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Design Museum, London, 18 November 2009 – 14 March 2010

For 40 years, from 1955 until 1995, Dieter Rams designed or oversaw the design of over 500 products for the German electronics manufacturer Braun, as well as furniture for Vitsœ. Audio equipment, calculators, shavers and shelving systems are just some of the products created by Dieter Rams. Each item holds a special place in the history of industrial and furniture design and has established Dieter Rams as one of the most influential designers of the late 20th century.

This exhibition is the first UK definitive retrospective of Dieter Rams’ career in over 12 years. Showcasing landmark designs for both Braun and Vitsœ, this exhibition will examine how Dieter Rams’ design ethos inspired and challenged perceptions of domestic design and assesses his lasting influence on today’s design landscape. Archive film footage, models, sketches and prototypes will be displayed alongside specially commissioned interviews with Dieter Rams’ contemporaries, which include Jonathon Ive, Jasper Morrision, Sam Hecht and Naoto Fukasawa.

Dieter RamsDieter Rams’ elegant products challenged original concepts of design thought by reducing electrical switches to a minimum and arranging them in an orderly manner. Transparent plastics and wooden veneers were mixed and colour schemes were limited to tones of pure whites and greys, the only splash of colour being allocated to switches and dials.

Dieter Rams defined an elegant, legible, yet rigorous visual design language, identified through his ‘Ten Principles’ of good design, which, amongst others stated that good design should be innovative, aesthetic, durable and useful. Heavily influenced by the Bauhaus and Ulm School of Art in Germany, Dieter Rams pioneered a design spirit which embraced modernity and placed functionality above everything else, resulting in designs that were free of decoration, simple in function and embodied a cohesive sense of order. Born in Germany in 1932, Dieter Rams trained in architecture and interior design before joining Braun in 1955 where he took advantage of electronic and engineering advances made during the Second World War to realise a sophisticated re-interpretation of domestic appliances.

mother and child, Eric GillSculpture pieces by designer Eric Gill, including Mother and Child and A Roland for an Oliver, will be on show as part of the Royal Academy’s Wild Thing exhibition, London, from 24 October to 24 January.

Eric Gill was one of the most colourful figures in early 20th century art, despite the majority of his prints being in black and white. Sculptor, typographer, and writer, it was the unequalled clarity of line of his engravings that have made his work so sought after.

Gill’s subject matter swung between the deeply religious and the highly erotic, a direct echo of his eccentric life.

a roland for an oliver, Eric GillHis prints first appeared invariably in tiny editions or as illustrations in limited edition books, such as those he illustrated for the Golden Cockerel Press.

We are fortunate that in 1929 his friend and publisher, Douglas Cleverdon, produced a book of his prints, all printed from the original blocks. This was followed 5 years later by a second similar book, this time published by Faber.

Mico tableFurniture company Touch By will launch seven works from its Be What You Create collection at 100% Design in September. Each piece is signed by the designer, including Mico table (pictured) by Silka Barrio.

100% Design, Earls Court, London
24-27 September 2009

Design Museum London

chipperfield designOne of the most important architects working today, David Chipperfield produces subtle and sophisticated buildings with an acute sensitivity for materials and a powerful awareness of their environment. This major exhibition celebrates his work for the first time in the UK and spans his entire career to date, including such acclaimed projects as the River and Rowing Museum in Henley-on-Thames, and the Museum of Modern Literature in Marbach, Germany, winner of the RIBA Stirling Prize for Architecture 2007. The exhibition also illustrates important public commissions including the reconstruction of the Neues Museum in Berlin, and The Hepworth Wakefield gallery.

This detailed survey examines a range of projects through new and archive models, sketches, drawings, photographs and film. A major component of the exhibition focuses on Chipperfield’s most complex project to date, the ten year reconstruction of the Neues Museum in Berlin, which was bombed during the Second World War and subjected to decades of neglect. The project is like nothing previously undertaken in its attitude to history, and its attempt to make something new out of the old has succeeded in producing a landmark building, not only for Berlin but for museum architecture as a whole.

After studying at Kingston University and the Architectural Association, and working at the practices of both Richard Rogers and Norman Foster, David Chipperfield established his own practice – David Chipperfield Architects – in 1984. Unprepared to compromise with the commercial developers of the 80s, Chipperfield looked beyond Britain to mainland Europe, where he could see himself as part of a group of architects who brought a seriousness and intellectual ambition to their work that went beyond stylistics or mannerism. David Chipperfield Architects is today a substantial international practice with projects across Europe, as well as in China, Japan, the USA and Mexico.

