Archive Page 2

Pour

The teapot is timeless
cream,
$56
extortionate
neutral
compatible with anything
anywhere,
anywhen.

Comfortable in the uncertainty of an empty shelf
of unmet companions
and unborn conversations.

This first earthenware brick
of the future I hope to build,
with the man I love
in this over-brewed city;
the overwhelmingly
too bitter,
too sharp,
too much.

Unboiling under unwavering eyes,
steeping
the anticipation

of Irish Breakfast
Sunday mornings
and Thursday evenings
of
warmth
relaxation
and the New York Times.

the Lady Greys
of
elegant
social
occasions.

The Russian Caravans
of
good friends
gathering.

Anticipating
the day
when I have enough company
to put away my single tea-bags
in single cups
for good.

Its generous curves
pregnant with possibility,
filling, drip by drip
with futures
as solid as vapor
and tea-leaf prophecies.

A cresting wave
frozen,
a surge impending
through my life
clearing my debts,
cleaning the subways,
renewing the streets.

But for now,
It sits,
silent,
lonely
and waiting.

Deconstructing the Black Swan Posters

Before the release of Darren Aronofsky’s newest movie ‘Black Swan’, a number of creative posters were released to great acclaim. I remember the first time I heard about Black Swan when my friends began linking to the posters and saying how beautiful they were. They looked more like theatre posters than movie posters, which are generally not illustrated. Though perhaps because of their success and critical acclaim, more creative posters like these will be created.

The posters were clearly inspired by Russian Constructivist and  done colours associated with era- red, black and cream.

El Lissitzky was one of the pioneers of the Constructivist movement in Russia. The shapes of one of his most iconic pieces ‘Beat the Whites with the Red Wedge’ are used in this first piece. The shadows give it the style of sprayed paint. The haunting face is very theatrical.

The repetition of the dancer’s arms is reminiscent of the repetition used in photo montage. The side profile, and hands in silhouette are important symbols of Constructivism.

The final poster uses typography influenced by the era. There are now digital typefaces available in that style such as P22 Constructivist Square

I found this poster from the 1932 movie Red-Headed women which uses a very similar aesthetic. She certainly looks fiery.

The Constructivist era is one of the most referenced art periods. In 2005, Franz Ferdinand released ‘You Could Have It So Much Better’ and spurned conversations about whether the cover was a homage to the era or a direct rip-off.

What do you think?

Not Too Quiet on the Western Front

I’ve noticed a slowly growing trend of graphic design that is clearly influenced by the wild west. Worn typography is being used everywhere, usually in browns and reds. Faded paper, like the kind you would make as a child by staining it with tea, is also very common. And, of course, the cowboy archetype has been popping up too. Could it be that cowboys are the new vampires?

The popular HBO show Deadwood is also probably a big influence, though perhaps less so than the release of True Grit in December 2010. I really hate the true grit poster. It is so bad that I still wonder if it’s meant to be ironic.  The little pointing fingers look like MS clip art, the gun shot and blood looks like a stock photos.. I don’t understand it. The Deadwood poster on the other hand is gorgeous. The unusual composition is beautifully photographed, multi-layered with perfect typography.

The new ATP promotional material is a good example of something completely un-Western adopting this aesthetic. It uses the same condensed stacked type that True Grit uses, though the letters are worn and faded to appear like a hand-rendered print.

If you’d like to create your own designs, you can use these free Western fonts! They’re a little tacky but with such great names as ‘Bleeding Cowboys’, ‘Rustler’ and ‘Should’ve Known’ how can you say no?

Need more proof that cowboys are the new vampires for hormonal teens? Check out what is #16 in the Billboard 100 this week:

Luckily, I have lots of friends who are much more fashion forward than me who informed by that the catwalks of this year’s New York Fashion week also was brimming with wild western style, including Ralph Lauren’s collection. Derek Lam and Betsy Johnson have also been doing their own homage to the cowboys. Not everyone is a fan though: writing for the LA Times about Lauren’s new collection, Booth Moore said:

“The heavy-handed Western accents — oversized steer-head belt buckles, lacey blouses with leg o’ mutton sleeves, and a rodeo’s worth of leather and fringe — took this collection dangerously close to looking like something out of the wardrobe department of a big-budget Western.”

