kategorie
inne z tej kategorii
- Arkadiusz Andrejkow. CICHY MEMORIAŁ czyli Street Art na stodołach
- Sztuka w dobie sztucznej inteligencji: Quantum Memories by Refik Anadol na NGV Triennial
- Wystawa „Gaudí: the Architect of the imaginary” w Carrières de Lumières
- NArchitekTURA wyróżniona w konkursie SAW za projekt wystawy 'Wyspiański' w MNK
- Najnowsza premiera Krystiana Lady już w styczniu w niemieckim Teatrze Narodowym w Mannheim
- Instalacja Jihan Zencirli aka Geronimo x Cameron Design House na London Design Festival
polecane artykuły
na każdy temat

London Design Festival: Przegląd Instalacji z lat 2009-2015
Najlepsi projektanci motywują, prowokują i odkrywają…
London Design Festival to coroczna impreza promująca Londyn jako stolicę projektową świata. Przez 9 dni w roku prezentuje się tutaj cały wzorniczy świat. Kolejna edycja Festiwalu odbędzie się w dniach 17-25 września 2016. Już po raz siódmy - w 2016 roku - London Design Festival będzie kontynuował swoją unikalną współpracę z wiodącym na świecie muzeum sztuki i designu V&A museum, która będzie obejmowała: instalacje, wydarzenia, wykłady i warsztaty.
Reklama
"The London Design Festival is a vibrant think tank which annually presents some of the most interesting contemporary work being created in the world. As an organization that aims to inspire creativity in everyone, the V&A is proud to partner once again with the Festival. During the 9-day period visitors are able to see a series of exciting and beautiful installations interacting with our world-renowned collections and historic spaces, take part in innovative design workshops and hear from the best international designers working today to motivate, provoke and discover new creative ideas." - Dr. Martin Roth, Director of the V&A
Podczas London Design Festival 2016 planowane są kolejne wydarzenia w Victoria and Albert Museum (V&A).
Tymczasem przypominamy Instalacje, które zostały zrealizowane w V&A museum podczas sześciu minionych edycji London Design Festival w latach 2009-2015.
Candela by Felix de Pass, Ian McIntyre, Michael Montgomery, 2014
[VIDEO]
[EN] The multi-disciplinary team comprising of product designer Felix de Pass, graphic designer Michael Montgomery and ceramicist Ian McIntyre present an immersive installation within one of the V&A’s darkest spaces...
A large rotary machine sits centrally, hovering just off the gallery floor. As the face of the machine revolves, it passes through a light source charging its surface, which emits this energy as afterglow. The continual revolution of the machine creates a perpetual ebb and flow of light patterns travelling across the structure. This rich layering effect plays with the memory of the phosphorescent material used on the dials of timepieces by supporters Officine Panerai. “On a very basic level, we experience time through changing light conditions between day and night,” the designers explain. “The appearance of phosphor-escent material is determined by both light and time. Charging from a source of light, its afterglow appears dazzling at first, but diminishes to a lambent glow over time. We are excited to explore this change in state in our installation.”
The title of the installation, Candela, comes from the standard unit of luminous intensity: a common candle emits light with a luminous intensity of roughly one candela. Drawing from the individual expertise of the three designers, the installation is graphical in its visual impact, delicately engineered and crafted using both traditional and cutting edge materials. The result is a seemingly magical display that bewilders and delights the viewer, before leaving them to emerge, blinking and beguiled, into the daylight.
Mise-en-abyme by Laetitia de Allegri and Matteo Fogale with Johnson Tiles, 2015
[VIDEO]
[EN] Designers Laetitia de Allegri and Matteo Fogale collaborated with Johnson Tiles to create Mise-en-abyme, a colourful and immersive installation for the bridge over the Medieval and Renaissance galleries in the V&A.
