2016年12月31日 星期六

Massimo and Lella Vignelli

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Massimo and Lella Vignelli at home on the Upper East Side of Manhattan in 2012. Together, they were a two-person design army with a shared aesthetic that was sleek and intelligent. CreditFred R. Conrad for The New York Times
Lella Vignelli, a designer who, with her husband, Massimo Vignelli, introduced a spare, elegant style to a wide range of products and corporate brands, attracting an international clientele, died on Dec. 22 at her home in Manhattan. She was 82.
The cause was dementia, her son, Luca, said.
Ms. Vignelli, an architect by training, brought a three-dimensional imagination to her husband’s graphic-design sensibility. Together, they were a two-person design army with a shared aesthetic — sleek and intelligent — that appealed to clients eager to express a new identity or to develop products with bold, modernist lines.
After working with Italian companies like Pirelli and Olivetti in the early 1960s, the Vignellis established an American base of operations through Unimark, their corporate branding company, and, later, Vignelli Associates, which they founded in 1971, and a sister company, Vignelli Designs, which began in 1978.
The Vignellis gave American Airlines its double-A logo and Bloomingdale’s its signature brown paper bags. They designed brightly colored melamine dishware for Heller, stacking fiberglass chairs for Knoll and the interior of St. Peter’s Church — the triangular structure at the base of the building previously known as Citicorp Center in Midtown Manhattan — from the pews to the altarware to the organ.
Their work was collaborative, with areas of specialization.
“We sort of break the idea together,” Ms. Vignelli said in a 1981 interview at the Parsons School of Design. “Then, generally, if it’s graphic, it’s in his field, and if it’s three-dimensional, it’s my field, but we always cross over.”
Ms. Vignelli had a special feel for silver, reflected in two objects she designed for the Italian silversmith San Lorenzo — a ribbed teapot and a malleable necklace called Senza Fine (“Endless”).
“All of this work bears the mark of clarity and simplicity,” Mr. Vignelli wrote in the introduction to his book “Designed by: Lella Vignelli” (2013). “Lella’s work is solid, timeless, responsible and — in its essence — extremely elegant.”
Ms. Vignelli was born Elena Valle on Aug. 13, 1934, in Udine, in the Friuli region of Italy. Lella was her childhood nickname. Her father, Provino, was an architect, as were her sister Nani, a professor at the University of Venice School of Architecture, and her brother Gino. Together, Nani and Gino ran an architectural practice, Valle Studio. Her mother, the former Ave Rege, was a homemaker.
She met Mr. Vignelli, who was from Milan, at an architecture convention, and the two enrolled at the University of Venice School of Architecture to be closer together. They married in 1957 after Mr. Vignelli accepted an offer to do design work in the United States.
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The Vignellis’ designs included the stacking fiberglass Handkerchief chair for Knoll. One critic described the couple’s work as “luxurious without being plush.” CreditVignelli Associates
With the help of her brother, Ms. Vignelli was accepted as a special student at M.I.T.’s architecture school.
Mr. Vignelli died in 2014. In addition to her son, Ms. Vignelli is survived by a daughter, Valentina Vignelli, and three grandchildren.
After working as a junior interior designer for the architectural firm Skidmore, Owings & Merrill in Chicago, Ms. Vignelli returned to Italy, where she and her husband opened an architecture and design office in Milan, working with Pirelli, Olivetti and several publishers. She completed her studies at the University of Venice, receiving an architecture degree in 1962.
Returning to the United States in 1965, the Vignellis joined with Ralph Eckerstrom, vice president of advertising for the Container Corporation of America, the Dutch-born graphic designer Bob Noorda and others to create Unimark, a design consulting firm that started the trend of top-to-bottom corporate branding. Business boomed, and the company opened 11 offices around the world.
The Vignellis founded Vignelli Associates, with offices in New York, Paris and Milan, in 1971. Three years later, Ms. Vignelli was installed as chief executive of Vignelli Designs, which concentrated on furniture, objects, exhibitions and interiors. The company’s design work included the stacking fiberglass Handkerchief chairs for Knoll (1982) and the Serenissimo line for Acerbis (1985), a series of glass-topped tables resting on thick cylindrical legs.
Over time, Ms. Vignelli assumed the lead in running the businesses, while the more extroverted Mr. Vignelli became the team’s public face. “I am practical,” she told The Observatory, the blog of the Design Observer Group, in 2010. “Massimo is creative, but he is disorganized.”
For many years, her contributions were simply ignored by the design and architecture press, which often credited Mr. Vignelli alone for the couple’s work. This was a source of frustration to both of them.
Parsons School of Design organized a retrospective of their work in 1980.
“The Vignellis do not really have a style as such,” the architecture critic Paul Goldberger wrote in The New York Times. “All of their work could be described as clean, and it is relatively spare, but it is not austere. It is luxurious without being plush, and that takes a certain discipline, which is evident throughout this body of work.”
He added, “The best of the Vignelli designs manage to bring together visual pleasure and ease of use, relate to the history of design yet give us the sense that we are seeing something beautiful made in a way we have never seen it before.”
The Vignellis donated their archives to the Rochester Institute of Technology, where the Vignelli Center for Design Studies opened in 2010.
“If you do it right, it will last forever,” Ms. Vignelli told New York magazine in 2007. “It’s as simple as that.”

