Belle Magazine November 2014

by guy keulemans on November 28, 2014

This month I was included in Belle Magazine’s “Generation Next” review of significant Australian designers.

I think the photographer did a pretty good job capturing my beard :D . He had a bigger one himself.

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For the last few years I have been teaching in the final year program for Bachelor of Design students at the College of Fine Arts. This program gives students the opportunity to propose and develop their own conceptual projects and I have been lucky enough to teach many talented students and supervise many excellent projects. Last year, two students stood out for the quality of their work and the relationship of their ideas to my own research in product design concerning the factors of production which express, or don’t express, within the experience of consumption.

Emily Yeung is a young fashion designer tackling a big ethical issue within the fashion industry – the exploitation of garment workers in developing countries where they are subjected to low wages and unsafe working conditions. This issue can be perplexing for designers wishing to do the right thing, but faced with that fact that Australian companies produce the vast majority of their clothing overseas, complicit in the economic forces which create the problem. There are arguments to be made that producers need to be both more aware of this situation and intervene directly to make sure that garment workers are not exploited. Yeung’s project Eight Storeys addresses the importance of raising awareness within the fashion design industry in a novel and provocative way.

Starting with her research on the Rana Plaza collapse in Bangladesh and inspired in part by my project Smash Repair, Yeung developed an exceptionally designed video and range of garments which powerfully express the tragedy of such events and at the same time makes a proposal for a local, autonomous and alternative production system which, while highly conceptual, steps away from the moral quagmire of mass-production systems. As Yeung states, this proposal addresses “the demise of local manufacturing and emphasises the need for transparency in supply chains.”

The video is well worth a look: 

Eight Storeys from Emily Yeung on Vimeo.


Lyly Lao is another Bachelor of Design graduate interested in the manufacturing conditions of products and materials – in her case, leather. Her research began with a visit to one of the few remaining tanneries in Sydney and the observation that the very complex process of tanning leather (and many chemical ingredients used, often poisonous and environmentally destructive) are almost completely hidden to the consumer within the experience of leather products, such as shoes and bags. Noting the evidence in the archaeological record that the earliest human societies had more ‘organic’ methods of tanning leather using animal waste products such as brain, blood and urine (methods still used in some places, such as the infamous tanneries of Morocco), Lao developed her own DIY techniques for cleaning and tanning pig skin she obtained from a local butcher. An interest in the properties of skin lead her the art of tattooing, which she incorporated into her final design: a self-tanned pair of Men’s shoes with tattooed logos.

Leather tanning at a Sydney tannery:

Lyly’s own process involved cleaning the fat off the pigskin she was able to obtain:

Tattoo experiments on pig skin:

Lao’s shoes are not necessarily commercially attractive (though personally I think they are beautiful) but rather the point of Lao’s project is expose the materiality of the product and draw its origins and production conditions closer to the consumption experience. Her shoes, which retain the hair and ink branding from the pig, are far more animalistic than typical leather shoes, and raise the association of pig skin to human skin, accentuated by the visual device of the tattoo. The project asks whether we should be consuming leather at all, but at the same time evidences the possibility of alternative, non-industrial leather production without the need for chemicals and processes of risk to human heath and the environment.

Emily Yeung’s and Lyly Lao’s projects were exhibited and awarded with textile and sustainability prizes last year at the 2013 COFA Annual Graduation Galleries.

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Last year I was invited by Jackson Tan (BLACK) and Justin Zhuang (In Plain Words) to contribute images of my work to their Creative Cities exhibition in Taiwan. The very well designed exhibition has now opened and is running until the 12th January 2014.

In the images here you can see photos of my work amidst that of other designers from Sydney (including Trent Jansen & Henry Wilson) and designers from other Asian cities including Tokyo, Seoul, Singapore, Taiwan and Beijing.

More images can be found on the Creative Cities and Kaohsiung Design Festival links below.

Congrats to the Creative Cities team on a great effort and result.

EXHIBITION DETAILS:

Venue: Pier-2 Art Center, Kaohsiung City, Taiwan
Date: 13 December 2013 – 12 January 2014
Presenter: The Kaohsiung City Bureau of Cultural Affairs, Taiwan

Language: English, Chinese

Curator: Jackson Tan / BLACK
Editor: Justin Zhuang / In Plain Words
Assistant Editor: Yvonne Xu
Exhibition Design: BLACK
Information Design: Yin Shanyang / SWARM
Sound curator: Zul Mahmod

CREATIVE©ITIES on Facebook: http://facebook.com/creativecitiesproject
Kaohsiung Design Festival: http://w4.khcc.gov.tw/2013KDF

Photo credits: Caleb Ming and Kaohsiung Design Festival, 2013.

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Domestic Renewal on tour: the Jam Factory

by guy keulemans on November 11, 2013

The exhibition Domestic Renewal, featuring my Copper Ice Cream Scoops and curated by Rohan Nicol, is currently on show in Adelaide with new work contributed by designers from the Jam Factory. The catalogue can be downloaded here.

Domestic Renewal at the Jam Factory
10th October 2013 to 1st December
at the JamFacory Gallery, 19 Morphett St, Adelaide.

Featuring new work by Jam Factory artists including:
George Agius, Llewelyn Ash, Kristel Britcher,
Karen Cunningham, Liam Fleming, Daniel Guest,
Christian Hall, Marcel Hoogstad Hay, Wayne Mcara,
Alice Potter, Matt Taylor, Ulrica Trulsson,
Alexander Valero and Miao Wang

In addition to the existing works by:
Alex Asch, Richard Blackwell, Norman Cherry,
Ann Cleary, Guy Keulemans, Sarah K, Bridie Lander,
Gini Lee, Rohan Nicol, Sabine Pagan, Mel Robson,
Liane Rossler, Wayne Simons, Kenji Uranishi,
Jason Wade and Henry Wilson.

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Talk for Domestic Renewal at Craft Cubed

by guy keulemans on July 19, 2013

Domestic Renewal curated by Rohan Nicol is showing again at the Craft Cubed festival in Melbourne. The exhibition opens on the evening of the 1st of August and on the 2nd of August at midday I’ll be talking about my contribution with Rohan and others.

Event: Domestic Renewal
Venue: Craft
Start: August 2, 2013
End: October 31, 2013
Address: 31 Flinders Lane, Melbourne, Victoria, 3000, Australia

Images can be found here.

Update 8/10/13: The exhibition has been reviewed by the Australian Design Review, here.

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Matylda Krzykowski: guest talk at COFA

by guy keulemans on March 26, 2013

This Thursday the 28th of March 2013, the very talented designer/curator/journalist Matylda Krzykowski will be giving a guest talk at the College of Fine Arts, UNSW. I’ve known Matylda since my time studying and living in Holland and I’m very happy to host this presentation of her work during her brief visit to Sydney.  Her cross-disciplinary practice is exceptional so its worth checking out the links below the following information about her talk:

BUREAU MATYLDA KRZYKOWSKI – TRANSDISCIPLINARY PRACTICE

>>The initiator, curator and designer Matylda Krzykowski is primarily interested in design as a vehicle for communication and content distribution, particularly in connection with the designers themselves. She creates a variety of projects in which she emphasises personality and aesthetics, based on the moment of experience.>>

For the last half decade Krzykowski has been active in the European design scene as a curator, journalist and designer. Her accomplishments include curation and documentation for many design festivals: including co-founder of Depot Basel, scenographer for the Design Biennale Liege 2012 and project manager for The Machine – Designing a New Industrial Revolution. On her website she has interviewed dozens of designers and producers from all around the world including Martino Gamper, Murray Moss, Gijs Bakker and the Bouroullec brothers. An example of her innovative cross-disciplinary approach is her recent project Personal Content (with Cristoph Sagel), where she photographed designers with their projects on a stage within their studios – drawing relationships between personalities, space, objects and objectives.

