I remember, way back in first year interior design, I was sitting in our art history class and our TA who was Scottish had a very thick accent. In one of his lectures he was talking about Glasgow quite a bit. One reason was because he was from there, and loved to talk about his studies, the second reason was because of who we were studying at the time. Which was Charles Mackintosh. He told us, if we were ever in Glasgow this is where you would find all his greatest works. Fast forward, about 20 years later, I had the opportunity to hunt him down and experience some of the best collections of modern design in the country.
One of the must-see things to do when you are in Dublin is visiting the Guinness Museum. It was one of the best museum experiences I have ever done. Unlike most traditional museums which present a collection of artifacts, the Storehouse takes you through the brewing process of how this famous beer is made. The layout, the graphic design, the sensory elements, the overall presentation etc. really make this museum exemplary in terms of cohesive and immersive storytelling.
When I was thinking of traveling to Scotland, Edinburgh and Glasgow were at the top of my list. But when I heard of the opening of a new V&A museum in Dundee, designed by Kengo Kuma really solidified my decision to go there. It’s quite a distance from Edinburgh, a couple of hours at least. On your way to Dundee you can see rolling hills and the occasional herd of sheep passing you by. The most majestic part of the journey is traveling across the river and seeing this jagged little site at the edge of the water.
Last year I had the opportunity to travel to Scotland. I took a day and traveled to Glasgow where you can find some of the biggest hitters in architecture all within a kilometer of each other. The Clyde Auditorium (Armadillo) and SSE Hyrdo both designed by Foster and Partners, are right next to one of the best looking museums in all of Europe – The Museum of Transport / The Riverside Museum design by the one and only Zaha Hadid.
The 16th installment of Come Up To My Room (#CUTMR) is an alternative design exhibition that provides a platform for experimentation outside the norms of art and design, at the edges between intention and interpretation. Freed from the constraints of traditional practice, CUTMR encourages spatial exploration that engages our senses, our memories and our perceptions of reality. The exhibition challenges participants to push their everyday practice by offering a blank canvas upon which to explore new themes and ways of working. Framed within the backdrop of the historic 130-year-old Gladstone Hotel, CUTMR invites artists and designers to create site-specific, immersive installations that stimulate the imagination and encourage discussion and dialogue between contributors and visitors alike. The Gladstone welcomes Jana Macalik & Jennie Suddick as the curatorial team for CUTMR 2019.
“We are brokers of dialogue,” Director of Conference Programming, Ian Chodikoff mentions as he explains the shift in IDS’ (Interior Design Show 2019) current vision. The expanded programming of “bringing people together to experience the power of design” speaks to the new opportunities the show is trying to foster among the industry.
Sharing an Uber is always interesting when you tell them where you are going and they call the site a ‘parking lot.’ This is what I experienced on my last trip to Washington, DC. On a recent trip to Washington, DC, I had the opportunity to visit the National Building Museum to see Snarkitecture’s Fun House which is the Museum’s imaginative Summer Block Party series of temporary structures inside its historic Great Hall.
Getting the opportunity to design a structure for the Serpentine Pavilion is like the Super Bowl of architecture. I had the pleasure of visiting last year’s pavilion designed by Francis Kere and was so amazed and moved by the space that I honestly could have stayed there for days.
What do you do? I hate this questions because what I do is not cut and dry. And how, me, personality fits into my work is layered upon layers.
For the second consecutive edition of London Design Biennale, the Domenic Lippa team at Pentagram has created the visual identity and promotional materials. As with the previous identity, a restricted colour palette of orange, black and white is used.