El Greco , "Saint Ildefonso," c. 1603/1614,

Take a careful look at El Greco's "Saint Ildefonso." The artist represents the saint in a richly decorated room. He is seated at a writing table furnished with costly silver objects. An otherworldly aura pervades the room; as the saint pauses in his writing, he gazes attentively at the source of his inspiration, a statuette of the Madonna.
El Greco's image of the Virgin resembles an actual wooden figure that Ildefonso is said to have kept in his oratory. The saint later gave the figure to the church of the Hospital of Charity in the Spanish town of Illescas, near Toledo. The statuette is preserved there today together with El Greco's larger version of this work.
El Greco (Domenikos Theotokopoulos), "Saint Ildefonso," c. 1603/1614, oil on canvas, National Gallery of Art, Washington, Andrew W. Mellon Collection

2016年12月23日 星期五

Business Of Design Week北戴河海邊圖書館獲香港設計大獎

Business Of Design Week: BODW

www.bodw.com/

BODW brings to Hong Kong some of the world's most outstanding design masters and influential business figures to inspire the regional audience on creative ...


北戴河海邊圖書館獲香港設計大獎

張璐詩:這幢秦皇島北戴河沙灘上兩層樓高的“海邊圖書館”,在朋友圈被刷屏後引來爭議,如今獲業界肯定。


透過香港會展中心的落地玻璃,海灣晴朗的灣仔碼頭上支著的五六台吊機分外醒目,它提醒我們,填海造地一直與這個國際都會的城市規劃發展並行。而落地玻璃窗之內,正在舉辦亞洲年度設計盛會“香港設計營商周”,今年“設計週”的伙伴城市是芝加哥。自2001年開始到今年,完成了“芝加哥河畔漫步”城市規劃工程,芝加哥與香港的共通點在於:一直在探索新舊建築融合的現代都市規劃、以市民體驗為本去重塑公共空間。
“設計營商周”主辦方是香港設計中心,任職其行政總裁已6年有餘的利德裕表示,全球各地的城市都有自己的“設計週”,但香港稱之為“設計營商周”,是要將創作和商界這兩個少有交集的圈子拉到一起來,是個“跨界知識分享會”。“設計不光需要好主意、大概念,還需要落地,需要規則和商業框架。而不懂設計的商人,即使花上千萬也未必能製造出感動人的作品。像T Park、理工大學的教學酒店Hotel Icon這些例子,就是在漂亮的設計意念背後都有成熟的商業模式。
利德裕所提到的T Park(源·區),是位於香港屯門的一個污泥焚化與人居社區結合的項目。這個新落成的T Park,“T”指代英文中“transformation”,“轉廢為能”的涵義不言自喻。設計者意圖顛覆廢物處理在城市人心目中的固有印象,將原本風馬牛不相及的“焚化爐”與“市民消閒設施”連接起來。回收後的污泥經過焚化後用以發電,縮減體積後再淨排。市民可以預約來免費享受水療spa。這樣一來,市民們就有了切身去認識資源回收和循環再用的機會。
T Park這樣一個自給自足的污泥處理設施對設計師來講挑戰極大,這個項目也因此獲得了2016“DFA亞洲最具影響力設計獎”。利德裕介紹,這個獎項嘉獎的是提升當地人民生活質素的亞洲各地建築項目。主辦方香港設計中心除了這一年度評獎,平時也不定期舉辦工作坊,包括與香港的公務員合作,讓更多公務員去了解如何利用設計去提高公務員服務效率;又與香港中文大學EMBA合作,不光訓練總裁、行政人員,也訓練設計師。利德裕提到,香港從一個昔日漁港變成今日的國際金融中心,但這樣一個擁有成熟型經濟的社會也很容易“走進盒子裡”而不自知。“設計營商周”邀請各國各地的講者來港,希望通過不同案例去拓寬本土設計師和決策者的視野,並帶來靈感。
今年的“DFA亞洲最具影響力設計獎”另外一個得獎作品,也同樣是對自然環境與人居社會關係的一種突破式探索。
去年,一則聚焦“中國最孤獨的圖書館”的新媒體文案在朋友圈中被高密度刷屏。隨之,這幢秦皇島北戴河沙灘上兩層樓高、450平米的“海邊圖書館”,迎來了絡繹不絕的慕名參觀者。這次獲得“亞洲設計獎”的大獎,得獎單位、直向建築設計事務所的兩位建築設計師高樂舟、張菡告訴FT中文網撰稿人,在此之前該項目的影響主要來自網絡,民眾中不少人發出過質疑的聲音;如今獲得的是專業上的肯定,對於一家獨立建築設計事務所來說很有意義。http://www.ftchinese.com/story/001070685#s=d
“海邊圖書館”的實現來自三方合作:地產開發商“阿那亞”委託“直向”為其在北戴河的配套設施設計一幢公益圖書館,建成後圖書館的書籍由三聯書店提供。設計與建造一共用了不到兩年時間。高樂舟與張菡介紹設計概念:在沙灘和海水永恆的動態烘托下,建成後的圖書館就像海灘上的一塊石頭。因為想要達到這種效果,設計師沒有用公路、人行步道直接連接圖書館。“遊人們可以由西邊三十米的濱海步道,踩過軟沙灘抵達硬質地面,走進圖書館之前,把鞋子裡的沙子倒掉,抬頭,會看到一片靜止的大海”。張菡解釋,設計師希望同時能夠創造一種儀式感。這塊“大石頭”與一般陸地上的建築也不一樣:沒有一個明顯的入口。人在接近它、走進它之前,需要先在“石頭”的各面對它進行體驗和觀察。
“海邊圖書館”整個工程包含了許多人工的工藝,材料不是工廠裡造好的材料,而是在當場用混凝土澆築了三次樣牆,除了木紋的肌理以外,所有工人在牆上的觸碰痕跡最後都被留下來。而這也是設計師董工的初衷:建築上留著時間、人工的痕跡,就像在海上留下的痕跡那樣。由於落成初期已有大批遊客去觀瞻、拍照,不到兩個月圖書館已需要限制人客流量。最初的“圖書館”身份也已有所擴充,在這裡,詩歌朗誦會、電影放映會、音樂會都有舉辦。
(本文僅代表作者本人觀點。責編郵箱:shirley.xue@ftchinese.com)

