Gitta gschwendtner biography of christopher powell
But that's my choice to work like that. I haven't done a completely joint project for a while, although in the past I've worked with Carl Clerkin and William Warren. But when you work in exhibition design, you work very closely with the client and with the graphic designer, bouncing ideas back and forth to get something with total integrity.
Gitta gschwendtner biography of christopher
I've worked a lot with Frith Kerr at Studio Frith. Extraordinary Stories, an exhibition in designed by Gschwendtner, about the Design Museum Collection opens to the public. Of course they can be helpful, but not always. In the end, all the legs and chair backs were made the traditional way by a chair maker and a master carver.
I don't do a lot of 3D renderings when I design. Instead, I like to build mock-ups with card or maybe wood, depending on what's appropriate. I find I get a much better sense of the proportions that way. There are a lot of opportunities and challenges and competition, and there's so much going on. It is very expensive to live in London at the moment but I'm lucky that I've been in the same workspace in Hackney since You can talk about projects with other designers and there's a real sense of community.
The Bodge Bench is made from locally-sourced English woods, ash and sycamore. The Bodge Bench was a pivotal project for Gschwendtner, who has since gone on to further experiment with the Windsor Chair form, reinventing the original Bodge Bench in different sizes and in factory-made versions that use various English woods.
For Gschwendtner, this traditional way of making encapsulates important values for sustainable furniture production. From an appreciation of forest ecology and the value of having a connection to where your tree material comes from, to the fundamental understanding of the time and labour it takes to make an entire piece of furniture by hand, from start to finish — bodging can inspire us to think.
To Gschwendtner, this valuing of natural materials, time and labour has immense power to inspire care and longevity for the objects with which we surround ourselves in our daily lives. We should be eating local and seasonal. Why should we not be also making furniture locally and seasonally? And while mindful that such goals are often challenged in the context of growth-oriented economy, modern industrial production and economies of scale, Gschwendtner believes it remains important to hold on to such values and be open to dialogues with tradition.
Here we will consider how global vernacular making practices and traditional ecological knowledge from across centuries can help inspire a more sustainable future. The sample shelves are designed with a 45 degree angle so that you can see a bit of the material board face on. Temporary exhibition design for the British Museum, London. This small exhibition shows examples of Kakiemon porcelain, moulds and touch objects in a minimal linear display inspired by the workshop shelving of the Kakiemon factory.
The bold display of the objects is complimented by an angled double projection of the making process. The projection is viewable from both sides, engulfing the visitor into the making experience. Genius Loci is a furniture commission focused on creating a sensitive and coherent patient-centred narrative across the public areas within the Centre.
Overlapping translucent screens create a sculptural interplay beyond the pure functionality of the furniture, while the varied heights of the screens, some of which extend across the floors, create dramatic lines. Furthermore the commission includes smaller reception desks, present on each of the treatment village receptions.
The desks combine an open reception desk with a floating table surface to encourage a more informal and personal use of this area.
Gitta gschwendtner biography of christopher lee
A new armchair and side chair have been developed, addressing the requirement for patients. The Lost Rhino at the Natural History Museum explores how an idea of an animal can be more powerful than the animal itself. Through four different depictions of the rhinoceros, each only a partial representation of this endangered species, Ginsberg explores themes of extinction, technology, and the importance of conservation.
In order for the works not to get lost within the volume of the Victorian gallery, a substantial amount of exhibition build was required.
To avoid wasteful use of material the main structures of the build have been constructed from a minimal key clamp system that utilizes the circular economy of hired scaffolding. Cotton fabric cover parts of the scaffolding to create volumes and visual barriers, pacing the visitors journey through the space. Home Spaces objects About News.
You explore gender issues through your project Existing in Costumes. Why are you interested in that? You were the youngest dancer hired at Merce Cunningham Company. Which are the first memories of this experience? How was it like to work there?
Gitta gschwendtner biography of christopher columbus
I would like to share an unusual perspective on this. Normally, I do not answer or consider questions about Merce Cunningham, as this has very little to do at all with the work I create: but upon deep reflection, I'd like to share that he and I had in something in common. We shared a quite total, uncompromising devotion to choreography.
Read more Walter van Beirendonck: Couture should push forward the boundaries of fashion.
Gitta gschwendtner biography of christopher cross
When we look at your art, we realize that there is a constant through your work and that is energy. Where does that come from? I hope and I think that the energy comes directly from me. With every collection extremely excited to do new experiments, tell a new story, make a new statement and to present interesting collections I can be proud of. And good energy is part of that creation, showing and presentation to my clients.
Li Hongbo: There is a Chinese saying, life is as fragile as paper, which has left a deep impact on me. You have managed to question the realism of sculptures through the flexibility of the paper. What do you see as the strengths of your chosen material, visually and conceptually? At the beginning, I discovered the flexible nature of paper through Chinese paper toys and lanterns.
I used this principle to make a gun. A gun is solid, used for killing, but I turned it into a tool for play, or decoration. In this way, it lost both the form of a gun and the culture inherent to the gun. It became a game. What is interesting about your practice is the fact that this cold medium, which is media, becomes so warm and familiar. How do you get to do that?
The concept is the crucial part and with our work that concept is often completed by the people and their physical participation. We know that was an important year for you, since your work became known on an international level.
Gitta gschwendtner biography of christopher jackson: Read more about Gitta Gschwendtner who graduated from Kingston University with a Product and Furniture Design BA (Hons) and features in our Made in Kingston wall of fame.
Through Islamic Project you stressed the fears western cultures have towards Islamists. Why are you interested in these issues? Islamic Project is dedicated not only to Western fears of Islam, but rather to a visualization of mutual paranoia — both of the West and of Islamic fundamentalists. It is epitome for top design and innovation.
Your work is unsettling, almost surreal and the audience is instantly immersed into this universe. We find that your works are powerful and question the notion of beauty, since feathers are both plain beautiful as well as enchanting.