You be the judge, but I suspect we’ll see a lot more of these types of designs, in both fashion and graphics, in the comings months. I’ll keep you posted!

Sushi Staplers to Matryoshka Measuring Cups; An Adventure through Urban Outfitter’s Design Sensibilities

The rate of inventory turnover at Urban Outfitters is about as quick as any fast food chain. Therefore, it can sometimes difficult to comment on the product’s design sensibilities. But the store’s ever-changing nature is indicative of its entire approach to design. Urban Outfitters store sells mid-range priced apparel, home wares, books and music to trendy, middle class, young adults. Urban Outfitters is the epitome of post-modernism. Though it offers an almost unlimited choice of styles and products, certain characteristics are constant in everything the store sells.

On its website, Urban Outfitters is explicit about its desire to “understand our customers and connect with them on an emotional level” so that that “the customer feels an empathetic connection to the brand and is persuaded to buy.” The store’s objects are designed to engender a sense of empathy on behalf of its consumer base by creating nostalgia for decades as recent as the 1990s with t-shirts adorned with images from 90s cartoons, lego accessories and photo books of 90’s album covers. Humor, unqualified referencing, re-appropriation and pastiche are all running threads through the store’s product line, all of which appeal to their target market.

The merchandise changes because the customer base also changes as Urban Outfitters are always targeting the same 18-25 demographic. The store is an embodiment of the ‘early adopter’ consumer. It is fickle; it embraces trends quickly, and then drops them as soon as sales begin to dwindle. In this regard, objects are trendy, go in and out of fashion and are seen as disposable. The store will fully adopt whatever motif popular at the time. For some strange reason, this month’s motif seems to be owls. (More about the owls later.)

As expected, the Urban Outfitters apparel department is subject to this ever-spinning circle of fashion more than any other area. Along with the most cutting edge trends; currently chunky knits, native American motifs and metallic ‘jeggings’, customers can find almost anything; from floral dresses, to Led Zeppelin t-shirts, to cowboy boots and everything else in between. The store re-appropriates older fashions trends and regurgitates them with a winking inauthenticity in the name irony, retro appeal or faux bohemian sensibility. Vintage styling is popular, but a lot of new clothes are simply given the look of vintage, with faded t-shirts and jeans particularly popular. Clothing is often paired in strange or unusual ways, with a mannequin in a sequined 1920s flapper dress and a motorcycle jacket – equal parts Joan Crawford and James Dean.

There are entire sections within the store that can only be classified as miscellaneous, the kinds of objects you might find in a gadget store designed for middleclass young adults. Objects here range from anything from mp3 players to stationery or photo albums. Every part of the globe is showcased in strange ways from sushi staplers to represent Japan and matryoshka measuring cups representing Russia. (I have no idea if the constant alliteration is intentional but I suspect it’s only a coincidence.) The gadgets are often witty and lighthearted, and often play with scale like the stag’s head or toothbrush. There are also owl stashboxes, owl ornaments, wooden owl frames, knit owl wine bottle cosy, owl lanterns, owl umbrella stand and owl cookie cutters for the owl lover that (clearly!) must reside in all of us.

In the gadget section, analogue is king. The store is decorated with Lamography products such as the Holga and Diana cameras and Polaroid pictures. Even if the object itself is technologically advanced, it is still disgusted as analogue, such as the mp3 player designed to look like a tape player. This nostalgia for such a recent past is unusual but is part of Urban Outfitters desire to form an emotional connection between their products their 18-30 target market.

Urban Outfitters have re-skinned and consumed a number of underground movements and long-expired subcultures – cowboys, pirates, punk and white trash to create a number of consumer items. Every reference is for the taking, to be altered and sold. Among a pile of objects, I found both an Anna Sui faux-Victorian hairbrush and plasters designed with 60s pop art patterns with Internet slang like ‘LOL’ and ‘WTF ; )’.

