3,515 Plays / 123 Likes / 43 Comments
Assembly of the centrepiece, showing the transition from the savoury course to the dessert course. The surtout or centrepiece first appeared in France around 1700. As its name suggests, it was the centrepiece of the table display. Called a ‘machine’, it had a double function. As well as candlesticks, it included a tureen and cruet stands for the service of the savoury, and caster stands and dishes for dessert. Featured in the V&A exhibition Baroque: Style in the Age of Magnificence. Art Direction: Land Design Studio Filmed by Mara Colombo and Simona Piantieri By courtesy of Leeds Museums and Galleries (Temple Newsam House)+ More details
2,992 Plays / 82 Likes / 24 Comments
Liturgical objects from the Chapel of St John the Baptist in the Church of São Roque, Lisbon, as used in the traditional Mass. Featured in the V&A exhibition Baroque: Style in the Age of Magnificence. Art Direction: Land Design Studio Filmed and edited by Mara Colombo and Simona Piantieri By courtesy of the Santa Casa da Misericórdia de Lisboa / Museu de São Roque+ More details
22.8K Plays / 617 Likes / 18 Comments
The Victoria & Albert Museum commissioned me to create an interactive installation as part of their activities around the Cult Of Beauty Aestheticism exhibition. Keeping William Morris as a loose source of inspiration, as well as addressing the museum's upcoming Power Of Making collaboration with the Crafts Council, I proposed to create a modern, stripped down interpretation of his pattern work mixed with classic islamic/indian geometric influences and then realised this project using different digital fabrication techniques. The result is a Victorian-esque, ornamental, laser-cut, 2-panel room divider, covered in 620 hand folded paper cones, mounted on the front surface as projection canvas. Visitors can create their own pattern using an iPad hidden in a small table (also laser-cut) standing nearby. The generated tiling pattern is based on a central octagon surrounded by other polygons (4,5,6,7-gons). It forms the guiding topology for both the panels and the table. I developed a number of small software tools to create the tessellations by dissecting these polygons into symmetrical smaller shapes. Using several levels of symmetry, only 18 unique shapes are needed to create the full pattern. These are then arranged, unfolded and used to generate the cut paths for both the paper elements as well as the MDF frames. The paper cones were designed in such way that their elevation varies with their distance from the centre of each parent polygon, thus creating a secondary superimposed pattern in the relief of the tessellation. All of the paper shapes were fabricated by myself using a Craft Robo cutting plotter (and 200+ sheets of paper). The room divider was manufactured by Metropolitan Works on their large-scale laser cutter. All color palettes which can be interactively applied to the polygons via the iPad UI are sampled from Morris' original wallpaper designs. Also see the full 270+ images flickr set for this project: http://flickr.com/photos/toxi/sets/72157625980878617/ The next installation period will be during London Design Festival (23-25 Sep). Also, if you'd like to commission me for similar work do get in touch! Credits: Concept, Design, Code: Karsten Schmidt Commissioned by: Victoria & Albert Museum Laser cutting by: Metropolitan Works, Cut-Laser-Cut Photography: Giedre Kaubryte-Schmidt Music: Vessel by (the venerable) Jon Hopkins - do buy his album!!! Links:  http://postspectacular.com/  http://www.vam.ac.uk/  http://www.metropolitanworks.org  http://www.cutlasercut.com/  http://manomine.net/  http://www.jonhopkins.co.uk/ | http://soundcloud.com/jonhopkins+ More details
46.4K Plays / 690 Likes / 15 Comments
Every company makes the same design with dark brown wooden housings. They called that in Germany [unclear]. It’s always a compliment when some products you have designed become a nickname, like the ‘Snow White Coffin’. Nobody knows exactly where it’s coming from, it comes from the competition or it comes from the inside. The first thing was not only the cover, it was only the base, the main base in metal. I was influenced by my grandfather who was a carpenter and he was a specialist with surfaces. I learnt that from him, but I had in mind to study architecture. After that I finished my studies. That was a time where in Germany there was nothing, so things come back from the United States, for example, with architecture – there’s things from … Gropius, from Marcel Breuer – all these things come. And it was for us just to look in a New Brave World. Somebody said that there is an announcement in the newspaper that there’s a company called Braun. And then I get an answer from Braun – I met him first and he told me about his ideas. His vision was to change the product line. It was at this time unbelievable – totally new approach as a company. But that was the thinking behind it - it was not only concentrated on design – design was one part. In the company there were possibilities that people could have things because even secretaries doing always the same things the whole day, they need something to stay healthy. The first exhibition of the new design of the radios was very successful. The media and everyone was surprised about that, so Braun became more known. Nobody had this idea that by the help of design, you also could be very successful. I did it because I became a teacher at the Academy of Fine Arts in