Hosted by Trent Jansen and Guy Keulemans, School of Design, COFA

7pm, Thursday March 28th
Room: E101 (above the main lecture theatre)
The College of Fine Arts, UNSW

Open to all.

http://matyldakrzykowski.com/
http://matandme.com/
http://depotbasel.ch/

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Domestic Renewal at Craft ACT

by guy keulemans on November 12, 2012

Currently my Copper Ice Cream Scoops are on display in “Domestic Renewal: A table re:set” at Canberra’s peak craft and design venue Craft ACT craft and design centre, continuing until Saturday 15 December 2012. The exhibition is curated by Rohan Nicol and features the work of Alex Asch, Richard Blackwell, Norman Cherry, Ann Cleary, Heidi Dokulil, myself, Bridie Lander, Gini Lee, Rohan Nicol, Sabine Pagan, Richard Peters, Mel Robson, Wayne Simons, Blanche Tilden, Kenji Uranishi, Jason Wade, Kathryn Wells and Henry Wilson. The website for the exhibition is here.

The final work is discussed here, while the original research and a taxonomy of precedents is here.

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Copper Ice Cream Scoops

by guy keulemans on November 2, 2012

The use of pure copper, a metal with high thermal conductivity, presents a technical improvement to Sherman L. Kelly’s famous aluminium ice cream scoop design dating from 1935. However, due to the difficulty of casting pure copper by the lost-wax method, the scoop comes out of the mould damaged and imperfect. The scoop is restored to functional use with tin and resin. This technique of  pre-consumer repair advocates for the greater use of repair as a transformative process in the design, production and consumption of domestic objects.

Photography by Dean McCartney

This project developed from a study of the classic Zeroll ice cream scoop designed by Sherman L. Kelly, and the many copies produced by other manufacturers, which are all made from cast aluminium. This material choice is presumably a compromise between various economic and technical concerns, primarily thermoconductivity (aluminium has quite good thermoconductive properties), casting and material properties, but also cost (aluminium casts at quite low temperature with good resolution, is strong and light, not expensive and can be endlessly recycled). But there are other materials which have better thermoconductivity, so alumnium as a compromise choice cannot be said to technically optimal for the function purpose of scooping ice cream, in which heat from the hand is conducted to the scoop blade via a heat transfer fluid (water and propylene glycol, a food safe antifreeze) contained in the handle.

There was a technical imperative to swapping out the commonly used metal for some other material. Other than pure silver, pure copper is the most thermoconductive metal, and while much cheaper than silver, it is also much more expensive than aluminium. Changing an expected material for something unexpected while leaving all other properties unchanged is a long-standing creative technique for drawing or re-drawing attention to an object. The technique was perhaps first exploited fully by the Surrealist movement, but more recently by Italian Radicals and many Dutch conceptual designers. From my experience on other projects, such as my silver toilet brush and gold and rhodium cocktail straws,  I found that such a change is often also accompanied by interesting  and unexpected contingencies. For this project, I was initially keen to test an ancient philosophical argument.

Telos was the word the ancient greek philosopher Aristotle used to describe the purpose of an object. A shoe is to be worn, a vase holds water, and the telos of an ice-cream scoop is to scoop ice-cream as efficiently as possible. He objected to the use of money in the exchange of goods, because, unlike barter, money placed a secondary function on the purpose of an object: to make profit.  Since that time, we see the effects of this secondary function on every marketable product. As cost seems so obviously a factor for the choice of aluminium for Kelly’s design, it could be argued that the design is a construct of secondary concerns and not a product of pure telos. However, the light weight of aluminium is certainly a utilitarian feature for a hand held device. In any case, changing the material to pure copper was a method to test these positions and hopefully provoke the unexpected to stir from the design.

Contacting manufacturers to assist me with production soon made me realise that this was not going to be simple as perhaps imagined. In fact, I began to realise I was experiencing a productive inflection point (after Deleuze & Guattari, and Bernard Cache) – the trajectory of my project was changing. Mainly this concerned the difficulty of casting pure copper – no manufacturer had experience nor wanted to do it. Alloys of bronze (copper and tin) or brass (copper and zinc) would be fine and are commonly cast, but the addition of these extra metals changes the thermoconductivity dramatically for the worse. Machining the copper was an obvious solution – suitable and more cost efficient at the volumes I typically produce. Incidentally, copper is a wonderful metal to machine, soft and yeilding to the tool, yet strong and structurally sound – when drilled or milled its swarf flows out in long lustrious whorls. Yet, my intent was to change the most mininum production criteria. Aluminium ice cream scoops are cast,  so should this copper scoop. And by this point I was recognising the inflection point; the more manufacturers said they wouldn’t do it, the more a conceptual reason existed for me to make it happen. With persistence I found an casting engineer pleasantly willing to try, with no promise of success.

It should be self-evident from the image of the scoops as they was returned to me why pure copper is not cast. Pure molten copper is unstable and unpredicatble. It flows thick, oxideises and off gases at temperature and must be melted under a layer of flux. As a result in this case, the metal does not flow freely into the mould and the cast comes out collapsed and imperfect. Yet perfect as a starting point for my repair practise and as a methodological critique of industrial models of production and consumption, as explained in the introductory paragraph above. For me, the point is that the process necessitates repair, and so produces a beautiful object with interesting and contradictory aesthetics.

In terms of function, the scoops work very well.

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Torn Flasks, work in progress

by guy keulemans on October 19, 2012

Its been a tough year for me in regards to making objects – my phd research has taken precedence and I’ve hardly been in the workshop. This is a slowly developing work in progress, a series of ceramic flasks moulded from Erlenmeyer and various other flasks.  I’m interested in the seeming absolute nature of scientific certainties – mathematic formulas on one hand and references such as the melting point of solids or the viscosities of liquids at temperature on the other, contrasted with the infinitely  chaotic way  in which  actual objects  manifest in the real world. Nothing is ever perfect, so to play with this I keep sprues on the vessels, pull them out of the mould inappropriately and otherwise assist their imperfection. This image is merely presents objects in development – they are not yet imperfect enough.

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A taxonomy of Sherman L Kelly style ice cream scoops

by guy keulemans on September 24, 2012

This project for the upcoming exhibition Domestic Renewal began with a conversation I had with designer Henry Wilson, in which we talked about these fascinating hollow aluminium ice cream scoops containing liquid in their handle. The classic design is made by the American company Zeroll, as pictured above (image from Williams-Sonoma). The aluminium, which is quite thermo-conductive, and the liquid inside the handle work together to transmit body heat from the hand to the scoop blade, helping the scoop move through frozen ice cream and then release the ice cream. Such a design is both simple,  in that there are no mechanical parts, and intelligent, in the way its takes advantage of material qualities, and very much in the spirit of Henry’s own well thought out design philosophy. In relationship to my own practise and methodologies, which are complex and sometimes and unfortunately torturously more convoluted, I couldn’t help but be bothered by a nagging wonder – why don’t they make these scoops out of other materials more thermo-conductive than aluminium?