Urban Outfitters often receives complaints from different community groups, using by keffiyehs as fashion accessories and selling ‘Dress Up Jesus’ fridge magnets, offending the Jewish and Catholic community, respectively. But despite these few controversies, most would argue that Urban Outfitters has lost its edge and become more suburban than urban. There are expletives, like slut, pimp and bitch, on everything from plasters to plates but this feels more desperate than edgy, though this is perhaps because I am leaving their target demographic.

Downstairs in the home wares section, John Tenniel’s Alice in Wonderland illustrations from the late 19th Century on plates sit on the table next to the same plates covered in wacky bright contemporary illustrations. (The illustrations are mostly of owls, of course) I’m sure design purists would be disgusted at the unusual pairing, but there is no disjuncture here because nothing makes sense alongside anything else. That’s the whole point.

In Urban Outfitters, The Simpsons, Family Guy and beyond, from the self-referential to references within references, our relationship to original sources is being obscured and slowly diluted. Many designers, design critics and visual historians are concerned but I suspect the vast majority have either not noticed or don’t care. I am not of the mindset that Urban are bastardizing these objects or find these amalgamations offensive. If anything, they are what make Urban Outfitters so quintessentially post-modern. It is the strength of a young adult growing up in a media and image saturated world that the majority can look at an object and instantly grasp, or at least filter through, all the simultaneous references within it.

Urban Outfitters understands the youth market; it knows that no twenty year old is looking for a teapot or t-shirt to last them a lifetime. Despite some increased environmental awareness, younger generations will always want trendy, disposable items. Even though I have almost left their target age group, I can’t help but love browsing through Urban Outfitter’s haven of sillyness because above all, it’s extremely fun.

While My Guitar Gently Weeps

It transitioned from my guitar to the guitar within a matter of months. Six years ago, I zipped it up into its cheap soft case and it hasn’t been removed since. The only reason I know that there is still a guitar there is that when I accidently knock it, when moving stuff in the spare room, a slightly smothered but still surprisingly loud sound vibrates out of it.

My brief spell with music began late, when I was 16. With hormones racing in typical teenage fashion, I instantly fell for my guitar teacher. I could feel his eyes on me as my nervous sweaty fingers slipped childishly along the strings. I practiced everyday for an hour, sometimes more. But often I would lie and say I had done very little practice, thinking that acting indifferent to my guitar playing was less embarrassing than admitting that I had tried and failed. He assured me that my fingers would build up a resistance to the steel strings, but I watched as calluses formed on my finger tips and subsequently fell off leaving even softer new skin.

I’d watch in envy as friend’s fingers would dance along the fret board effortlessly and I’d recall my frustration the perpetual ticking of the metronome as I tried to grasp basic scales and rhymes. They could strum effortlessly, lost in music and play without thinking. I, on the other hand, agonized over every chord, awkwardly stretching and twisted my fingers to make what felt like impossible chord configurations.

The zipped guitar bag is a closed casket containing my often angst-ridden, embarrassing adolescence. It represents old crushes and old musician boyfriends. It represents what I perceived as failure on my part to never become the cool, strong Joan Baez-type character that I thought I could only become by mastering guitar playing. The poor fashion decisions, terrible “nu metal” music all build up a picture of who I was during my teens. I’ve thrown out or lost numerous photographs of this era, but the guitar is still in my house, too big to simply lose or throw away.

We surround ourselves with the things and memories we love; souvenirs, family photographs, old ticket stubs and books. But it’s interesting also to examine what we have locked away as they give us to get a fuller picture. Everyone tries to construct a version of his or her former selves through selecting, editing and often falsely writing history. Though perhaps in the future, we will no longer be able to hide away pictures of embarrassing haircuts as everything will be tagged and archived in the online representations of ourselves. Maybe you won’t be able to move to another city, escape your embarrassing and your little online avatar will follow you wherever you go, whether you want it to or not.

Finding the Light; Limelight’s Church to Capitalism

A building’s structure creates certain expectations. A 50-story glass curtain wall building conjures up ideas of the office work that must go on inside. Conversely, a small country home invokes ideas of domestic life. A church, particularly one in the recognizable Neo-Gothic style, has a structure so iconic that nobody, religious or not, can mistake it for anything but a place of worship. When I first came across the Limelight Marketplace at 656 6th Avenue at the corner of 20th Street, and saw inside not an altar and pews but an array of shops, I was quite taken aback.