Fascinated by the discovery of one-point perspective during the Renaissance period, the duo created a landscape of overlapping semi-transparent shapes that played with the viewers sense of perspective. The title of the work is a French term that literally translates as “placed into abyss”, and refers to the experience of walking through the installation.
The grout lines of the tiles lining the bridge represented the perspective grid lines found on Renaissance drawings, creating an illusion of exaggerated depth that drew the viewer into the work. Each tile featured a custom pattern of gradating colour that made the landscape across the bridge appear to open outward or to close inward, depending on the visitor’s point of view.
Contrasting with the pale interiors of the surrounding galleries and the creamy marble sculptures within them, the designers created an explosion of coloured acrylic panels layered across the length of the bridge. These bright semi-transparent panels also referenced the V&A’s colourful glass and stained glass collections displayed in nearby galleries. As visitors moved across the bridge, they passed through increasingly small openings in these panels, a literal interpretation of perspective translated to three-dimensional space that offered an immersive experience.
The Cloackroom by FayeToogood, 2015
[VIDEO]
[EN] Visitors to the V&A during the London Design Festival were transformed into temporary custodians via Faye Toogood’s two-part installation, The Cloakroom.
The first part of the experience was a literal cloakroom, located in Room 55, where visitors were invited to check out one of 150 Toogood coats to wear around the Museum. Each coat was equipped with a sewn-in map that guided the visitor through the second part of the installation: ten places in the Museum galleries, where they discovered a series of sculptural garments created by Toogood in response to nearby objects from the Museum’s collection – from a 15th century timber-panelled room to a shining suit of armour.
The 150 navigational coats were based on the voluminous Oil Rigger coat, one of the first coats designed for the Toogood brand, which the designer runs with her pattern-cutter sister, Erica. The coats were made from Highfield by Kvadrat, a high-tech compressed-foam textile and each has been hand-treated to render it unique. The sculptural garments visitors discovered during their journey were constructed from non-traditional fashion materials, including wood, fibreglass and metal, bridging the worlds of furniture design and fashion with which Toogood is engaged.
The Ogham Wall by Grafton Architects with Irish Design, 2015
[VIDEO]
[EN] London Design Festival joined forces with Irish Design 2015 to commission a major installation for the V&A’s Tapestry Gallery, as part of a year-long programme celebrating Ireland’s creative talent.
The project brought together Stirling Prize-nominee Grafton Architects and concrete experts Graphic Relief to create a large-scale installation in response to the theme put forward by ID2015: ‘Liminal – Irish design at the threshold.’
“The V&A’s Tapestry Gallery is an oasis within a dynamic institution,” said Shelley McNamara of Grafton Architects. “In this context, and in response to the theme for ID2015, we wanted to create something with an architectural presence that doesn’t establish a boundary.”
Inspired by the Irish Ogham alphabet, which dates from around the 4th century, The Ogham Wall interpreted letters from this ancient language as an architectural construct of three-metre-high cast concrete ‘fins’. A central linear element brought order to the installation, with an arrangement of smaller perpendicular and angled fins projecting off it to create an abstract rendering of each letter.
“The Ogham script looks very architectural – like the plan for a colonnade – and we were interested in exploring that idea and translating this series of letters into architectural elements,” said Grafton Architects.
Graphic Relief crafted the 23 fins from rough concrete combined with metal details. The surface of each fin was then polished to a smooth finish in some parts, contrasting with slight material imperfections in others that are an intentional by-product of the experimental casting process
Wind Tunnel by Najla El Zein, 2013
[VIDEO]
Jedną z ciekwaszych instalacji zrealizowanych w V&A był „The Wind Portal” zaprojektowany przez Najla El Zein podczas London Design Festival 2013. 8-śmio metrowa brama składa się z 5000 papierowych wiatraków podwieszonych do plastikowych rurek za pomocą, stworzonych metodą wydruku 3D, klipsów. Poprzez otwory w rurkach wypuszczane jest powietrze, które wprawia w ruch poszczególne śmigła. Zamysłem libańskiej projektantki było ukazanie relacji między dwiema przestrzeniami – wnętrzem i tym, co jest na zewnątrz oraz wskazanie, że łącznikiem między tymi odrębnymi światami są goście odwiedzający muzeum. Przechodząc przez zawieszone wiatraki wprawiaja je w ruch – co ma symbolizować przekazywanie zewnętrznego świata – emocji i myśli - do wnetrza.