This question was not easily answered. It first required a thorough investigation into the design and history of these scoops. I discovered the patent drawings fairly quickly, and then began collecting various scoops from shops, friends, and online, mostly by ebay. I even discovered a very old scoop in a box of kitchen tools I  inherited from my late grandmother, never before noticed. Here I present just some of the scoops and research I have collected in roughly chronological order of design or production, starting with these beautiful patent drawings by inventor Sherman L Kelly.

In 1933 Kelly had noticed that the staff at an ice cream shop were hurting their wrists from the repetitive action of scooping frozen ice cream. The were using the traditional design with a squeeze triggered mechanical lever for releasing the ice cream. Kelly’s design improved ergonomics, but had another benefit as well; because the scoop melted through the ice cream, it did not compact it. This enabled shop owners to gain %10 to %20 more servings out of a tub – a useful advantage during the economic depression of the time. He applied for the patent in 1935 and the same year set up the company Zeroll from his garage in Ohio. The scoop was an immediate success. Production slowed during wartime due to lack of aluminium, but Kelly’s company was one of the first to gain access to post-war aluminium supplies. Eventually competitors began producing their own versions, presumably only once the patent expired, but who knows? More detail about the Zeroll story can be found on their website.

Zeroll

This old Zeroll was made in Toledo, Ohio, Sherman Kelly’s hometown, which means it was either made before 1953 or after 1981, as the company moved to Maumee, Ohio, during that period. Its dirty patina is a function of age, contact with hard or chlorinated water and probably being run through a dishwasher. The heat from the dishwasher in particular ruins the shine, but can also break down the special liquid inside, and so almost all scoop manufacturers warn against placing the scoops in dishwashers. The liquid is a propylene glycol and water mix. Propylene glycol is a chemical, generally regarded as food safe, used in a bizarre array of products including soft serve ice-creams, electronic cigarettes,  draught beer tap plumbing, vaginal oestrogen creams, Angostura bitters and the oil dispersant used to cleanup the Deepwater Horizon oil spill.  None of the scoop manufacturers I contacted confirmed that the internal liquid was indeed propylene glycol, however its the only reasonable explanation as pure water does not have heat tolerance concerns, and other anti-freeze chemicals, like the commonly confused polyethylene glycol, are toxic and not safe for use in cutlery.

Zeroll – 2012 model

This new Zeroll shows how shiny they are meant to look prior to ageing and adventures with the dishwasher. The model they keep at Musuem of Modern Art in New York is kept shiny like this, though the nice thing about aluminium is its quite resilient and doesn’t form oxides naturally, i.e don’t expose it to heat or chemicals and it will remain shiny for forever. More or less. The blue cap on the previous Zeroll and the yellow cap on this one indicates the size of the scoop, measured in scoops per gallon, though these scoops are actually the same size (20) and so sometime between their respective manufacture Zeroll changed the color coding. Note that this newer version has a crisper blade edge around the scoop end, and that the inside of the scoop blade has a rough linished texture whereas the handle is high polished. Apparently Zeroll occasionally change the specifics of the aluminium alloy they use to keep up with metallurgical advances.

Ben & Jerry’s

I think Ben & Jerry’s have been making their own versions for some time, but their design is noticeably poorer than Zeroll’s . The colourful end cap is replaced by aluminium and the shape of the scoop blade is different and to my mind clumsier, with the edge being more rounded. You can also see distortion in the reflection lines which indicates a less precise mould, and while this is also new, the aluminium polish is somewhat dull.

Stöckel

The Stöckel scoop is a high quality German copy. The first image is an older scoop, borrowed from a friend, and has seen a lot of use and the inside of a dishwasher. The second image is of a new one and is quite stunning IMHO.  Note the polishing inversion compared to the new Zeroll – here the inside of the scoop blade is highly polished and the handle is satin polished. It arguably improves on the original Zeroll design by enlarging the radius of the upper scoop back surface (not visible in this image), somehow making the form appear more elegant. The blade edges are sharper  - not cutting sharp but enough to make a difference when scooping through rock hard ice cream. There is a slight flaw on the new one; on the front neck under the lower blade edge is a slight protuberance which has been sanded off slightly. Possibly the location of the sprue, where the aluminium is poured into the mould. This design includes an aluminium end cap, but  its set nicely flush with the end of the handle and stamped with the company branding (see last image).

Japanese

I had  hopes when I found this scoop on ebay that it would be a high quality Japanese copy, but alas its a clumsy attempt with curious and inelegant  formal properties. Probably fairly old and made, or at least originally designed, during the post-war period before Japan stepped up its manufacturing and industrial design skills.

Norpro

An American copy. The shape of its scoop is quite elongated at the throat and generally unappealing. Possibly this is for a functional change though, to produce a different shape of ice-cream ball shape or scooping action? Its black surface is marketed as non-stick, which is fairly redundant considering the whole point of Kelly’s original design. This surface is not teflon, but hard anodised aluminium. This surface treatment is sometimes used in cookware to prevent leaching of aluminium salts into food, but this is not an issue with ice-cream scoops which are not subjected to heat. Zeroll make a similar black coated scoop, but more correctly market it as circumventing the aluminium patina problem produced by exposure to hard or over-chlorinated water. It still doesn’t it make it resistant to dishwashers however, as the anodised aluminium oxide on the surface is less thermally conductive, meaning that if the aluminium expands from contact with heat, the surface can crack.

Chinese

These non-branded Chinese made scoops arrived with no liquid inside, contrary to their description on ebay. They are not highly polished and have a sand blasted texture. There are obvious filing marks over the presumed sprue points. I cut the plain one open to discover the wall thickness and internal qualities quite variable, which makes me think they were investment cast, with the wax positive slip moulded. These scoops, one plain aluminium and the other anodised, were incredibly cheap – just a few dollars each including shipping to Australia from Hong Kong. Though they had no liquid inside, the caps are not designed to be easily removable, so I don’t think its intended for the user to add the liquid, though possibly this job was intended for a middleman or re-seller in the distribution chain. The scoop design still works without the antifreeze liquid, just not as well. Both of the scoops have raised text built into the moulding, warning the user not to place the scoop in boiling water or expose to heat. I think this is pretty funny considering one of the main reasons for the warning is to preserve the functioning of the internal liquid… not included.

I have several more scoops in my collection now, but these nine were the ones I had on hand in the photostudio. The most important thing to realise is that all their technical functionality and aesthetics, new and used, from their production to the way they wear with use, are contingent on the use of aluminium as the thermo-conductive metal in the scoop design. My experiment for Domestic Renewal starts with the alteration of this one factor.

The exhibition Domestic Renewal: A table re:set will be staged at Canberra’s peak craft and design venue Craft ACT craft and design centre. It will open @ 6pm on Thursday 1st November continuing until Saturday 15 December 2012. The exhibition is curated by Rohan Nicol and features the work of Alex Asch, Richard Blackwell, Norman Cherry, Ann Cleary, Heidi Dokulil, Guy Keulemans, Bridie Lander, Gini Lee, Rohan Nicol, Sabine Pagan, Richard Peters, Mel Robson, Wayne Simons, Blanche Tilden, Kenji Uranishi, Jason Wade, Kathryn Wells and Henry Wilson.

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Idealism and Rationalism

by guy keulemans on July 6, 2012

Reading through Christopher Hitchens’ memoir I was struck by this quote (among many others) about idealism and rationalism, and the sometimes challenging ability to change one’s mind.