Originally called Church of the Holy Communion, the architect of the church was Richard Upjohn, who famously designed the Trinity Church in downtown Manhattan. In the 1970s, the church was deconsecrated and re-purposed first as a drug rehabilitation centre and later as a nightclub, which ironically became notorious for drug use. In May 2010, the building was re-purposed yet again as the Limelight Marketplace. Developer Jack Menashe hired a design team lead by James Mansour to transform the building into a three-story indoor shopping space based on European modes of shopping. It is now called “A Festival of Shops” and features over 60 specialist boutiques selling apparel, accessories and gourmet food.

If John Ruskin, who attached strong moral ideas to Gothic architecture, had seen this church’s reincarnation, there is no doubt that he would have been disgusted. I originally attempted to critique the Limelight Marketplace’s re-design by how tastefully and respectfully have they considered the architecture while the transformation was conducted, without too any religious or moral associations. But, even though I am not a religious person, I found those aspects are impossible to separate. Its former purpose as a church completely informs how the interior is read. The interior’s overly glossy atmosphere not only seems overbearing, which isn’t in keeping with their goal to feel like a European market, but becomes particularly uncomfortable when your consider it as a former place of worship.

The Brownstone exterior still has all its recognizable Gothic features intact: stained glass windows, lancet windows frames. The only exterior adornments are the black and white cloth signs that hang from the building and an 8 inch plaque right of the door. Jack Menashe had sought 13 signs for the exterior but the city’s Landmarks Preservation Committee allowed only 8. This restriction might explain the two enormous free standing signs, each featuring one half of the site’s logo, placed on the sidewalk on both sides of the door. The circular logo’s pattern has a flower-like pattern has taken been taken from the window above, so before I even entered I expect that the marketplace is using the building as a unique sell-point, instead of trying to ignore it.

Customers enter through the original pointed red wooden door, where a layer of pearl white has been painted on the inside. This white paint is the first indication of the gloss that has been applied throughout the building. Through this door is an alcove with the first of many decadent chandeliers inside the building. The store’s floor plan hangs on the wall to the right. This means there is a large extension on the left-side of the church, which now houses the food emporium. The rows of stores are laid aside both sides of the church and a collection of shoe and candy stores at the back. The two upper levels, which include jewellery stores and spa area, protrude over all these stores like large balconies. These levels are accessible by narrows stairs at the rear of the church. The food emporium is not visible from the main entrance but begins behind the candy store and continues through to an extension on the left side of the building. Gothic churches are typically laid out in a cross shape but the church’s first reverend, Rev. Muhlenberg asked Richard Upjohn to include design elements that were more in keeping with Roman Catholic churches so this extension was added.

A shiny black and white marble floor begins in the alcove and continues throughout the ground floor in a checkered pattern. A long red carpet has recently been added for the holiday season, either to give it a more “Christmasy” feel or to make customers like celebrities. The first thing that strikes you upon entering is how bright the interior is, quite a feat considering churches are notoriously dark spaces. The large lights hanging from the ceiling and banisters decorated in fairy lights reflect off the Gothic features that have all been painted a bright white using the same white pearl paint on the front door. The ceilings have been kept dark to contrast with the glossy white Neo-Gothic flourishes but also include some sections of hot pink making the interior look like a Barbie’s Dream Church. There is a collection disco balls hanging at different levels from the centre of the ceiling, perhaps recalling its former status as a disco. There is an abundance of chandeliers throughout the space, which begin to feel quite excessive as you move through the interiors.

