Ulysse Nardin Chairman Mechanical Smartphone

I’ve been following the Steampunk phenomenon with fascination. It’s a stylistical branching out that makes perfect sense to me, bringing as it does the formal exuberance of 19th century excitement at the technological wonders of the industrial revolution, its heavy mechanical seduction, its steam and coaldust manliness, onto the flat, bland and opaque physicality of our own turn of the century electronics: Steampunk is hard at work trying to turn Bill Gates into Isambard Kingdom Brunel.

Until now, Steampunk has been a somewhat tribal affair, developed by cyberpunk geeks intent on beautifying their gear, a labour of love and tinkering. Well, Steampunk is finally crossing over into mainstream consumer electronics – I was wondering when – and with the support of The Long Now Foundation no less… It makes perfect sense. The Ulysse Nardin Chairman hybrid smartphone’s unique selling point? It’s powered by a mechanical thingy that charges its battery through the users’ movements, just like self-winding wristwatches do. And it looks pure Steampunk.

I leave you with a couple of Steampunk beauties, in the hope that I will get a few of you hooked onto the trend.

Laptop by Datamancer

Brass USB stick

Steampunk'd desktop computer

And of course the most spectacular of them all, Paul St George’s Telectroscope that linked London and New York, the twin capitals of Steam and Punk, in the summer of 2008.

The Telectroscope, London end.

For the Greenest Office, Buy Vintage. Buy Thrift. Recycle.

With all the hubbub about green products, the point that everyone seems to miss is that the greenest move of all is to buy used stuff. Variously called “vintage,” “thrift,” or “second hand,” its updated name might simply be Cradle-to-Curb-to-Cradle. Stylewise, there doesn’t have to be any trade-offs, as this clever new office redesign by I29, a young architecture firm, proves. All of the pieces were sourced from local flea markets in Amsterdam; they were then given a contemporary, oh-so-Dutch look using environmentally friendly spray paint. The design fits the client—an ad agency called Gummo—pretty well…

(from Fast Company)
Posted in consumer culture, design, iLike, vintage design ]]> http://bcndesign.narotzky.com/2009/06/07/go-green-shop-vintage-buy-thrift-recycle/feed/ 0 VN http://bcndesign.narotzky.com/2009/06/03/objectified-special-screening-in-barcelona/ http://bcndesign.narotzky.com/2009/06/03/objectified-special-screening-in-barcelona/#comments Wed, 03 Jun 2009 14:17:49 +0000 Viviana Narotzky http://bcndesign.narotzky.com/?p=517 ]]>

OBJECTIFIED, the new documentary by Gary Hustwit will have its official and only screening in Spain, next Thursday 4th of June in Barcelona. I wrote about this film in an earlier post, and I’m really looking forward to seeing it.
From the press release:

OBJECTIFIED is the new feature-length documentary by acclaimed HELVETICA director, Gary Hustwit. The film is about our complex relationship with manufactured objects and, by extension, the people who design them. Smart Design is featured in the film, along with many other top designers and firms such as IDEO, Dieter Rams and Jonathan Ive from Apple. If you are a designer or you have an interest in design, this movie is a must see. Furthermore, this will be a great occasion for the Barcelona design community to get together.

The film has been getting critic’s praise and audience’s applause as it has traveled the world in the last couple of months. You can get a little sneak peek by watching the trailer for the film here.

Don’t miss out on your only chance to attend the Spanish screening of this documentary.  You can buy tickets at the door on the day of the screening but limited seats are going fast you can buy them in advance here.

The screening will take place June 4th at Cines Alexandra, Rambla Catalunya 90 at 8pm. After the movie enjoy a talk with the film director, Gary Hustwit, meet Smart Design’s VP of Industrial Design and have a beer compliments of Moritz. There will be also an after-party later that night, to be announced at the screening.

One of the few annoying features of my iPhone is the question it asks every time I want to use its camera: “Camera would like to use your current location. ‘Don’t allow’ / ‘Ok’”. Being a bit of a surveillance paranoid I routinely ‘Don’t allow’, but thanks to the hundreds of thousands of people who do, and mostly, thanks to those who upload their pictures to Flickr and tag them, the researchers at MIT SENSEable City Lab have come up with a fantastic piece of data visualisation. In collaboration with Universitat Pompeu Fabra and the Barcelona Disseny Hub, they have developed Los Ojos del Mundo, with two projects based on pictures taken by both tourists and locals in Barcelona: Spaces of Diversity maps Britons weaving their path in Barcelona; and Spaces of Activity tracks photos from Barcelona with tags related to ‘partying’.

So, what do tourists go for? No surprises there:

Britons who visited Barcelona in Fall 2007 stayed on the beaten paths delimited by the city’s main elements such as Parc Guell and Sagrada Familia,  with Passeig de Gracia and Rambla acting as artery. The photos also confirm their pleasure for football (Camp Nou) parties (Forum) and the mediteranean sea (Barceloneta).

And what about partying?

tags related to “partying” in Summer 2007 shows that Barcelona confines its fun to the old town (Ciutat Vella) known for its high density of tourists, the bohemian distric of Gracia and the Forum area and its music festivals.

Spaces of activity (where are the parties?) from senseable on Vimeo.

The Osborne group has announced that it will stop using the black bull as its corporate logo. The Sevilla-based group wants to signal its shift from being mostly a brandy and sherry producer to its current emphasis on products such as water, fruit juices and Iberico ham. It has commissioned a new corporate logo from a Madrid design studio, which is still under wraps and will be launched later this year.