Specjalnie dedykowany program komputerowy autorstwa Maurice Asso z Hilights kontroluje tłoczenie powietrza w poszczególnych partiach instalacji wprawiając wiatraczki w nieustanny i nieregularny ruch podczas gdy światła zawieszone nad portalem wibrują jakby napędzane były przez łapany przez skrzydła wiatraków wiatr. Goście V&A zaproszeni są do zabawy z instalacją. Każdy może poprzez dmuchnięcie tchnąć w wiatraczki pierwiastek życia.
Mimicry Chairs by Nendo, 2012
[EN] It’s not everyday that a designer is given the opportunity to create a contemporary installation amid the splendour of the V&A Museum, which is already home to over four million items of historical and contemporary art and design. In 2012, the invitation was extended to Nendo, a Japanese studio that has emerged as one of the most dynamic design groups of the last decade. “Now is the moment to commission Nendo,” - declares Ben Evans, Director of London Design Festival - “The breadth and quality of their work is outstanding and they’re the new stars of design. It is why we have positioned them as a key project in our residency at the V&A this year.” Nendo’s project was titled Mimicry Chairs and comprised a series of elegant chair installations appearing in varying locations throughout the Museum. Working in contrast to the often ornate museum surrounding, the studio created a simple chair archetype made from pressed and punched metal which was finished in white to give it an ethereal, almost ghost-like appearance.
„Curiosity Cloud” Mischer'Traxler Studio x Perrier-Jouët, 2015
Jednym z ciekwszych wydarzeń zrealizowanych w V&A museum podczas London Design Festival 2015 była instalacja „Curiosity Cloud” zaprojektowana przez wiedeńskie Mischer'Traxler Studio - Katharina Mischer (1982) and Thomas Traxler (1981) - dla marki Perrier-Jouët. Motyle i ćmy - reagujące na ruch zwiedzających! 25 ręcznie wykonananych owadów umieszczone w 264 dmuchanych szklanych balonach zostały podwieszone do sufitu Norfolk House music room w V&A museum. Specjalne czujniki ruchu zapalały światła gdy odwiedzający spacerowali między żarówkami. Ale to nie wszystko - owady wydawały dźwięki. Motyle i ćmy dotykając szkła wytwarzały kakofonie dźwięków. Wszędzie było słychać szum, który robiły sztuczne robaki wewnątrz szklanych balonów. Odgłosy brzeczenia słychać było aż poza pomieszczeniem, kusząc gości wewnątrz pozłacanej sali.
28.280 by Omer Arbel with Bocci, 2013
Kanadyjska marka Bocci specjalizująca się w oświetleniu design podczas London Design Festival 2013 zaprezentowała w holu głównym londyńskiego Victoria and Albert Museum gigantyczną instalację świetlną pod nazwą '28.280'. Instalacja składa się z 280 kul z 28 serii ręcznie wydmuchiwanych form, z których każda ma źródło światła. Całość zaprojektowana została przez znanego architekta Omera Arbela, który od roku 2005 jest dyrektorem kreatywnego firmy Bocci.
Żyrandol liczący ponad 30 metrów wysokości podwieszony pod sufitem podkreśla unikalną, otwartą przestrzeń halu budynku. 28.280' to do dnia dzisiejszego najbardziej ambitny projekt wykorzystujący ręcznie tworzone szklane formy do aranżacji przestrzeni. Kolorowe kule stanowiące klosze zostały wytworzone w specjalnie opracowanym przez Arbela i firmę Bocci procesie produkcyjnym. Jego założeniem było stworzenie techniki, w której produkt końcowy będzie w pewnej mierze owocem przypadku wynikającego z procesu technologicznego. Owocem procesu jest zniekształcona sferyczna forma zawierająca w sobie szereg wewnętrznych przestrzeni, które stanowią miejsce osadzenia źródła światła.