To announce that one has painfully learned to think for oneself might seem an unexciting conclusion and anyway, I have only my own word for it that I have in fact taught myself to do so. The ways in which the conclusion is arrived at may be interesting, though, just as it is always how people think that counts for much more than what they think. I suspect that the hardest thing for the idealist to surrender is the teleological, or the sense that there is some feasible, lovelier future that can be brought nearer by exertions in the present, and for which “sacrifices” are justified. With some part of myself, I still “feel,” but no longer really think, that humanity would be the poorer without this fantastically potent illusion. “A map of the world that did not show Utopia,” said Oscar Wilde, “would not be worth consulting.” I used to adore that phrase, but now reflect more upon the shipwrecks and prison islands to which the quest has led.

I don’t profess that this relates to any particular aspect of my design philosophy, to which, in regards to the need for radical approaches to the problems of production and consumption, I remain committed, but it does put a beautifully poetic slant on the rather mundane decision to think more pragmatically about complex problems, a decision which often takes a drubbing from the ideological position in arguments of worth.

Incidentally, I read in the paper today that the former Argentinian dictator Jorge Videla has been finally convicted for his part in stealing children away from his imprisoned dissidents (the “disappeared”), which I think would have caused the late Hitchens to feel remarkably vindicated. Hitchens actually met and interviewed Videla in 1977, on the same trip in which he met the great writer Borges. The following picture appears in his memoirs with the caption,

Swallowing vomit while greeting General Videla of Argentina in Juan Peron’s old palace

Later in the very last paragraph of the book, he clearly states the unalterable problem of history:

It’s quite a task to combat the absolutists and the relativists at the same time: to maintain that there is no totalitarian solution while also insisting that, yes, we on our side also have unalterable convictions and are willing to fight for them.

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Cufflinks in Oxidised Silver

by guy keulemans on May 29, 2012

Cufflinks I designed for my father’s 80th birthday in London (his initials are TK).

Made from 925 silver. The whole cufflink is blackened by oxidizing the silver, and then the oxidization is removed from the face as the final finishing procedure, exposing the initials.

Another pair with initials JK, for my brother. I made the letters slightly more playful to better suit his character.

Fabricated by Kyoko Hashimoto.

I accept custom orders for these cufflinks in whatever letters are required.

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A Quote from Andrea Branzi

by guy keulemans on March 27, 2012

Today, in order to create a new architecture and new urban spaces, it is necessary to to begin further upstream: one has to plunge one’s hands into that vast planktonic soup of products, technologies, pictures, signs and data which make up the artificial universe in which man is completely immersed.  It is an invasive and compromised artificial environment, but none the less it does constitue the only real urban space. Design, bravely operating within the world of production and consumption, has gained its new found supremacy through being the only planning entity able to transform reality.

Andrea Branzi, 1993.

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Above photos by Dean McCartney.

Photo below by the designer.

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Archaeologic, Sydney Design Week images

by guy keulemans on October 28, 2011

This stage of the Archaeologic project was exhibited during Sydney Design Week 2011 in collaboration with Henry Wilson.

For other stages of this project I am using an approach adapted from kintsugi, the Japanese art of ceramic repair, embedding the photoluminescent pigment into deep glue seams running right through the bowls. For this project, Henry and I decided to focus on the common problem of chipped crockery – the kind of damage you see in crockery sold at second hand shops, which is where we obtained these samples. The pigment is applied as filler within the chips and sanded back to restore the unbroken shape, but with a nice surprise when you open your cupboards at night.

The exhibition case was built with a timed light switch similar to the ones they used to use in museum displays (at least the ones I remember from my childhood), except that the switch is reversed; pressing the button turns the light off for 30 seconds, instead of on.

In situ on Elizabeth Lane during Sydney Design Week:

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Archaeologic: first image

by guy keulemans on September 30, 2011

Broken white stoneware repaired with photoluminescent pigment.

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Archaeologic at Sydney Design Week

by guy keulemans on July 31, 2011

My new project with Henry Wilson is now on show during Sydney Design Week 2011. Details below.

Archaeologic

Seeing potential in the look and feel of broken things, Guy Keulemans and Henry Wilson present an act of protest against the new. The transformative power of repair is harnessed in a collection of objects which celebrate a synthesis of Japanese kintsugi, archaeology, and light.

The street exhibition is on view in the laneway behind 617 Elizabeth Street Refern during Sydney Design Week between 11am and 5pm daily.

Studio 1, 617 Elizabeth Lane (behind 617 Elizabeth Street)

Facebook event page.

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NNancy at PYD

by guy keulemans on April 7, 2011

From March 18 to April 19th my installation NNancy is on show at the PYD Building in Sydney. A spatial intervention built from a simple fixed modular component, the structure generatively becomes complex as it caterpillers its way up the central staircase. I, with a rotating group of assistants, are building the structure live on Tuesdays the 29th March, 5th of April, and 12th of April, with a pulldown on the 28th April. The pulldown is, in a way, as interesting to me as the build up because I film the process and use it to make animations, like the one below, but in real rather than virtual space.

The work is a sequel to my recent exhibition in Poland, WWilma, a similar structure, but whose form was built by visitors and controlled by demographic factors. It grew to massive proportions in the cultural centre which housed it, akin to an out of control architectural growth, temporarily, but drastically changing the interior space. NNancy, built for the first time in the PYD building, is smaller and less monstrous, but possesses more defined geometric parameters; an invitation to thoughts about the relationships between art and nature, control and chaos.

NNancy from yugyug on Vimeo.

NNancy: a spatial intervention by Guy Keulemans
The PYD Building
197 Young Street, Waterloo, NSW 2017, Australia
18th March to 28th April
Hours: Monday to Friday – 9am to 5:30pm
Saturday – 9am to 5pm
Sunday – 9am to 4pm

Information at the PYD website:
http://www.pyd.com.au/exhibitions-4785/generative-installation-nnancy-pyd-during-april.aspx

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Kids Energy House at Archizoom.pl

by guy keulemans on January 4, 2011

Pawel Kraus from Poland’s Archizoom has written about my project Kids Energy House, here.

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WWILMA at the Centre of Contemporary Art in Torun

by guy keulemans on December 16, 2010

The exhibition Tag! Base! Hide and Seek! has opened successfully at the Centre of Contemporary Art in Torun, and  WWILMA has begun. This was project was difficult for me because I was unable to travel to Torun and set it up myself, but instead sent an instruction manual to the curators. That makes a fair amount of sense, considering its built by the art centre visitors, and, as the video stream shows, they did an excellent job and its running like a dream. Already it is quite large, with a large chaotic arrangement in the foreground and some nice smaller, disconnected satellite arrangements in the background. As the structure expands, will these join up and intensify?

Click the link below for the live video stream. Works in most browsers, Chrome and Safari certainly, it will also open in VLC. Keep in mind the time difference – at night the centre closes and turns off the lights, and all you see is black :/

WWILMA at COCA, live video stream

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WWILMA will begin growing soon in Torun, Poland

October 29, 2010

Earlier this year I was asked to contribute to the soon to be released Platform 21 book. My contribution was a series of sketches proposing an structure built by the visitors of an exhibition which represents their demographic qualities by translation into physical structure. Its both interactive and generative, and somewhat like an infographic or diagram, but [...]

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Artichoke and Belle articles

October 29, 2010

I was recently featured in the July-August issue of Artichoke, Australia’s design and architecture magazine. It was a very nice profile written by Dutch design journalist Ingeborg van Lieshout, who also writes for a number of important Dutch entities like Bright, Frame and Mediamatic, as well as for her own site The Green Light District.

