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theblackshit · 8 months

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Every now and then I am reminded that we spend the vast majority of our time indoors: at home, at school, at the office, in shops and retail spaces, in bars, clubs and restaurants, in the apartments of friends and relatives, in train stations and moving vehicles, in hotels, venues and theaters, in museums, churches and hospitals – big boxes and little boxes with varying ratios of functionality to ornament.

Every now and then I am also reminded that we live in an air-conditioned dream/nightmare. In standard hotel rooms, split AC units are now as common as bedside bibles used to be. In most cases, these units are fixed to the wall above the entrance door, so that upon entering the room, guests can briefly enjoy a view unencumbered by the sight of the bulky appliance – a sort of icon corner in reverse, since an icon corner is usually located to be visible when you first enter. Once you lay down on the bed and gaze up at the familiar yet bewildering piece of engineering, you might begin to wonder: what’s the optimal temperature? Will I get sick if I sleep with the AC on? Is this thing more ugly than it is convenient? Would natality rates suddenly drop if these machines didn’t exist? Is this a tool that “brings energy home” as Ursula K. Le Guin would have it, or one that “forces energy outward?” How does it work? What’s inside the box? Is it good, is it bad? Where is the remote control for this thing?!

Although the overhead placement of these split units is clearly a matter of practicality, I can’t help but overthink and ask myself if we also tend to place them at such heights, along with other physical objects including speakers, curtains, wall reliefs and friezes, because they pertain to immaterial realms such as temperature, sound, light and narration. As a “unit,” this compact object is at once whole and dependent upon an unseen network, which suggests a hidden elsewhere beyond the confine of the room. While its boxiness could bring to mind minimalism’s so-called “specific objects” (objects that can be apprehended on a phenomenological level), the idea that it contains unseen parts and is linked to an unseen system constitutes a conceptual or even metaphoric opening. Philip Seibel’s quietly baroque Gehäuse sculptures consciously play with this dichotomy.

In borrowing some of the formal qualities of these units, Seibel paradoxically empties them out, thereby turning what first appears to be an enclosure into a container or a vessel where other ideas can get on board like stowaways. Looking up at his Gehäuse makes us aware of the many other vessels and boxes that create and sustain the conditions for our lives, those that shield us and our belongings, or again, those which act as receptacles for our fears and aspirations. Like ships made of reeds, there is something sensible but absurd about Seibel’s encasements. Their sleek finish seems to conceal something that is beyond our reach; or at least, it blurs the line between the manufactured and the handcrafted, the real and the fake, the readymade and the not already made, the functional and the decorative, the office, the hotel and the gallery.

Emile Rubino

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icphoto · 7 years

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#ICPBardMFA candidate Emile Rubino’s opening reception for his solo exhibition is tonight! Rubino’s modestly scaled photographs depict various things, people, places, non-occurrences, and semi-occurrences. http://bit.ly/2oojjnx

#International Center of Photography #ICPBardMFA #Photography #Art #Emile Rubino #NYC #New York City

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yougardener-it · 5 years

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Erbacee perenni, le prossime fioriture

Dai mixed borders inglesi ai nostri giardini, le erbacee perenni sono sempre più apprezzate per le fioriture generose e per le foglie decorative. Migliaia di specie accomunate dalla durata del loro ciclo di vita che si prolunga oltre i due anni, alcune sempreverdi, altre la cui parte aerea scompare in inverno.

Ne abbiamo scelte alcune che nei prossimi giorni inizieranno a colorare giardini e terrazzi... se non le avete seminate a tempo, si possono comprare in vaso adesso e piantare.

1) Allium schoenoprasum 'Forescate'

Uno dei primi allium a fiorire, di piccole dimensioni e dai fiori di una bellezza delicata. Il fogliame è commestibile e si consiglia di piantarne 7 piantine al mq. Per saperne di più, clicca qui

2) Aquilegia caerulea 'Rotstern'

Fiori di grandi dimensioni e fogliame leggero, perfetta per giardini naturali, in gruppi o in mixed borders. È di facile coltivazione e si propaga da seme anche spontaneamente. Oltre alla ‘Rotstern’, vale la pena incantarsi con i colori di più di 30 varietà di Aquilegia descritte su Yougardener.com

3) Dianthus caesius 'Ohrid' ®

Il fogliame è sempreverde, di un’interessante colorazione grigio argentea. Tra maggio e luglio appaiono i candidi fiori semidoppi dalla forma particolare. Raggiunge l’altezza di circa 20cm e per un buon effetto estetico si consiglia di piantarne 9 piantine al mq. Per saperne di più, clicca qui.

4) Armeria maritima 'Rosita'

Da maggio ad agosto abbondante fioritura rosa intenso, rubino. Perfetta per giardini rocciosi, richiede sole e terreno molto ben drenato. Provate a farne una composizione con Thymus, Alyssum, Antennaria, Viola cornuta e Campanula. Clicca qui per altre informazioni.