2016年12月22日 星期四

Wifredo Lam. Ricardo Porro, Exiled Cuban Architect, Dies at 89

Tate
Explore in 360: Cuban dancer and choreographer Miguel Altunaga responds to The EY Exhibition: Wifredo Lam.



-3:25



Centre Pompidou 更新了封面相片。
Wifredo Lam, La Jungla, 1943
Huile sur papier marouflé sur toile - 239,4 × 229,9 cm
The Museum of Modern Art, New York, 2015.
Digital Image, The Museum of Modern Art,New York / Scala, Florence © Adagp, Paris 2015
⋯⋯更多
  1. Wifredo Lam
    Artist
  2. Wifredo Óscar de la Concepción Lam y Castilla, better known as Wifredo Lam, was a Cuban artist who sought to portray and revive the enduring Afro-Cuban spirit and culture. Wikipedia
  3. BornDecember 8, 1902, Sagua La Grande, Cuba
  4. DiedSeptember 11, 1982, Paris, France


Centre Pompidou


[Exposition] « Dans la nature tropicale tout se meut sous une quiétude apparente et, seule, la nuit révèle la fête occulte, la danse qui semble être la vie intime de toutes les créatures. La peinture de Lam a révélé ce secret ; ses tableaux ont une distribution musicale, rythmique ; l’espace est le vide que les corps subtils déplacent dans leur tournoiement. » María Zambrano. 1954
Dernière chance pour venir voir ce chef-d'œuvre de Wifredo Lam.
La Jungla, 1943
Huile sur papier marouflé sur toile - 239,4 × 229,9 cm
The Museum of Modern Art, New York, 2015.
Digital Image, The Museum of Modern Art,New York / Scala, Florence
© Adagp, Paris 2015
[Exposition] Dans 10 jours ouvre l'exposition Wifredo Lam
Voici la bande-annonce pour les plus impatients d’entre vous :

*****

Power Station of Art Grows Up With a 10th Biennale


Cuba’s Art Scene Awaits a Travel Boom







In Cuba, artists are cut off from supplies and the Internet yet celebrated by a coterie of international buyers, a pipeline that is likely to grow with the U.S. decision to loosen its economic embargo.


