And [...]

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Superunfoldedbox write up in Art Forum

July 22, 2010

The May 2010 issue of Art Forum has a review of the Marres Centre’s We Were Exuberant and Still Had Hope. Ettore Sottsass: works from Stockholm, 1969 exhibition. The author Saskia van der Kroef writes:
….designer Guy Keulemans provided “notes” to Sottsass’s Superbox. Keuleman’s Objects for Atheists, Superunfoldedbox, 2009, comprising different kinds of cardboard posters that [...]

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The Identity & Para Identity of Tobi Wong

June 26, 2010

The celebrated young designer Tobias Wong died recently at the age of 35, officially by suicide. However, it appears he may have killed himself accidentally while sleep walking, a condition with which he had long been afflicted. In this post I speculate on how and why his ultimately tragic condition may have also contributed to [...]

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The Grey Zone

June 17, 2010

This saturday opens Die Grauzone, an exhibition at Kaleidoskop in Neukolln, Berlin. My project Greygoo is designed specially for this exhibition. The exhibition is part of the larger art festival 48-Stunden-Neukölln.

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Fashion Clash 2010 Magazine…

June 17, 2010

I recently contributed to the magazine associated with Fashion Clash 2010 in Maastricht (June 4th to 6th), an event curated on the idea of fashion being produced by designers from fields other than fashion. Based on the photos posted online at Design.nl, and the ones posted by curator Matylda Krzykowski, the event was a mega-success.

My article in [...]

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Greening Public Space; the uncertain future of billboards and urban screens

May 20, 2010

This evening in Breda, the Netherlands, Jose Subero, a classmate of mine from the Design Academy Eindhoven, is presenting a lecture on his innovative proposal to transform the city of Sao Paolo, by making use of its empty billboards, free from public advertising since 2007. In this article I introduce his project and discuss the [...]

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Dumb Probes & Nuclear Fuel, Sinking to the Centre of the Earth, Melting Rock and Iron

March 26, 2010

In 1864 Jules Verne wrote “Journey to the Centre of the Earth”. Informed by new discoveries about the geology and the age of the earth, the novel attempted to equate levels underneath the surface of the earth with a hierarchy of older and older geologic time. Which is why the protagonists encounter Neanderthal men, and [...]

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Handmade Toasters, A Pencil and a Four Eyed Genius: why products should be simple and understandable

March 3, 2010

In an “Abelard Snazz” story written by Alan Moore in 1982, Abelard Snazz, an egocentric and  immortal character with four eyes (literally), is imprisoned for eternity on the bare surface of a planet by some gods he has inadvertently offended. Until he can solve a Rubik cube. An easy task for a self-professed genius.
The problem [...]

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Manhole covers from Japan

January 31, 2010

It is my dream to one day design a manhole cover. I have no idea how that might come about, but in the meantime, I’ve taken an interest the beautiful manhole I discovered whilst living in Japan. Like many things from Japan, they are finely designed and crafted, and sometimes wonderfully humorous.

I’ve discovered some more [...]

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Platform21, Goodbye.

January 29, 2010

About a year ago I recieved a phone call, out of the blue, from Arne Hendriks of Platform21, to talk about my SMASH REPAIR project, the second prototype of which he had seen on my website. He wanted to exhibit it, I told him it was in the bin. I asked, could I make another [...]

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superunfoldedboxes…. folded.

January 25, 2010

After setting up the Sottsass exhibition in Maastricht a few weeks ago, I traveled back to London with copies of the die-cut models. At a pub in Shortditch, I passed some around and invited my friends to assemble them together. I was interested in seeing how long it might take someone unfamiliar with the design, [...]

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Australian in Eindhoven – my interview on DutchDFA

January 20, 2010

My interview by Ingeborg van Lieshout from the Green Light District has been placed up on DutchDFA. Its a little long-winded, of course! but I hope you enjoy it. And thank you Ingeborg.

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chairs, guns, and gold mines. Giovanni Innella in Burkina Faso

December 20, 2009

In November this year Giovanni Innella, a former classmate of mine from the Design Academy Eindhoven, set about on a new project to travel to Burkina Faso and mediate the integration of a new high speed internet connection available to the population. The introduction on his site Googling Burkina explains the purpose, such as educating [...]

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superunfoldedbox – protounfoldedboxes

November 14, 2009

These graphics are diagrams that guide the creation of a model Ettore Sottsass Superbox. Functional elements, like fold and cut lines are presented, however they are disguised by irrational elements. The density of patterning and color creates a tension between the rational and irrational. Unlike conventional schematic diagrams, this tension produces abstraction, an emanating energy. [...]

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SMASH REPAIR 3 – photostudio images

November 7, 2009

New images of the Smash Repair 3 table, a structure generated continuous cycles of smash and repair. The smashing is facilitated by ‘break lines’ that guide the direction of fractures around bolt holes, leaving the holes functionally intact, ready for repair. Pre-cut tiles are then bolted on to place broken sections back together, in time [...]

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Hyperbox

October 22, 2009

Earlier in the year I made a post about the Austrian/Italian designer Ettore Sottsass, and his influence on my own work. Part of the post dealt with the Superboxes, marvelous and provocative “product-sculptures” he produced in the mid-60’s. They were a reaction to what he had seen and experienced earlier in India and the United [...]

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Dutch Design Week – Objects for Atheists

October 17, 2009

My furniture research project, Object for Atheists, and the furniture item it inspired, LKBP, pictured, is on exhibition at the Design Academy Eindhoven Graduation Galleries 2009, from October 17th to 25th.
The research involved ethnography of online atheist groups, and historical analysis of the influence of religion on aesthetics. The resulting furniture presents an inversion of [...]

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SMASH REPAIR, after the last smash……

September 22, 2009

2 new pictures of the SMASH REPAIR 3 table, after the 7th smash and final repair, taken outside Martijn’s studio in Eindhoven. More images can be found here on my research site, along with a somewhat lengthy schizoanalysis, manifest as 7 conceptual interpretations, which can also be downloaded here.

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subjective interpretation + meta narratives

September 22, 2009

In my last post I wrote about the Object Without A Story by Andrea Bandoni and Joana Meroz – a glass vase critiquing the use of stories as devices through which we understand objects. Their conclusion is that interpretation of objects should not be “monopolized” by on official story but that the object should be [...]

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“The Object Without A Story” by Bandoni and Meroz

September 13, 2009

The Archetypal Vase is a set of five interconnecting glass vases designed by Andrea Bandoni and Joana Meroz, born from their research project The Object Without a Story which suggests that the stereotypical text accompanying conceptual design objects is entirely systematic. The designers discovered sentence patterns and word clusters that were repetitiously used in the marketing [...]

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Visual Politics and Active Imagination

September 10, 2009

Recently I have been engaged in an interesting email dialogue with curator and writor Freek Lomme about my and Martijn’s SMASH REPAIR project. Its inspired me to reflect upon my own intentions for the work, and as a designer in general – especially when prompted by Lomme to define my visual politics.
My visual politics [...]

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SMASH REPAIR – the first 5 smashes

August 27, 2009

SMASH_REPAIR-3
A short video compilation of the first 5 smashes of the smash repair 3 table project.