Hamburg, so it was necessary to do something which you could tell the students and could tell to the press and also to keep together our own behaviour in the design department at Braun. The last one was as little design as possible, which is a similar lesson. I hate everything that is driven by fashion. From the beginning I was hating in the 60s the American way of styling, especially cars. They changed their styling things every 2 years and designed new ones which is nothing to do with good design. So at the end of the 60s the whole programme was looking like that. In the beginning were the first writing machines. It was also monochrome – why should it not be in a colour? It’s a difference between a kitchen machine that stays permanently in the kitchen and has to be in the background like … it was thought our products should look like an English butler – be there when you need them, but in the background when you don’t need them. So it depends on the product to make it colour or not. I was involved always and still in the field of furniture. And then I met Otto Sap and Nils ??? I had in my mind always thinking not one blinds alone but always thinking how can I add something? Specially developing furniture - people could change them, they could add something after using them a while. Somebody has written that I am the designers’ designer – I take that as a compliment. I also take it as a compliment that ??? is taking some of the ideas I had in the 60s and that is for me, again, the best compliment you can get as a designer. They called it later the first Walkman because it was the first one you could have with earphones and walking with it. It was also designed as a system – separate radio. They made an exhibition with the and they make this poster. I think that design has a great, great responsibility for the future. I am always optimistic – as a designer you have to be an optimist, otherwise you should not stay as a designer any more.+ More details
5,738 Plays / 66 Likes / 9 Comments
Elements of the Traditional Latin Mass performed at the Lady Altar in the London Oratory Church. Featured in the V&A exhibition Baroque: Style in the Age of Magnificence. Art Direction: Land Design Studio Filmed by Mara Colombo and Simona Piantieri By courtesy of the Fathers of the London Oratory+ More details
63.5K Plays / 474 Likes / 7 Comments
The Thread Wrapping Machine is a tool to join different types of material with only a glue-coated thread to bond it. No screws ore nails are used to join the different components of the furniture’s. By using this construction method materials such as wood, steel, ore plastic can be joined to form objects and spaces. I wanted to create an externalised joint that would enable me to combine a big range of different materials that normally would require very time consuming methods of jointing them together. At the same time a decorative pattern appears with the different colours of the thread. More info and images of the project: http://www.antonalvarez.com/The-Thread-Wrapping-Machine-making http://www.antonalvarez.com/The-Thread-Wrapping-Machine Photos by Märta Thisner+ More details
6,288 Plays / 209 Likes / 5 Comments
Dieter Rams, one of the godfathers of 20th century Design gives us an insight into how he almost single-handedly revolutionised the look and functionality of Braun's electronics, and how that has been vicariously passed down to contemporary Apple designer Jonathan Ive. Dir: Tom Haines Camera: JP Gossart Editor: Julian Eguigeren Music: Mike Lindsay+ More details
8,956 Plays / 51 Likes / 5 Comments
Recreating a figure from a Chinese painting in the gongbi style. Gongbi paintings are characterised by meticulous brushwork and highly coloured palettes. Chinese ink is made in a solid form, and needs to be ground and mixed with water. A full-size line drawing, known in Chinese as huago, is made on paper with a brush and ink. The outline of the figure is carefully drawn. A piece of silk is selected for its weave and texture. Raw silk is non-absorbent, so it needs to be treated in a process called sizing. A solution of glue and alum is used to make the ink pigments stick to the silk. The ratio of glue and alum must be carefully balanced. Too much alum makes the surface difficult to paint, but too little means that pigments will not adhere properly. The solution is spread with a flat brush. The silk is stretched over a board or stretcher with paste. When the treated silk has dried, it is ready for painting. The silk is placed over the drawing and the lines are carefully traced with ink. The artist can change the weight of the line by varying the pressure. Because silk is thin, colour needs to be built up through a process called tuose. An even layer of paint is applied to the back of the work. White pigment is usually used. Darker pigment is used for the dark areas. After the paint on the back has dried, the front is ready to be painted. First a base layer is painted. Colour pigments are prepared one by one. The painter carefully fills in the smaller areas. Two brushes are used to create colour washes. Layers of light wash are applied over painted areas until the artist gets the right tone. The process of building up colour and creating the right tone is painstaking and can take a long time. Fine details such as facial features and clothing patterns can now be added. The figure's outline is accentuated with black ink or colour for the final time.+ More details
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