Archive for April, 2012
Tuesday, April 10th, 2012

Artist Paul Chan’s E-Book Designs

"Wht is a Berlusconi?” (part of Paul Chan’s “Wht Is...” series

Video, drawing, collage, installation and site-specific projects: Paul Chan’s art takes many forms. In 2010, after showing his work at both Minneapolis’ Walker Art Gallery and New York’s New Museum, he started the e-book imprint Badlands Unlimited (distributed through D.A.P.) to explore the expanded opportunities of digital publishing. His roster comprises books of multimedia work by himself and others, including the dancer and choreographer Yvonne Rainer. Yet the cornerstone of the endeavor is the “What Is…” series, each of which features layers of visual and textual information about subjects ranging from the Italian politician/media magnate Silvio Berlusconi to the nature of lust.

Interior pages of "Wht is a Berlusconi?” e-book

Chan’s inspired by his experience working with moving images to create not exactly 360-degree multimedia experience, but ones enhanced by appropriate additions: audio files of Rainer reading her work to video clips of a work at a gallery. Ironically, thinking about how iPads and Kindles give amorphous electronic files weight has led him to contemplate how the book might looked on paper—a medium he’s also trying out in the form of limited-edition paperback versions of some of the titles.

Other Badlands Unlimited titles

Monday, April 9th, 2012

Audi’s Product Placement: R18 Ultra Chair by Kram/Weisshaar

The prototype R18 Ultra Chair (photo courtesy of Tom Vack).

You’ve got to give a tip of the hat to luxury car brands. In their race to differentiate themselves and each new model, they’ve continued to experiment with different platforms and media, from BMW’s shortform films to Aston Martin’s art collection. Audi’s latest gambit—a chair made by the Munich- and Stockholm-based design duo of Reed Kram and Clemens Weisshaar—plays upon the auto manufacturer’s interest in products and technology. Dubbed the R18 Ultra (after Audi’s Le Mans-winning racecar), the seat will have its shape crowdsourced from users at next week’s Milan’s Salone Internazionale del Mobile. The chair’s final form will be presented to the public in December 2012 at collectors’ fair Design Miami.

The many sensors on the R18 Ultra prototype.


The R18 Ultra prototype chair comprises three main components: a carbon composite seat, a carbon-rubber composite backrest, and aluminum alloy legs. During the Salone, Audi and the designers will set up the chair in a testing booth in the courtyard of the city’s Palazzo Clerici and invite visitors to sit on it. Each user’s unique physical impact on the seat will be registered in realtime via industrial sensors integrated into the chair; the results will be displayed via a multi-colored simulation on a wall inside the booth. At the end of the week, Kram and Weisshaar will study the gathered data and optimize the final product accordingly, shedding every excess gram of weight.

A simulation of the Milan installation


The experiment, claims Audi, will elucidate Ultra (the car’s) principles of “state-of-the-art lightweight construction, technology, and design…[beginning] with the raw materials sourced for production all the way through various manufacturing stages.” Fair enough, but it seems like an awfully esoteric way to show off the auto’s gee-wizz advances.

The inspiration: the R18 Ultra race car.

Monday, April 9th, 2012

Branding Trend: Chairs that ‘Remix’ Classic Designs

Front Design’s Collage chairs for Gemla

I’m all for recycling. But recycling design forms and ideas? Depending on your personal take—as well as the actual amount of originality involved—it can be an homage to an icon or sheer laziness masquerading as new product. Case in point: Front Design’s new Collage arm and lounge chairs for Gemla. Introduced in February at the Stockholm Furniture Fair, the wooden custom-made pieces combine classic and contemporary motifs from the 150-year-old Swedish furniture company’s archives. The chair’s seat and backrest are highly customizable, available in leather, fabric, or webbing and in a range of colors. The manufacturing methods echo Gemla’s traditional craftsmen-heavy protocols, as well as its wooden materials. The result is pleasant, but I can’t help feel that this is like a Mark Ronson remix of a PJ Harvey tune: a name-brand reinterpretation of something that didn’t need to be reworked—especially as so many elements stayed the same as the original for whatever reason. (more…)