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1 = 2 chairs, new images

August 22, 2009

New images of my 1 = 2 chairs, originally posted here in January

One old chair was cut apart and rebuilt into 2 chairs with the addition of one material, 6mm steel rod. This was a method of repair, but also a way to forge new a new identity for an object made anonymous by [...]

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SMASH REPAIR 3 – Day 6 & 7

August 13, 2009

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SMASH REPAIR 3 – Infosheet

August 12, 2009

Its true that SMASH REPAIR is cerebral. And perhaps a bit crazy. Why break something on purpose….. and then repair it so as to break it again?
So here is a link to a SMASH REPAIR infosheet that explains my concept, method and intent.

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SMASH REPAIR 3 – Day 5, more repair…

August 9, 2009

…another day of repair and the form is growing in complexity…

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DAE Masters 2009 Graduates online

August 7, 2009

My class, the Design Academy Eindhoven 2009 Masters graduate projects, are now online, where you can find some images of my furniture project, Objects for Atheists.

The design is one result from my thesis research:
Objects for Atheists…
…this research focuses on the the influence religion has on the aesthetics of design. This begins more than 20 thousand [...]

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SMASH REPAIR at Platform 21 this weekend

July 24, 2009

This Friday, Saturday and Sunday (July 24th – 26th 2009) I will performing SMASH REPAIR live at the gallery Platform 21 in Amsterdam. I hope to smash the structure and repair it once per day, but we’ll see what happens…. the process is quite unpredictable. I’m excited to be working in the beautiful gallery space [...]

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Master’s research has wrapped!

July 22, 2009

In June 2009 I graduated from the Design Academy Eindhoven with a Masters degree in Humanitarian Design.
A description of my graduation project, pictured, can be found here.
I also produced a thesis, which served as research and inspiration for my final project.  The thesis, titled Objects for Atheists, investigated the influence of religion on the design [...]

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SMASH REPAIR 3 – Day 2, the first smash and repair

July 15, 2009

As the images show, yesterday was the first smash and repair. Crushing the structure and see it break was immensely satisfying after the long assembly work. The structure took a lot more weight than I expected, but when it fell, it began with an eerie and very soft crackling sound, like twigs breaking in the [...]

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SMASH REPAIR 3 – DAY 1, assembly

July 14, 2009

Over the next few days I will be re-producing the SMASH REPAIR project for the gallery Platform 21 in Amsterdam. This version, the largest Martijn and I have designed so far, uses a system of tiles, threaded rod and nuts for the repair of its structure. Each tile, and also the base structure, shown above, [...]

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Finally…. I graduate.

July 4, 2009

Finally I have graduated from the Design Academy Eindhoven, with a masters degree.
My project is currently on exhibition at the school, and here I present my thesis titled “Objects for Atheists”.Thesis + Appendices, as a zip file. Thesis only, PDF.Appendices only, PDF.
EDIT: If the links above are not working, please email me and I will [...]

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Thesis – 4th draft

May 22, 2009

At the following link is a PDF of my nearly finished thesis. Missing is the third appendix and the odd reference or figure number.
link expired
Below, a recent sketch and a 1:10 model, photographed by the rapid prototypers as proof of production, winging its way to the Netherlands, hopefully before mid-terms on Tuesday.

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SMASH REPAIR featured on Bright.nl and DutchDFA

March 19, 2009

Following on from the success of Repair Night at Platform21 last friday, SMASH REPAIR has been featured in two online magazines:
Bright Magazine (in dutch)
Dutch DFA (Design, Fashion, Architecture) (in english)

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Models for Chest of Drawers

March 9, 2009

Chest of drawers, cabinets and bookshelves are suitable design opportunities for a topic dealing with atheism. The atheist worldview is very much concentrated on the accumulation of information and knowledge in order to ascertain the truth. The categorization inherent in the drawer/filing/shelving system is an analogy for this. And in this sense too, cabinets and [...]

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SMASH REPAIR goes to Amsterdam, & Paper Sewing

March 8, 2009

At one point last year, frustrated with designing and especially with structure, I tore up a big sheet of paper and then proceeded to sew it back together. The process of stitching something as delicate as paper was actually quite a therapeutic experience; I attempted to make the repair as strong as possible but knew [...]

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Graphic Studies, February 2009

March 6, 2009

This is a set of graphic studies I produced to visualise my thesis topic. Basically they are concerned with the representation of life and death within an atheist worldview, using visual metaphors such as space, stars, mandalas, spirals etc, which I think are understandable universally. The PDF of them all is here, above and below [...]

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Ettore Sottsass: Rational | Irrational

March 6, 2009

Recently I have been reading a lot about Sottsass, some on the net, but mostly from the book Etorre Sottsass: A Critical Biography, an illustrated biography written by his third wife Barbara Radice. Generally I have found it very useful, especially when considered in the framework of my thesis topic of designing objects for atheists. [...]

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Graphic Studies / Expessions in Furniture

February 26, 2009

Last weekend I designed some graphics to illustrate my topic. These graphics abstractly deal with the atheist conception of death and its inverse, life.Atheists do not beleive in god, and the majority also do not believe in the afterlife. Death is seen as the ultimate cessation of consciousness. This frames life as a temporality, [...]

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Objects for Atheist – Sketches round 1

February 21, 2009

Here are some ideas for designing metaphorical or symbolic objects for atheists and naturalists. I did this by developing an atheist persona, a personality construct, based on my research of the atheist community. These ideas are somewhat jokey, and I am quite sure a final solution will involve a more sophisticated approach, but I [...]

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What is the symbology of science?

February 11, 2009

At this stage in my research I am looking for a way to express the atheist world view in objects. One method I have considered is to apply, either directly or indirectly, some of the aesthetics used in graphic depictions of science. This is not to say that atheism is the same as science, it’s [...]

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Thesis Summary – Mid Terms – Semester 2

February 10, 2009

IntroductionThroughout history, the ability of objects to survive has had little to do with function or aesthetics, but everything to do with cultural significance. The existence of objects is sustained by their importance to the cultures in which they are born and later pass through. In this regards, there are two main types of culturally [...]

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Growing Pains

January 27, 2009

This family of chair models uses a kind of “genetic” system to grow and build objects. The manual system is applied to the design of larger and larger chairs, causing some construction elements to become marginalized while others refine into better developed expression.

The end result is somewhat like the growth of a child into adult, [...]

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Variable Flooring Tiles – a system

January 26, 2009

These images show a diagrams for a 2-dimensional architectural tiling system. The system works with 2 tiles, a larger triangle edged primary tile, and a smaller triangle shaped filler tile. By changing the arrangement of the larger tile one can produce a very large number of tiling patterns, with the filler tile used to complete [...]

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My Second Chair

January 24, 2009

The final result from the project set by Dick van Hoff, the 1 = 2 chairs. The brief was to take an old chair apart and rebuild the structure with 6mm rod. In the first chair I built a support structure replacing the legs, and in the second chair I replaced the seat and back. [...]

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Drawing of Topic

December 8, 2008

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Abstract and Question revision 1st trimester finals

December 8, 2008

QuestionHow can a manipulation of scale be used to create long-lasting objects with sublime effects?
AbstractIn the past, large architectural structures were possessed with a spiritual power representative of their iconic and rare status. Similarly, very small historical objects such as jewellery and miniature books held a special place of importance due to the time, care [...]

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Literature Review

December 8, 2008

My research thus far has drawn upon a fairly broad range of sources, and so this literature review will likewise cover a wide area. But first, let me introduce a triangle; a three pointed analogical construct that maps the boundary of my topic.
The first point is Scale. The basis of my research, it is [...]