While the fearsome 14-meter high bulls will remain dotted around the Spanish countryside, they will be even further divested from meaning. One more nail in the coffin for this iconic piece of Spanish advertising design, created in 1956 by Manuel Prieto of the Azor agency. The first bull, 7 meters high and made of wood, went up near Madrid in November of 1957. From the early 1960s the bulls were made of metal sheet and were 14 meters high. By the 1970s there were more than 500 bulls across Spanish territories, not just on the Iberian Peninsula but also in the Canary Islands, the Balearics and North Africa.

In 1988, new national transport legislation makes publicity billboards that are visible from the roads illegal, and the word Osborne that was written in red across the existing bulls is removed. By 1994 the Spanish government wants to bring them all down, but many autonomous communities, municipalities and pressure groups fight to save them. In 1998, the Supreme Court grants them mercy, stating that the Osborne bulls have moved beyond their original advertising meaning, having become part of the landscape and a Spanish cultural icon.

The Osborne bull has also left an interesting trail of political associations. As an icon of Spanishness it has been taken over by the conservative right, and prompted the design of  an alternative animal national icon by Catalan nationalists, in the shape of the Catalan donkey. No Heritage listing in sight for that one!

It was also used by Spanish soldiers posted in Irak, both on the national flag and to decorate the barracks.

There are currently 97 bulls left. And now that they are one of the great stories of Spanish graphic design, declared objects of National Heritage, film icons (in Bigas Luna’s 1992 Jamón, Jamón, the bull shares screen time with Javier Bardem and Penelope Cruz),  Osborne wants to give them up, because they link the group too closely to its past as a sherry wine producer. Would Nike give up the swoosh? Would Macintosh give up the Apple? And all for the sake of branding bottled water and fruit juice?

La Vanguardia has a nice video with interviews of some of the donors who explain their relationship to the objects they have given. But I can’t embed it so go watch it here.

Fundación Signes is promoting a campaign to save old shop signs that are at risk of disappearing. They are encouraging people to send pictures and note the exact locations, and have started building an online collection which already has some beautiful examples. It’s a great initiative and a particularly urgent one in cities like Barcelona, whose obsession with urban face-lifts and modernisation is creating an increasingly sterile environment. My recurrent nightmare, after a few months back in Barcelona, is that very soon there won’t even be a stretch of pavement left that is older than a decade or so. What this city needs is a Campaign for the Preservation of Grime and Urban Patina.

Another wonderful ongoing online project is José Antonio Millán’s Abecedario Industrial y del Comercio, which showcases hundreds of images of letters taken from commercial signs around Spain (mostly in Catalunya). Millán’s selection showcases the best – and worst!- of anonymous design’s creative drive, highlighting letters that try to represent the objects and services advertised. A fantastic overview of outsider typography.

The research group Gracmon, Research Unit on History of Contemporary Art & Design based at Barcelona University’s Department of Art History, and the Fundació Institut Amatller, organise a symposium on turn of the century Barcelonese domestic interiors that will take place throughout the month of March 2009.

Here’s the programme:

Dimarts 3 de març

Gaudí i la superació de la tipologia residencial de l’Eixample: de la Casa Calvet a la Casa Milà

Joan Molet, professor titular d’història de l’art i pertany al GRACMON de la UB

Dimarts 10 de març

Les cases singulars de la “Mansana de la Discòrdia”: Casa Amatller, Casa Lleó-Morera i Casa Batlló

Santiago Alcolea Blanch, director de la FIAAH

Dimarts 17 de març

A casa dels poetes Apel.les Mestres, Alexandre de Riquer i Joan Maragall

Teresa-M. Sala, professora titular d’història de l’art i pertany al GRACMON de la UB

Dimarts 24 de març

Com s’hagués viscut al Park Güell?

Mireia Freixa, directora del departament d’història de l’art i pertany al GRACMON de la UB

Dimarts 31 de març

Audició íntima a les golfes de la Casa Amatller

Maria Luisa Muntada (Soprano) i Albert Romaní (fortepiano)

Lloc:

Casa Amatller

Hora:

19h

Preu:

Conferències i audició: 60€

Amics de la Casa Amatller i estudiant: 45€

Cicle de conferències: 30€

Informació i reserva:

Truqueu al telèfon 934 877 217 o amatller@amatller.org

Places limitades

It can’t be the weather. I don’t think it’s the nightlife, either. The food? I doubt that Batman and The Wheelman will be able to spare any time for tapas while they chase the bad guys down the dark alleys of the Gothic Quarter. But come March, they’ll both be in Barcelona doing their stuff, joining Vicky and Cristina in the latest trend of celebrity tourism: that of film, comic book and video game characters.

This recent spate as a leading city of pop-cultural narrative imagination marks a turning point in Barcelona’s steady climb towards global recognition. In the case of Batman and The Wheelman, these latest representations of Barcelona will reach an audience that might not care much about architecture, design and molecular gastronomy. And as the image of the city slips away from the tight controlling grip of its institutional and high-cultural minders, we might all be able to reclaim a more open, more complex version of our city – or drown in the endless rehash of half-baked Barcelonese stereotypes.

I told you about the video game The Wheelman in an earlier post. It’s the one where Vin Diesel trashes everything and everyone in sight in “exotic” Barcelona. It’s due out anytime soon, we’re being told, and while we wait with bated breath we’re being teased with a new trailer. What I’m really liking about this game, is that for once a global product that commercialises the “Barcelona Brand” shows us something other than the usual suspects. There are plenty of those (Sagrada Familia, Plaza Real, waterfront and palm trees), but thanks to the exacting requirements of the script, bursting with car chases and criminal behaviour, we are paradoxically offered a more realistic version of the city, which includes nail-biting ring-road action, dreary mass-housing neighbourhoods, dusty parking lots and abandoned construction sites. Now there’s a Barcelona I can recognise!