5) Delphinium ruysii 'Pink Sensation'

Questa varietà di delphinium è una perenne non molto longeva, caratterizzata dalle sottili spighe di fiori leggeri. Per il suo portamento consigliamo di piantarla in giardini informali e bordure fiorite. Per altre informazioni, clicca qui.

6) Paeonia lactiflora 'Madame Emile Debatene'

Per concludere una peonia, per ricordare che tutte le peonie erbacee sono perenni. Molto resistenti e capaci di sopravvivere per molti e molti anni, oltre che di regalare fiori incantevoli (tra i più amati dagli italiani appassionati del verde). Per saperne di più, clicca qui.

#erbacee #erbaceeperenni #perenni #yougardener #gardening #giardinaggio #fiori

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iofferwith-blog · 8 years

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MoMA century of the child - growing by design, 1900-2000 exhibition

New Post has been published on http://iofferwith.xyz/moma-century-of-the-child-growing-by-design-1900-2000-exhibition/

MoMA century of the child - growing by design, 1900-2000 exhibition

hans brockhage (german, 1925–2009) and erwin andrä (german, dates unknown) schaukelwagon (rocking car), 1950 beech frame and birch plywood seat 15 3/4 x 39 3/8 x 14 15/16″ (40 x 100 x 38 cm) the museum of modern art, new york architecture and design purchase fund

century of the child: growing by design, 1900-2000 the museum of modern art, new york july 29th to november 5th, 2012

‘century of the child: growing by design, 1900-2000’ is the first major overview of the subject of childhood as a means for modern design thinking in the 20th century. more than 500 items on display are on loan from both individuals and institutions within the U.S. and abroad, bringing together a vast archive of pieces which include small objects, toys and games, health and therapeutic products, furniture, books to public spaces such as school architecture and playgrounds.

the show draws its references from swedish reformer and social theorist ellen key’s manifesto ‘century of the child’ which presents the ‘universal rights and well-being of children as the defining mission of the century to come.’ using this as her backbone, curator juliet kinchin surveys the 20th century, presenting both individual and collective visions of a child’s material world, from utopian dreams for the ‘citizens of the future’, to more realistic approaches which address the darker realities of life and having to deal with politics, conflict and exploitation.

organized into seven chronological sections: new century, new child, new art; avant-garde playtime; light, air, health; children and the body politic; regeneration; power play; and, designer better worlds; a range of different concepts are presented revolving around the tangible and more physical aspects of children’s design – type, material, scale, and geographical representation.

‘century of the child…’ is illustrated by key pieces from the history of design like isamu noguchi’s designs for play equipment; pieces by charles rennie mackintosh, marcel breuer, alvar alto; alma siedhoff’ buscher’s bauhaus nursery furniture; a high chair by gerrit rietveld; poster and book illustrations by el lissitzky; and roald dahl’s ‘the gremlins’, rounding out with the products of today like the ‘XO laptop from the one laptop per child program’, etch-a-sketch, LEGO building blocks, as well as the slinky.

gerrit rietveld (dutch, 1888–1964) child’s wheelbarrow, 1923 (manufactured 1958) painted wood 12 1/2 x 11 3/8 x 33 1/2″ (31.8 x 28.9 x 85.1 cm) manufactured by gerard van de groenekan the museum of modern art, new york gift of jo carole and ronald s. lauder © 2012 artists rights society (ARS), new york / beeldrecht, amsterdam

designboom posed a few questions to curator juliet kinchin about the exhibition itself and what her favourite toy was as a child:

designboom: how have the thematic categories represented in the exhibition been determined? juliet kinchin: the sections are arranged broadly chronologically and the thematic focus within each reflects shifting ideas of both the modern in design and modern concepts of childhood. we tried to focus on particular centers, individuals, ideas where there was a confluence of children and new ways of thinking about design, innovation, and the future shape of society.

jean prouvé (french, 1901–1984) school desk, 1946 enameled steel and oak 28 1/2 x 45 x 34″ (72.4 x 114.3 x 86.4 cm) manufactured by ateliers jean prouvé, nancy the museum of modern art, new york dorothy cullman purchase fund

john rideout (american, 1898 – 1951) and harold van doren (american, 1895-1957) skippy-racer scooter, c. 1933 steel, paint, wood, rubber 31 3/4″ x 43 3/16″ x 6 1/2″ (80.65 x 109.7 x 16.51 cm) minneapolis institute of arts gift of funds from don and diana lee lucker

designboom: what are some of the key insights you gained on children’s design while curating ‘century of the child…’?

juliet kinchin: i think the best design is that which is flexible, stimulating, and leaves room for open-ended, playful interaction. these qualities are not just good for children, but benefit us all.