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People Research Report

December 8, 2008

IntroductionMy people research has taken two forms. The first is a four part survey (found here)I sent out into the wild via Facebook. The survey dealt with the perception of scale and aesthetics in chair models, long-lasting and sacred objects and the supplementary data in 4 sections (sections 1 and 3 being related). Out of [...]

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Objects and Survivability – Questions

December 4, 2008

As part of my people research, I have written up a narrative spliced with questions that I am sending to experts in the field of design history.
Introduction:What is the survivability of objects? I am using this term survivability because it implies a life force extant to those objects of which we know. My main concern [...]

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Landscaping the Sacred, Discovering the Cute

November 27, 2008

MINIATURE LANDSCAPESIt is now well on the way to the end of the trimester, and I now have designs and models to assess. Some of these I won’t discuss here, and instead show at finals, but its interesting to look ideas and experiments have worked and have not worked.

To start with, I produced a [...]

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A Definiton of Sacred

November 26, 2008

Notes from my meeting with Erna Beumers on the 17/11/08.
During my meeting with Erna she drew attention to my continual use of the words sacred and profane in my abstract and research analysis. The simple reason is that this is because intuitively I feel they are the words that best express the kind of design [...]

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Large to Small: an application of an urban design theory

November 21, 2008

Fumihiko Maki Metabolist system of urban design breaks down the structure into 3 areas.compositional form – individual elements that mold and adapt to the next level of megastructure:

megastructure – a larger network of forms that give unify compositional form and create shape and pattern:

and group form, a system of megastructure linkages that create dynamic and [...]

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Architcture, Scale, Destruction, Creation and the Threat of the Blank Slate.

November 18, 2008

Some thoughts after reading Rem Koolhaas’ S,M,L,XL

In the margins of Rem Koolhaas’s book S,M,L,XL, is a kind of dictionary, a collection of quotes from, I assume, various sources headlined under a single word in bold capitals. For example:
“SCALE: …. working with scale puts you in a an almost god-like position…. you can hold a piece [...]

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Goldilocks and the Three Bears: Transgression of the Miniature

November 13, 2008

The story of goldilocks and the three bears is an interesting tale dealing with notions of scale and privacy. Goldilocks, usually depicted as a pretty young blonde girl, the perfect representation of innocence, discovers an empty house one morning in the woods. Inside she discovers 3 differently sized bowls of porridge (eating the smallest), 3 [...]

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My First Chair

November 12, 2008

This is the interim results from a workshop I am doing with Dick van Hoff; the task is to take an old chair and rebuild the leg structure from 6mm steel rod. Unwilling to destroy a perfectly good chair, I chose an old and broken chair that was floating around the studio. With loose joins [...]

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Abstract revision…..

November 3, 2008

In the past, large architectural structures were possessed with a spiritual power representative of their iconic and rare status. Similarly, very small historical objects such as jewellery and miniature books held a special place of importance due to the time, care and techniques needed to produce them. However, the contemporary era is one where the [...]

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New Investigations: Antiques and Antiquities, Anomalous Objects, Human Scale in the Technological Society

November 2, 2008

Before I rewrite my abstract in response to feedback from Bas Raijmakers and the other M+H mentors, I want to quickly outline some new directions of research I discovered in the build up to the mid-terms.

Antiques and Antiquities:One of the comments made at mid-terms is the use of the phrase “long-lasting” in my abstract. Indeed, [...]

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Midtems presentation model and graphic, photos

November 2, 2008

In addition to the graphics I presented for my research question and abstract (in the previous post), for the midterms I also presented an intuitive response to my research topic in the form of a model and a graphic.

The graphic, on the right above, was a silhouette image of “Natalie”, a fictional character [...]

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midterms – question, abstract and reseach graphics.

November 2, 2008

A PDF of my midterm graphic detailing my research question, abstract and research plan can be downloaded here.

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Mid-Terms Submission

October 24, 2008

Abstract:In the past, large architectural structures were possessed with a spiritual power representative of their iconic and rare status. Similarly, very small historical objects such as jewellery and miniature books held a special place of importance due to the time, care and techniques needed to produce them. However, the contemporary era is one where the [...]

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Kindergie Huis – Kid’s Energy House

October 14, 2008

Kindergie Huis (Kids Energy House) is a prototype for a doll’s house that can educate children and parents about green architecture and sustainable living. The House includes toy-like features indicating solar panels and solar hot water heating, cross-ventilation, green walls and planter boxes and, of course, an iconic wind mill, in addition to other elements. [...]

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Scale: the Sacred and the Profane

October 13, 2008

THE SACRED MONOLITH

In antiquity, the gigantic has been associated with the sacred. Religious monuments are large in proportion to the technics of the religious culture….. building churches, pyramids and giant Buddhas were the domain of the religious elite, designed to cow the masses with their fantastic scale.
Time to can also be used as an expression [...]

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Tara Donovan

October 2, 2008

This artist applies the kind of perceptual scale I talked about in this post, very beautifully. Her art is site specific and adapted to the the locations she exhibits, building up her work in the days beforehand. In explanation of the bio-mimicry seen in her work she explains, “My work might appear ‘organic’ or ‘alive’ [...]

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Mind Maps Workshop with Bas

October 1, 2008

A recent mind maps workshop was a succesful way for me to expand concepts and vision for my thesis topics.

For Futurology and Design, I envisioned a scenario in which their are two actions resulting from the study of the future. One is to use the knowledge to speed up society – predicting changing market [...]

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What do the super rich collect?

September 29, 2008

An article about the excesses of the super rich, and their spending and collecting habits.
Among frivolous purchases such as heated marble driveways and the collection of private airplanes, the super rich crave unqiue experiences and exclusivity. They want not just what no one else can have, they want what no one else can even conceive. [...]

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The Rosetta Disk

September 25, 2008

Some more information about the Rosetta Disk – I was just reading here about how 5 prototypes have been produced, each containing the book of Genesis translated into more than 1500 world languages. Produced by the company Norsam, these translations are micro-etched on a a single surface at the back needing a x750 optical microscope [...]

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Aluminium Door Knob

September 24, 2008

There is something soothing and graceful about a doorknob. I find them nostalgic, reminding me of a childhood playing in the rooms of adults. They are pleasurable on an aesthetic level due to their minimal form and, on an abstract level, their formal relationship to a room, as an intrusion, is succinct. However, door knobs [...]

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Thesis Topic Proposal: Design and Futurology

September 24, 2008

“The goal of forecasting is not to predict the future but to tell you what you need to know to take meaningful action in the present.” – Paul SaffoFUTUROLOGY

+ what questions can we ask about the future and what predictions can we make?
+ how can this inform predictive design?
+ how can this inform [...]

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Thesis Topics: a list of ideas

September 24, 2008

Conceptual Design and Futurology, to be discussed here.
The Psychology of Collecting, as introduced via slideshow on the first day of school.
Design and Scale, as posted.
Digital Locality, ..in a world where creators connect online and cultures form across geographic borders, how can we assess locality of culture? How does digital freedom of movement affect [...]

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Temporary Definitions of Design: 1

September 24, 2008

September 2008
Design is about achieving beautiful and useful synthesis. Nothing is created from out of thin air, it is a product of all that came before it – the combination of influences, skills, knowledge and art into a new formulation that serves a humanitarian purpose well is the highest ideal to which design can aspire. [...]

