The Dead Sea Scrolls are immeasurable in their cultural and philosophical significance. Physically slight, fragile, and fugitive, the scrolls deserve display with an uncommon design sensibility—one that does not consider the quality of beauty as belonging only to the eyes. The Royal Ontario Museum’s Exhibits & Design Department based its design of the temporary exhibition on best communicating the context, content, and spiritual resonance of the scrolls.
Once perched above steel mills and heavy industry, Pittsburgh’s South Side Slopes grew to become the proximate bedroom community for workers in the South Side Flats. In defiance of the challenging topography, buildings and parks were dotted about the wooded hillside. Connecting them, if gradients were too steep for streets, were stairs by the hundreds that served as public rights-of-way. Today the mills are long gone, and the Flats are better known for a hip urban mix of shops, galleries, and entertainment.
Object Factory: The Art of Industrial Ceramics is a group show of modern porcelain design and artwork. The 200 pieces of inventive, highly varied objects are items of everyday use that have been artistically re-thought and manipulated.
Dois Tempos (Two Times) is the second in a series of typographical installations produced by R2 Design in the old Hermitage of Nossa Senhora da Conceição, in Belém (Lisbon), now in use as an art gallery.
With the goal of attracting new customers to the gallery, R2 developed a project that could also be integrated in ExperimentaDesign Lisboa 2009, an international design biennial. The biennial theme was “It’s about Time.”
Philadelphia’s Main Street runs through the city’s Manayunk neighborhood, an industrial mill town reborn in the late 20th century as a vibrant strip of restaurants, bars, condos, and nightlife. Venturi, Scott Brown and Associates relocated its office to Manayunk at the dawn of this renaissance. One of the architecture firm’s contributions to the life and excitement of the street is through displays in the two huge storefront windows that span much of the building’s ground-floor façade.
Inspired by Karl Lagerfeld’s new urban architecture and graffiti campaign, expressed in his downtown New York photographs, Chanel’s new SoHo store was wrapped with a “Wall of Light” as part of a three-day celebration of the city and the launch of the new Chanel store design in New York City.
Apologue (Los Angeles) designed a porous 140-ft.-wide by 10-ft.-high, L-shaped LED canvas and hired United Visual Artists (London) to collaborate on developing generative animations for Lagerfeld’s urban photography.
JWT, the international advertising firm formerly known as J. Walter Thompson, needed a comprehensive signage and graphics program for its recently renovated headquarters in midtown Manhattan. The most notable challenge was to create an easily navigable signage system for a space that takes up five floors and includes more than 100 public spaces. The system also needed to tie in seamlessly with the design of the new space, and to create unique identities for each floor and department.
Although store-window design is in itself a genre, an emphasis on selling merchandise often dominates the visual theme. To celebrate the Jewish New Year at The Jewish Museum in New York, the curator wanted to use the museum’s windows as a means to celebrate (and, in a way, advertise, the Jewish New Year). She requested something playful, but reflective of the educational mission of the museum and respectful of the building’s historic façade.