As you walk through the nave, down what would normally be the church’s aisle, there are a number of high-end boutiques selling perfumes, soaps and books to your left and right where there would normally be pews. Each store is encased in its own arched frame, either in white or light pastel. The building’s overly glossy finish is in conflict with its goal to appear like a traditional European market. The interior basically has a suburban mall aesthetic, albeit on a smaller scale, within a church casing.  The interiors generally improve as you move away from the centre. The ‘Le Pain’ cheese shop at the back of the store, past the now-candy covered transept has darker interiors, red brick walls and exposed wooden beams, and feels like the most genuine representation of a European market within the store. The Gourmet Room has a cream tile floor and less sparkling chandeliers and thus feels much less over-bearing. The ugliest part of the interior is the stairs at the back of this food court that lead to Tina’s Attic where the revolting lime green exposed brick wall and an enormous orange sign surrounded by Las Vegas style lights.

A bright array of candy in every color, shape and size, attracts you under a pink jellybean encrusted arch and inside the It’Sugar store at the apse of the church. It is difficult to tell if this was an intentional decision to place a candy store at the back of the church where the congregation would normally receive the host or ‘body of Christ’ during a church service, but I find it surprising that nobody thought to point that out. The art deco-style frame surrounding the store is topped with a large ‘S’ with a wings and devil horns pattern extending out of it which is not only a cliqued logo design, but inappropriate considering its setting.

As I begun to ascend the first set of narrow stairs to the upper levels, I was distracted by some artwork hanging in the Orbit Gallery Space in my eye line. The “Heavenly bodies” collection featured four pin-up girls with Bettie Page hairstyles, huge breasts in animal print bra and knowing, seductive stares surrounded in a flames motif. Hang on, the flames of hell and half naked women in a former church? Heavenly bodies? Surely, this is not a coincidence. I don’t condone artistic censorship in a gallery setting, but there is something in this juxtaposition that I feel goes beyond the realms of taste. And the piece itself is cheap and tacky enough that I cannot defend it on artistic merit.

Design is not just about decoration, it is also a curatorial process. Because the Limelight Marketplace’s planners had very little control over the building’s exterior and layout, the decisions made about the interior become increasingly important. The white painted arches clash with the historical stained glass windows. The Hunter shoe store wall has kept the original stone carving detail and uses it as decorative element to emphasis the shoe rack. For most of the stores, their position in the church is like a decorative gimmick they enjoy referencing through their logos, products and layout, which if it isn’t inappropriate, it is at least tacky.

You can landmark a building’s structure but you can never “landmark” its function. Is it acceptable to have a market in a Catholic Church because churches have traditionally held markets on church grounds? Would a shopping mall be appropriate in a Synagogue? Would a sex shop be appropriate? Since now repurposed churches are becoming increasingly common, it is worth reflecting if there is ever a line that can be crossed in regards to appropriateness.    This is an ethical or a taste issue more than an architectural issue so I can’t give a definitive answer for every person. But for me, Limelight’s glossy white painted Gothic arches, tacky stores and inappropriate choices are irksome and often cross that line.

Why White Is Wrong

There is a small collection of books that I gathered from the library. They are vary in subject, but have one thing in common: they all have white covers. Actually, they have two things in common: they’re all white and they’re all wrecked. When will designers learn that a pure white book cover is a bad idea?

At an earlier point in its life,  ‘Designing Design’ by Kenya Hara looked wonderful, with its white cover and sexy embossed type.. But now look at it! Though I guess the stains do make the typography stand out more.

Granted, this is a library book so generally it get more use than books in someone’s home. But, in my not so humble opinion, books are meant to be used. I am careful with the books that I own and read but I still carry them in my bag where they risk being stained by make-up and read them without gloves where they risk being worn or dirtied by my finger tips. Unlikes this picture suggests, we don’t all live in gleaming MUJI showrooms and leave  our untouched books in the middle of the floor..

Designing Design does come with a dust jacket to prevent the book from staining. But why spend so much time and effort embossing the type is it is just to be hidden?

Poor Robert Mapplethorpe isn’t holding up that well either.. Even the title along the spine is beginning to wear off..

The winner in the white book cover category is certainly ‘Less and More: The Design Ethos of Dieter Rams by Klaus Kemp. The glossy plastic cover is not simply a dust jacket but the entire book cover. The glossiness prevents most stains. It is also an excellent book about an excellent industrial designer – one who inspired most of apple’s designs – so I highly recommend that you purchase a copy for your design book shelf! I can guarantee that it won’t get ruined.