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Thesis Topic Proposal : Design and Scale

September 24, 2008

All object designers must at some point consider scale.
Scale is important both internally within an object and externally to its location and surrounding architecture.
Scale often exists in measurements and parameters that are based in old systems or technology, such as measurements such as the yard (distance of an old English King’s arm). Even newer and [...]

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Work Emergency Solar Clock

August 26, 2008

Recently I have designed some unusual sundials that, instead of a clock hand shadow, use shadows of words and pictures to tell the time. The process was quite fascinating and this post is a little longer than normal because I want to detail some of the issues I faced with their design.

To start with; [...]

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Silver Toilet Brush

April 26, 2008

I designed this silver toilet brush during my last semester enrolled in the IM Masters course at the Design Academy Eindhoven….. somewhat of an ironic reaction to that program. Its a bit jokey, like my gold and rhodium cocktail straws, but like the straws, I hope, also beautiful and complex in meaning.

It was interesting to [...]

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..::Seducing the Bowerbird::..

April 13, 2008

Last week I finished co-designing the Seducing the Bowerbird lookbook, for jewellery designer Kyoko Hashimoto. Her new collection has been inspired by the nest-making abilities of the Australian native bowerbird, so the lookbook design features branchy lines and feather like graphics. Much fun.

Kyo and I also went out into the woods around Eindhoven to take [...]

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SMASH REPAIR COPY

March 29, 2008

The second experiment in “repair aesthetics”. This time Martijn and I used small square “bandages” and a grid layout to map and repair the damage we inflicted on our model. We also duplicated the repair with wood tiles on another model, shown above. The final aesthetic is nice, but unsuccessful in communicating its process I [...]

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SMASH REPAIR

November 21, 2007

My research at the Design Academy is now focusing on the aesthetics of repair. To test out some ideas, I, collaboration with another masters student, Martijn Dijkhuizen , constructed this chair/table out of cardboard. We then smashed it with some large bricks (which was fun) and then carefully repaired it (which was surprisingly fun) so [...]

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Stuart Walker Workshop

November 7, 2007

Here are the result of a workshop I just did here at the Design Academy with the designer and author Stuart Walker. The starting point for the workshop was to bring in old, but still working electronic goods, bought at second-hand shops or salvaged from the tip. We then had to figure out creative ways [...]

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My Mid-term “Manifestio”

November 1, 2007

So I am halfway through the first semester of my masters course at the Design Academy, and for the mid-term presentation I made a manifesto, actually I call it a “Manifestio” a source book for aesthetic criteria, set of “design instructions” for myself.
The introduction on the first page functions as an index, and the [...]

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Plastics and Petroleum Poster

October 31, 2007

I have recently begun the Masters program at the Design Academy Eindhoven, in the Netherlands, which so far has been very interesting. My current topic of research is new plastics such as bio-plastic, self-healing polymers etc. To refresh my knowledge of plastics as a whole, I produced this large poster presenting a broad overview [...]

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“The Anatomy of F” look book

July 18, 2007

More Anatomy of F stuff – heres the look book for the new collection by Kyo Hashimoto.

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the Anatomy of F

May 3, 2007

Here is a graphic treatment I did for Kyo’s new range “The Anatomy of F”. The model is Yuka from the Trippple Nippples

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Kyo and Guy at Pecha Kucha Vol. 40 in Tokyo

May 3, 2007

Kyo Hashimoto and I presented at Pecha Kucha Vol. 40 at Superdeluxe in Tokyo last month. Lots of fun. We spoke about the jewellery range “I Blame the Uni” and also presented some new work from the both of us including the series “Anatomoy of F” and the pendant “Jelly Monster” below.
This is a [...]

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bezoah pendant

April 23, 2007

I had a really busy couple of months and I am afraid to say that getting real work done took precedence over blogging. But I am happy to post again for the first time since January, with some photos of a new jewellery design called Bezoah (usual spelling “bezoar” which is a type of hard [...]

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Arterial sketches

January 6, 2007

mm. Haven’t posted for a while, so I just thought I would upload these drawings from my sketchbook. I think they might make ‘interesting but ugly’ jewellery. My influence was probably Chris Burns, the artist of Black Hole and El Borbah.

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I Blame the Uni – Jewellery by Kyo Hashimoto

November 12, 2006

The thing keeping me the most busy recently has been my graphics and production work for my partner, the jeweller Kyo Hashimoto. We have just released the catalogue for her new series “I Blame the Uni”. Right now we preparing purchase orders for our stockists, which include Beyond the Valley in London, and Candy in [...]

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Photos of Nabe

June 19, 2006

Nabe from the Triple Nipples, a Tokyo based dance group. I took these with the camera on my mobile, a cheap camera that has a strange type of built in fuzzy compression. Yet I like the the ghostly quality that was captured. I don’t consider myself a photographer, don’t even have a proper camera, but [...]

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Pixels for Carpets

April 20, 2006

A little while ago I was reading about modern carpet production using automated Jacquard Looms. I decided to make my own patterns in minimal patterns suitable for the process. Linked is short movie of 18 of these patterns. I’m not sure if the technique I used to produce these designs has a proper name, but [...]

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Thesis: Generative design and software tools.

March 27, 2006

Finally got around to making a PDF of my honours thesis “Strategies for generative designers and the development and use of generative software tools.” Not really for casual reading that’s for sure, but it may be of worth a look if you are interested in generative design, evolutionary design or Rhizome Theory. The work of [...]

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Stroke-rotate-skew

March 13, 2006

Just for my own interest, I’ve been creating little animations using Illustrator. The animation is essentially generative as its controlled via variables (like stroke and skew) based on a simple mathematic formula. The beginning and end frames are not though, as I consciously design them. All the frames are generated individually unlike Flash animations. [...]

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Modern Life posters 2nd look

February 19, 2006

It’s pretty obvious I was reading Chris Ware when I did these.

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Modern Life posters 1st look

February 19, 2006

To print these cheaply, I bundled them with another commerical job I was doing. For some reason I got paranoid that the printer would find the design offensive and I rang up very ready with apologies. The response was – “huh? why would I give a damm what was on the poster?”

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Stencil Girl Brooches

February 19, 2006

Co-designed and built by Kyoko Hashimoto

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The AMPED project

February 19, 2006

In 2004 I promoted a club night with Maxitone Studios at Q Bar in Sydney. It was rock based mainly, so I got this idea to create rough, raw posters and photograph them around town taped up on walls. I find it pretty funny that one or two people to whom I’ve shown this image [...]

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AMPED promo continued

February 19, 2006

The AMPED project evolving.

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furniture and objects 2000 – 2003

February 19, 2006

A selection of object designs completed during my bachelor studies at the College of Fine Art.

The straws above are functional cocktail drinking straws made from sterling silver, gold and rhodium – an inversion of the materials and value we usually associate with plastic drinking straws – a theme I continue to work with (see [...]

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Margot and Neville Gruzman Award

February 19, 2006

In 2002 I was commissioned to design this award and promotional poster for the University of New South Wales. I should point out that the full name of the award was later changed to the Margot and Neville Gruzman Award, by Gruzman himself,  to honour his wife, but after the award had been printed. Margot, not a big [...]

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February 19, 2006

An album design proposal for the band Bureaux, which eventually became Modern Life. I continued to design for them under their new name.

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uBin .02 cd cover

February 19, 2006

one of my early commercial designs (1999), the cover for uBin’s debut album “.02″. I ended up co-writing some of the songs on their next album Star Lo.

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