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Ricardo Porro, in 2007 in Havana at the School of Plastic Arts, which he designed in 1961.Credit"Unfinished Spaces" by Alysa Nahmias and Benjamin Murray

Ricardo Porro, an architect who gave lyrical expression to a hopeful young Cuban revolution in the early 1960s before he himself fell victim to its ideological hardening, died on Thursday in Paris, where he had spent nearly half a century in exile. He was 89.
His death was confirmed by friends and associates, including John Loomis, the author of “Revolution of Forms: Cuba’s Forgotten Art Schools.”
Mr. Porro lived long enough to see his two National Art Schools — begun during a utopian moment in the Cuban revolution, then abandoned as counterrevolutionary — newly embraced around the world as the crown jewels of modern Cuban architecture.
His School of Modern Dance and School of Plastic Arts erupt from the verdant landscape of what had been the Havana Country Club, in Cubanacán, a suburb of Havana. Premier Fidel Castro nationalized the course in 1961 to create a campus of five art schools. He all but ordered Mr. Porro to take on the design job. In turn, Mr. Porro recruited Roberto Gottardi and Vittorio Garatti.





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Mr. Porro also designed the School of Modern Dance in Cuba, with brick domes and vaults built by hand in the Catalan style.Credit"Unfinished Spaces" by Alysa Nahmias and Benjamin Murray

Together, working feverishly, they created serpentine little villages of brick and terra cotta, meandering organically through dense acreage and embodying an Afro-Caribbean quality of “cubanidad” — buildings that could be nowhere else but Cuba.
Mr. Porro’s two schools have voluptuous brick domes and vaults, built by hand in the Catalan style reminiscent of Antoni Gaudí, that are almost bodily in their gentle embrace. Supporting them, and contrasting with their soft curves, are angular columns and buttresses that speak of the shattering force of revolution.
“In Cuba, Porro took the Catalan vault and made it dance,” said Warren James, a New York architect who represents the City Council speaker, Melissa Mark-Viverito, on the Museum of Modern Art board. “He painted and sculpted with it. In a Caribbean context, with a tropical exuberant landscape, his architecture remains revolutionary.”
That was exactly his intent, Mr. Porro recalled in a 2011 interview with The Atlantic. “When I received this commission, I thought there had not been a good expression of revolution in architecture,” he said. “I wanted to create in that school the expression of revolution. What I felt at that moment was an emotional explosion.”
Before the schools were completed, however, artistic expression was stifled as Cuba moved into the Soviet orbit. Mr. Castro had famously answered his own rhetorical question in 1961 about the rights of writers and artists: “Within the revolution, everything. Against the revolution, no rights at all.”
Almost overnight, the art schools’ distinctive style was officially anathema. “You realize that you’ve been accused of something,” Mr. Porro recalled in “Unfinished Spaces,” a 2011 documentary directed by Alysa Nahmias and Benjamin Murray. “And then you realize that you have been judged. And then you realize you are guilty. And nobody tells you.”
That was when he left for France, where he continued to practice architecture, most recently in association with Renaud de La Noue in Paris. In the breathtaking Collège les Explorateurs of 1996, in Cergy-le-Haut, northwest of Paris, they seemed to channel cubanidad, Gaudí and Le Corbusier simultaneously — if such a thing can be imagined.
Mr. Porro was invited back to Cuba for the first time in 1996 and joined Mr. Gottardi and Mr. Garatti to restore and complete the National Art School. The process is “slowly moving forward,” Mr. Loomis said.
Ricardo Porro Hidalgo was born in 1925 in Camaguëy. He studied architecture at the University of Havana, from which he graduated in 1949. He met Mr. Castro through the brother of his fiancée, Elena Freyre de Andrade, Mr. Loomis wrote in an obituary on the Repeating Islands website.
Mr. Porro’s survivors include his wife and their daughter, Gabriela Porro.
After graduation, Mr. Porro traveled to Paris, where he met the Cuban painter Wifredo Lam, whose embrace of cross-cultural references would greatly influence him.
In 1957, Mr. Porro’s clandestine opposition to the regime of President Fulgencio Batista placed him in imminent danger of arrest. He fled with his wife to Venezuela. There he met another great influence on his practice, the architect Carlos Raúl Villanueva, as well as Mr. Gottardi and Mr. Garatti.
Mr. Porro first visited New York as a teenager, when his parents expected him to be a lawyer, said Josef Asteinza, who is working on a documentary about the Modern movement in Cuba and who visited Mr. Porro last month in Paris.
On a ferry to Manhattan, the young man could not disguise his excitement about the city and all its buildings. Mr. Porro recalled his father as saying, “Ricardo, I don’t know the future but I know two things: One, you will not study law; and two, you will not die in Cuba.”