paper layers form the black paper 37 chair by vadim kibardin

the armchair is made of 37 paper layers with the functional surface formed by putting
paper layers, a result of trying to understand the beauty in disorder.

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Laurent Nivalle’s Le Mans Classic 2012 Photographs Are Pure Auto Porn


As Art Director and Photographer for Citroën, Laurent Nivalle certainly knows a thing or two about shooting cars. Just over a month ago, the French photographer was lucky enough to attend the Le Mans Classic, now entering its 10th year.

Le Mans Classic is born in 2002 from what can be considered an adventurous idea! Retracing, over a weekend, half a century of the 24 Hours of Le Mans history, life-size, such as a gigantic living fresco, was quite a challenge! Not many believed in the feasibility of such an enormous project…

But when one fulfils the dreams of millions of enthusiasts, that of going back in time to relive the legend, rediscover emblematic figures and their legendary cars; and if the initiators are the Automobile Club de l’Ouest, founder and organiser of the 24 Hours of Le Mans and Peter Auto founder and promoter of many classic events; the initiative seems less hazardous…




Nivalle was among the 100,000+ auto enthusiasts who braved the downpour to witness some 450 vintage racecars on the track, as well as 8,000 classics in the public exhibition.






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bruce nauman: one hundred fish fountain at gagosian gallery

the renowned artist shows his installation piece, composed of a school of hollow bronze fish and suspended in the air on wires as if they are swimming in their natural surroundings.

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The Tools That Make It Happen: Savannah College of Art and Design

I feel an instant connection with Savannah College of Art and Design, or SCAD, because were were both born in the same year: 1978. It was a good year. In just 33 short years, SCAD has been able to build a global network of design students, teachers and enthusiasts all pursuing the passion of design education.

The Tools That Make It Happen: Savannah College of Art and Design
Hey, look! It’s Bradley Bowers!

I wanted to get a ground-level view of SCAD’s mission to be a student-centered institution focused on providing an exceptional education and preparing students for professional careers in design. We’ve featured quite a bit of SCAD student work here on Design Milk, so I am pretty sure they are doing a stellar job, but I asked Tom Gattis, former Chair of Furniture Design at SCAD, to tell me more about how his students learn and create.

The Tools That Make It Happen: Savannah College of Art and Design

What are the top three “Tools of the Trade” every student must have/use/learn?
1) The ability to communicate ideas through sketching
2) The ability to communicate with digital tools through some form of CAD language
3) The ability to analyze research and find true opportunities for new and innovative products.

What machines, software, and tools do the students most utilize to create their work?

Students heavily utilize SolidWorks and Rhino to complete their projects and assignments. Our two laser cutters get put into service nearly 24/7. Students are utilizing them to make models and mock-ups as well as cut components for prototypes. In my classes I nearly always insist on full-scale mock-ups usually made of corrugated cardboard or similar materials. These mock-ups help our students make critical decisions about human factors, scale, proportions and overall form and aesthetics. Cardboard is cheap and fast especially when we employ the laser cutter to make parts for assembly.

The Tools That Make It Happen: Savannah College of Art and Design

The Tools That Make It Happen: Savannah College of Art and Design

Besides rapid prototyping, what has been the most exciting technological advance that you’ve seen in this field since beginning your career? Has it been a challenge to keep up with the quickly-changing times?

Digital fabrication in generally has enhanced the development process tremendously. This includes, of course, rapid prototyping but also includes technology, like water-jet cutting and laser cutting. These processes are replacing the previously tedious and time consuming handwork – particularly during the development process. The technology is also replacing many components of the final prototype development, making them more accurate and time-efficient. The biggest advantage of this technology is indeed the time it saves students. Time that would normally be spent in the shop developing a model or mock-up can now be spent in development analyzing and creating the best possible solution.

The Tools That Make It Happen: Savannah College of Art and Design

What do you see as being the next big technological advance in this industry (is it a material, a method, a piece of software or hardware) and how might it change how students learn and design, as well as how you teach design?