As David Chipperfield’s practice has grown and matured, he has developed his own distinctive voice. His buildings often combine a variety of materials to create beauty and meaning with appealing clarity. Buildings that subtly inspire without spectacle or fanfare.

DESIGN MUSEUM, SHAD THAMES, LONDON SE1 2YD
21 October 2009 – 31 January 2010

Trereife ParkTrereife Park in association with Hidden Art will be hosting the Cornish Design Fair for 2009. The Fair will be held over the weekend of 22nd and 23rd August in the grounds of this historic manor house. With direct access onto the main A30 this should prove to be a very popular venue and attract a large audience.

Bryan Illsley SculptureBryan Illsley, exhibiting at Swansea’s Glynn Vivian Art Gallery, is a well-established artist, whose diverse practice includes painting, print, sculpture in metal or ceramic, and also jewellery.

Working variously with colour, texture, form and structure, he absorbs abstraction with intensity. Unlike many artists, there are no preliminary working drawings or sketches to guide him through his meditative paintings.

Neither are there maquettes to steer the course for his rugged sculptures. Relying on spontaneous impulses, he picks up his brush, his clay or a handful of rivets and begins to work, often with a ‘wildness barely controlled’.

With a serious mind, and resolute spirit, he continues to develop his raw abstract creations with unrelenting vigour.

Bryan Illsley was born in Surbiton in 1937. He came from a working-class background with no interest in the arts. In the early 1950s, he became apprenticed to a monumental stonemason and later attended evening classes at Kingston School of Art in Kingston-upon-Thames.

In 1963, he moved to St Ives and worked part-time at the Bernard Leach Pottery. In 1968, he established a partnership with Breon O’Casey in St Ives, making studio jewellery. He now lives in London.

Bryan Illsley has contributed to numerous jewellery exhibitions at Arnolfini in Bristol, Ewan Phillips Gallery, Pace Gallery and Electrum Gallery in London. Mixed media shows include Oxford Gallery, Oxford, and The Maker’s Eye, Crafts Council Gallery, Waterloo Place, London. Solo shows include Bryan Illsely: Work in Wood, Metal & Paint, Crafts Council Gallery, Waterloo Place, London and Uncertain Joys at Barrett Marsden Gallery, London

Work in public collections includes amongst others, Contemporary Art Society, London; Kettles Yard, Cambridge and Plymouth City Art Gallery.

The exhibition is curated by Ralph Turner at the Craft Gallery, 2 July -11 October 2009.

For more information on the Glynn Vivian Art Gallery visit http://www.glynnviviangallery.org.

Learning From NatureSelf-cleaning surfaces, phase changing materials and built-in sensors that generate energy from the footsteps of the visitors. The 3XN pavilion ‘Learning from Nature’ unites the most advanced technologies and intelligent materials in a preview of the innovative architectural design of tomorrow.

The Louisiana Museum of Modern Art in Denmark invited the Danish architecture firm 3XN to design a pavilion demonstrating cutting edge possibilities within sustainable and intelligent materials. The result is a pavilion that is built of bio composites with integrated intelligence that creates a dynamic interaction with its physical surroundings and its users.

Everything about the pavilion is literally inspired by nature itself: The biological cycle of nature is the fundamental basis for the shape, the materials and the dynamic energy generation. The pavilion is shaped as a Moebius band to symbolize the biological cycle; and the properties of the construction are very like those of nature – for example, the pavilion has a coating of nanoparticles that helps clean the surfaces and clean the air. Additionally, the pavilion is built of biodegradable materials; and as for energy, the pavilion is 100 percent self-sufficient.

Kim Herforth Nielsen, Principal of 3XN, comments on the project: “The Pavilion has given us the opportunity to showcase the possibilities which exist in building with sustainable and intelligent materials. Our objective has been to show that Green Architecture can be dynamic and active. We often think that we need to minimize use of resources at all costs. Instead of focusing on consuming the least amount of energy, we need to focus on producing and using energy and materials in a more intelligent way than is the case today.”

‘Learning from Nature’ can be seen at the Louisiana Museum of Modern Art, Denmark, until October 2009.