architect: rintala eggertsson architects
client: national art museum of china

'graph' by rintala eggertsson architects was developed for the ‘crossing: dialogues
for emergency architecture exhibition held at NAMOC (national art museum of china).

their concept was based on modular building blocks made from laminated wood with
a textile cover that provides insulation and waterproofing. these structures are easily
transportable and lightweight, allowing them to be easily assembled in disaster stricken

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looks like so much fun!! wish i was there to see it in person!!

If you’ve been inspired by yesterday’s Poor Man’s Porsche, but are feeling that recreating it might be a bit of stretch of your skills and/or patience, then you might like to consider the simple delights of bootlegging a design classic or two to while away a Sunday afternoon.

Slovak designer Peter Jakubik has hewn an impressively convincing Panton from a rather rugged looking log and—baring any awkward copyright disputes—intends to sell his sculptures for country cottages and gardens.

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Danish architect Bjarke Ingels rockets through photo/video-mingled stories of his eco-flashy designs. His buildings not only look like nature — they act like nature: blocking the wind, collecting solar energy — and creating stunning views.

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Shea Hembrey: How I became 100 artists

How do you stage an international art show with work from 100 different artists? If you’re Shea Hembrey, you invent all of the artists and artwork yourself — from large-scale outdoor installations to tiny paintings drawn with a single-haired brush. Watch this funny, mind-bending talk to see the explosion of creativity and diversity of skills a single artist is capable of.


created by israeli design lab dag, ‘flexible joinery’ is made out of a silicone casting over an inner metal skeleton.
adaptable to a range of unconventional configurations, the pieces provide a joining technique
that can be temporary and easily modifiable. the technology dates back to the 1950’s, with bruno munari’s ‘zizi the monkey’.
in dag’s rendition, the combination of the flexible material and the wooden beams creates visual contrast.

Shona Heath, 31, is a set designer and art director who collaborates with some of the biggest names in the fashion industry. She regularly creates wildly imaginative sets for shoots in Dazed & Confused and American and British Vogue, art directs the window displays for Christian Dior and applies her skills to advertising campaigns for such labels as Armani, Cacharel and Margaret Howell.

Simon Costin is an internationally respected set designer renowned for the conceptually ambitious nature his editorial and catwalk designs. He has collaborated extensively with Alexander McQueen on McQueen’s own line, Givenchy ready-to-wear and haute couture shows, including the amazing spectacle of models being showered in golden liquid on the catwalk. Costin’s client list includes Antonio Berardi, Chloe, Cacharel, Clements Ribeiro, Roberto Cavalli, Ruffo Research and the De Beers Diamond Presentation 1998. Costin has worked with Hugo Boss, the Boudoir parfum campaign shot by Nick Knight, Ferragamo’s Cinderella Ball and the New York Academy of Arts Tribeca Ball. He has had his imagery exhibited in many exhibitions at venues as diverse as Bergdorf Goodman, New York, The Royal Festival Hall, London and The Tomato Gallery, London.

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n 1972, franco vaccari (b.1936 modena, italy) set up a photo booth at the venice biennale as part of a work
entitled, ‘leave on the walls a photographic trace of your fleeting visit’, (1972). over five thousand visitors
complied with the work’s directive; having their pictures taken in the photo booth and fixing the resulting
strip of photographs to the wall. as the exhibition progressed, however, vaccari ran into some trouble with
the venetian police, who were concerned about some of the activity going on behind the photobooth’s floor-
length curtain. in order to curtail what they believed to be inappropriate behavior, the police took scissors
to the curtain, shortening it to a more revealing length.

for the gwangju art biennale 2010, vaccari has been invited to re stage this work, which is a kind of image-
generating machine that creates a visual history of its use and of the show itself, but which also relies entirely
on the participation of the viewing public and their willingness to donate an image to the gallery walls.
in this regard, the work can be seen as a precursor to the relational artworks of the 1990s, which focused on
creating works that remained incomplete without the direct engagement of the viewer. within the context of
contemporary culture, the work takes on a new set of associations in light of social networking and photo-
sharing websites, where users voluntarily share their images with a wide audience on an almost daily basis
- cultural development that would no doubt have been foreign to viewers in the early 1970s, but which is
now a prominent aspect of our image-saturated media environment.


designer joseph heidecker participated in the design performances series at design miami 2007 with an
interactive furniture project that used photos of visitors to create a new finish for a set of furniture. an on-site
photo booth allowed guests to pose for the camera after which they would submit their photos to joseph to paste
onto the furniture. the process resulted in a completely unique set of furniture that captured the essence of the
miami crowd, literally.

photographs by eric ray davidson