Timber Wave by AL_A with ARUP, 2011
[VIDEO]
[EN] Award-winning architects AL_A and engineering firm Arup transformed the V&A Museum's Grand Entrance on Cromwell Road with the installation of a giant timber wave cascading down the steps. Built from oil-treated American red oak, Timber Wave was a three-dimensional latticework spiral, 12 metres in diameter, that employs construction techniques and materials normally used in furniture making to create a majestic three - storey - high structure.
'The brief was to respond in some way to the entrance of the V&A. For us it was about making very explicit the London Design Festival residency there,' says architect Amanda Levete of AL_A. 'We wanted to take the V&A out onto the street.'
Timber Wave does exactly that, creating an outdoor installation that is not only graceful, but technically ingenious. Working with engineers and timber specialists from Arup, AL_A's Timber Wave is a feat of precision construction.
'We have taken thin hardwood lamination techniques more usually used in furniture making and applied them at a different scale,' says Levete. 'The timber entrance is three-dimensional and asymmetric in form, and each timber piece is precisely calibrated for optimal structural performance and sculptural elegance.' It is the high strength-to weight ratio of American red oak, an abundant US hardwood resource, that allows AL_A and Arup to create this delicate design in such a large scale. The wood has been treated with a biocide oil treatment that gives red oak the necessary protection to be used outside.
Blow and Roll by Oskar Zieta, 2010
W designie według Zięty, opartym na pojęciu procesu, przeplatają się ze sobą technologia, materiałoznawstwo, inżynieria, ale także sztuka. Stąd jego obecność na wielu wystawach (m.in. w Cardi Black Box Gallery w Mediolanie podczas Salone 2011 i w Stilwerk Limited Editions Gallery w Hamburgu, 2011) i festiwalach designu, podczas których chciał pokazać coś więcej niż gotowe produkty. W 2010 roku podczas London Design Festival z 20-metrowych nadmuchiwanych elementów stworzył na dziedzińcu Victoria & Albert Museum oryginalną fontannę "Blow & Roll". O wykorzystaniu w niej - po raz pierwszy na świecie - rolowanego profilu stalowego, zadecydował w dużej mierze przypadek.
"Mieliśmy dostarczyć wielkoformatową instalację na dziedziniec" - opowiada Zięta. - "Okazało się, że wejścia są zbyt małe, żeby cokolwiek tamtędy przenieść. Wtedy zrobiliśmy rolowaną instalację, która odkształciła się do właściwej formy po napompowaniu." (*http://culture.pl/pl/tworca/oskar-zieta)
Crest by Zaha Hadid Architects, commissioned by Meliã Hotels International, 2014
[VIDEO]
[EN] Crest, designed by Zaha Hadid Architects and commissioned by Meliã Hotels International, provides an engaging feature across the pool in the centre of the V&A’s John Madejski Garden. Crest is designed as a demountable sculpture to be installed as a permanent feature within the ME Hotel in Dubai, also designed by Zaha Hadid, which opens in 2016. The form explores the relationships between fluid and Cartesian, solid and void, surface and structure inherent within the hotel’s design.
Engineered with Buro Happold and manufactured by Litestructures, the shell-like structure was pre-stressed in order to be realised as thin as possible, assembled as a flat plate of aluminium which is then bent into shape in situ.
“We envisioned creating a piece that would emerge from the pool which is the centrepiece of the space, both visually and in terms of social interaction,” explains Hadid. “Crest is intended to offer an exciting new perspective with which visitors experience the courtyard. It will multiply the movements of the water and the historic backdrop within which it is sited. It will capture the attention of visitors as they enter the space and draw them towards exploring the new quality of space created within.”