The industry is always evolving – new materials, new technology and new approaches. Students often are pushing the edges of the envelope with technology and equipment and experimenting with new materials. These are however just tools in the toolbox. As a Professor, my job is to guide their process, help them develop critical thinking skills and teach them to be rapid problem solvers.

The industry has also evolved in terms of the demands of the graduate. 10 or 15 years ago it was understood that a student would graduate, go to work for a design house or manufacturer and spend the first 6 months to a year in an apprentice role – enhancing what they learned in school. Today employers repeatedly tell me that they can no longer afford this model. Graduates must hit the ground running. They must have the ability to immediately contribute and an employer must be comfortable putting them in front of a client on day one. This has changed tremendously what we as professors must deliver. The content we have in our programs now is 10 times what was delivered to me as an undergraduate. The demands of the current industry climate require that design programs continuously update their curriculum and cram more into a four year degree than ever before. This is the most challenging aspect of design education at the moment. How do we ensure that our students are truly prepared for their careers.

The Tools That Make It Happen: Savannah College of Art and Design

What is an exciting project your students are working on right now or recently completed?

My 3rd year furniture design studio is currently developing pet furniture. This is a $52 billion industry desperate for some innovation. Students were challenged with providing better care for the American pet by developing modern furnishings that fit with both the owner’s current lifestyle and the modern home interior. Students are working on everything from improved kitty litter boxes, to updated fish tanks, to luxury dog beds – each designed to pamper the pet and indulge the owner. They have just completed the design development process and this week will begin constructing their prototypes. We would love to show off the results.

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© 2012 Design Milk | Posted by Jaime Derringer in Home Furnishings, Technology | Permalink | No comments

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The source for Communist-era Czech vintage design treasures

Adam Štěch


Providing arguably the most comprehensive collection of salvaged modernist design from the former Czechoslovakia or Eastern and Central Europe is Prague-based Nanovo. Founded by Adam Karásek and Jiří Mrázek two years ago, the online shop is a platform for collecting and selling vintage, mostly anonymous pieces from furniture and lighting to glass, ceramics and other accessories.


Czech modernist design from the 1950s through the 1980s is slowly becoming a strong collectible phenomenon, but still only in very local dimensions. The designs are mostly composed of anonymous furniture made in large state-directed factories during the second half of the 20th century. In keeping with the classical features of French, Italian and American designs during the same period, the Czech pieces offer an advantage to collectors for their relatively lower price points than those found at auction or prestigious galleries in other regions.


Due to the their origin during the Communist era, these furniture, lightning and other pieces are associated with unfortunate political and industrial memories for many people. Mrázek and Karásek want to change the overall view of these beautiful pieces, which could stand next to the works of famous design icons.


Ten years ago, almost no one cared about these pieces, and they were discarded. However, with the rising interest of resourceful contemporary designers and collectors, prices have started to increase for vintage Czechoslovakian design, priming them to become a sensation in that realm. That said, it seems as though now is the time to visit Nanovo to discover some great pieces that are just now breaching the global marketplace. Lovers of vintage design—long overloaded with repetitive pieces on the world market—are sure to find a few surprises from the Czech boutique.


Nanovo is not only about vintage design. The founders are searching for a connection between modernist pieces with new innovative approaches to their presentation and exhibition. Collaborating with the young graphic designer Filip Matějíček, they have created a pure visual presentation as well as a great website. With photographer Jakub Vlček, they have collaborated on a series of wonderful images presenting their work in the context of abandoned spaces. In addition, Nanovo has also branched out from the online format, organizing occasional pop-up stores within industrial spaces around Prague.

For more information and to browse the selection, visit the site.

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architects pay a visit to random places by francisco villeda

series of manipulated provocative images that reflect on fake utopian architectural scenes by combining random places influenced by philosophies of famous architects and designers from the past.
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Spreeproduktion: The CMYK Minicalendar

Spreeproduktion: The CMYK Minicalendar

Advertising Agency: Preuss und Preuss, Berlin, Germany
Creative Director: Michael Preuss
Art Director: Björn von Buchholtz
Graphik: Zuzana Havelcova
Consultant: Nina Preuss
Published: December 2012

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