graf zeppelin toy dirigible, c. 1930 iron alloy, aluminum, enamel paint, and decals 7 ¼” x 25″ (18.4 x 63.5 cm) manufacture attributed to J.C. penney co., inc., plano, texas minneapolis institute of arts the modernism collection, gift of norwest bank minnesota

holdrakèta and original box, c. 1960 tin, box: 24″ x 6″ (61 x 15.2 cm) manufactured by lemezaru gyar, budapest (est. 1950) collection of joan wadleigh curran, philadelphia

ford convertible toy car with original box, c. 1956 tinplate and various materials car: 3 7/8″ x 5 1/8″ x 13 1/4″ (9.8 x 13 x 33.7 cm), manufactured by marusan shoten ltd., tokyo (est. 1947), subaru 360 toy car with original box, c. 1963, tinplate car: 3 3/8 x 3 3/8 x 7 7/8″ (8.6 x 8.6 x 20 cm), manufactured by bandai, tokyo (est. 1950), bruce sterling collection, new york

designboom: how have political and social circumstances influenced the development of toys and architectural spaces for children?

juliet kinchin: all design functions within larger political as well as aesthetic, intellectual and economic contexts, and therefore bears the imprint of the values we prioritize, our sense of national identity, and changing attitudes to the relationship between adults and children, to differences between boys and girls. children have great emotional pulling power that has been exploited in advertising and propaganda throughout the 20th century. because children are the physical embodiment of the future, any designer intent on shaping a future vision must bear them in mind.

omnibot 2000 remote-controlled robot, c. 1985 various materials 24″ x 15″ x 14″ (61 x 38.1 x 35.6 cm) manufactured by tomy (formerly tomiyama), katsushika, tokyo space age museum/kleeman family collection, litchfield, connecticut

renate müller (german, born 1945) indoor play area, 1985 jute, leather, wood, play area: 3 x 8 x 5″ (7.6 x 20.3 x 12.7 cm) largest puppet: 12″ (30.5 cm) collection of zesty meyers and evan snyderman / R 20th century

designboom: who played an important role in shaping the existing material world of children?

juliet kinchin: adults of one description or another, although recently children have begun to participate more proactively in the design process. at points throughout the twentieth century designers have joined forces with social reformers, educational and medical specialists, government agencies, child psychologists, parent associations–to shape the material world of children.

ladislav sutnar (american, born bohemia [now czech republic]. 1897–1976) build the town building blocks, 1940–43 painted wood thirty pieces of various dimensions largest smokestack: 7 3/8 x 2″ (18.7 x 5.1 cm) the museum of modern art, new york gift of ctislav sutnar and radoslav sutnar

teaching materials commissioned by maria montessori, 1920s wood dimensions vary manufactured by baroni e marangon, gonzaga, italy (est. 1911) collection of maurizio marzadori , bologna

designboom: how has the world view of a child influenced that of adult psychology?

juliet kinchin: in vienna at the beginning of the 20th century sigmund freud revolutionized our understanding of early childhood development and experience within the adult psyche. the concept of an “inner child” is here to stay.

joaquín torres-garcía (uruguayan, 1874–1949) three figures, c. 1925 painted wood, twelve interchangeable pieces dimensions vary daniela chappard foundation © 2012 artists rights society (ARS), new york / vegap, spain

minka podhájská (czechoslovak, born moravia [now czech republic], 1881–1963) series of personifications of childhood misdeeds, 1930 painted wood dimensions vary, largest: 5 1/8″(13 cm) tall museum of decorative arts, prague

helen + hard as (norwegian, established 1996) siv helene stangeland (norwegian, born 1966) and reinhard kropf (austrian, born 1967) geopark, stavanger, norway, 2011 photograph by emile ashley courtesy of the architects designboom: there is the saying, ‘think like a child’, but in a world directed by adults, how does their perception affect the environment and objects designed for the young?

juliet kinchin: children exert tremendous economic power as consumers, and manufacturers and designers are increasingly attentive to their needs and desires, or at least to how to manipulate them. but areas like comics, film animation, video games–initially targeted at children–show how child-appeal in design can also hook an adult audience. children encourage designers to think in terms of design that is flexible, robust, simple and imaginatively stimulating; such qualities, by extension, benefit us all.

antonio rubino (italian, 1880–1964) il bimbo cattivo (the bad child) bedroom panel, c. 1924 tempera on canvas 6′ 1 1/4″ x 65 3/4″ x 9/16″ (186 x 167 x 1.5 cm) wolfsoniana – fondazione regionale per la cultura e lo spettacolo, genoa

unknown italian designer gioco delle 3 oche (game of the 3 geese), c. 1944 12 ½ x 22 ½” (31.8 x 57.2 cm) the wolfsonian-florida international university, miami beach, the mitchell wolfson, jr. collection

designboom: what toy were you most fond of growing-up?

juliet kinchin: I adored my spirograph.

lucienne bloch (american, b. switzerland, 1909-1999) the cycle of a woman’s life study for a mural commissioned by federal art project works progress administration, for the house of detention for women, greenwich village, new york, 1935 water and pencil on board, 11 ¾” x 17 ¼” (29.8 x 43.8 cm) the wolfsonian-florida international university, miami beach, the mitchell wolfson, jr. collection

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