Hadid’s intention for Crest is that it should complete the pool as though it was always intended to be a part of the space. The title comes from the crest rising above the waves in the pool, creating a new peak and visual focal point within the courtyard which is simultaneously in dialogue with the historic architectural environment as well as actively reflecting the movements within it, via the metallic surface which reflects the sky on one side and the rippling water on the underside.
Tower of Babel, Barnaby Barford, 2015
[VIDEO]
[EN] A major sculptural installation created for the V&A by artist Barnaby Barford, The Tower of Babel tells an array of stories about our capital city, our society and economy, and ourselves as consumers. Standing an imposing six metres high, the Tower comprises 3000 bone china shops, each one unique, each depicting a real London shop photographed by the artist. At its base the shops are derelict, while at its pinnacle are the crème-de-la-crème of London’s exclusive boutiques and galleries.
Standing as a monument to the great British pastime of shopping, Barford’s apparently precarious Tower playfully likens our efforts to find fulfilment through retail with the biblical Tower of Babel’s attempt to reach heaven. Explicitly blurring the boundaries of art and commerce, each shop in the Tower will be for sale during its exhibition. With more prestigious but less affordable properties higher in the Tower, Barford confronts us with the choices we ourselves make as consumers, through necessity or desire.
This blog explores The Tower of Babel through its development, creation, exhibition, and sale, processes which will involve the artist cycling over 1000 miles to photograph shop facades from each of London’s postcodes, and the manufacture of 3000 bone china shops in Stoke-on-Trent.
Textile Field by Textile Field by Ronan and Erwan Bouroullec with Kvadrat, 2011
[VIDEO]
In response to an invitation from Kvadrat, Ronan and Erwan Bouroullec created the site-specific installation ‘Textile Field’ for the 2011 London Design Festival. ‘Textile Field’ was situated in the Raphael Gallery of the Victoria and Albert Museum.
Measuring 30m long by 8m wide, ‘Textile Field’ created a sensual, comfortable and colourful environment where visitors are invited to sit, stand or lie and contemplate their surroundings. The installation was constructed from 13 shades of the Kvadrat fabric Hallingdal.
Double Space by Barber & Osgerby with BMW, 2014
[VIDEO]
[EN] Designers Edward Barber and Jay Osgerby have collaborated with BMW to create a remarkable and memorable experience in the V&A’s Raphael Gallery.
Barber & Osgerby have long been fascinated by aerospace, automotive and maritime engineering and their V&A project reflects this interest. Two mirrored silver structures will be suspended in the centre of the gallery and will epitomise BMW’s own technological innovation and precision. The choreographed movement of the giant structures will distort the view of the Raphael cartoons on display, the architecture of the room and the viewer’s perception of the space.
Edward Barber & Jay Osgerby comment: “The dramatic scale and complexity of this commission makes it a real challenge and is an amazing opportunity for us to further explore themes of movement and performance. We believe this collaboration with BMW will celebrate the paintings and the architecture by creating an immersive and memorable experience, offering a totally new perspective on the world famous Raphael Gallery.”
Framed by Stuart Haygarth with John Jones, 2010
Inne artykuły z kategorii INSTALLATION
-
Arkadiusz Andrejkow. CICHY MEMORIAŁ czyli Street Art na stodołach
-
Sztuka w dobie sztucznej inteligencji: Quantum Memories by Refik Anadol na NGV Triennial
-
Wystawa „Gaudí: the Architect of the imaginary” w Carrières de Lumières
-
NArchitekTURA wyróżniona w konkursie SAW za projekt wystawy 'Wyspiański' w MNK
-
Najnowsza premiera Krystiana Lady już w styczniu w niemieckim Teatrze Narodowym w Mannheim
-
Instalacja Jihan Zencirli aka Geronimo x Cameron Design House na London Design Festival