surprisingly, her working space is quite the opposite of what I expected. Four meters ceilings and emptiness, apart from two plants, a computer and a few sketches neatly lined up on the floor. Her work reflects her travels. She is a serious collector, but she is not collecting memorabilia—she collects to understand; articulating politics, philosophies and values.
Link to the article...
Emeco: Broom chair
Strategy and writing, April 2012
An innovative creator and an environmentally pioneering manufacturer have joined efforts to work towards zero waste. A design collaboration that both avoids and eliminates waste, the Broom chair combines intelligent materiality with beautiful form. In the industrial age, most products live only in the present. They have no past and no future. Factories plunder raw materials from the earth to make products that soon end up on the trash heap. This process is still happening every day, all over the world.
Essay: Of and For Turner Contemporary
Writing for installation, May 2015
Part of ‘Of and For Turner Contemporary: Writings on a Building’ a collection of texts written by Critical Writing in Art and Design students at the Royal College of Art in relation to Sir David Chipperfield’s architecture, capturing aspects and impressions of Turner Contemporary.
Link to Essay...
If the museum intendant looked worried, she had every reason: a squall was brewing just outside of Margate. As soon as she saw the white caps popping over the waves of the North falls she felt the bots communicating in her bloodstream, telling her that the humidity on the second floor could exceed its limits tonight. "I have to get someone to evacuate the Turner paintings before closing," she muttered as she walked through the concrete frames. In the past years, the number of floods along the coast had tripled. High tides and storms were now the biggest threat to Margate. Sea defenders were put up along the bay, but the waves had a tendency to slip over them and were now resting on the seafront promenade.
Emeco: Parrish Chair
Stratgy and writing, April 2013.
Emeco and Konstantin Grcic collaborate on interior installation at the New Parrish Art Museum in South Hampton, NYC.
“The location on Long Island brings a feeling of countryside and the design process was always defined by finding the most straightforward solution fitting the surrounding - the specific needs for this specific museum in this specific region”, Konstantin Grcic reflects.