Posts Tagged ‘design’

“Contempo” – my term for the insincere faux-modern design style infecting our lives

Saturday, October 20th, 2012

There is a particular type of contemporary design that I deeply despise but for which there is no terminology. About six years ago, out of frustration, I started calling it “contempo.” It is a deliberately cheesy term for a cheesy aesthetic, an aesthetic of dumbed-down, cutesy faux-modernism. The made-up word “contempo” somehow had the correct sound—the idiotic, faux-Italian, marketing-ish, self-conscious jauntiness that this style cried out for.

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Orange ant in India

Thursday, February 16th, 2012

This ant, seen at a roadside restaurant near the border of Goa and Maharashtra States in India, appeared at our table the moment the condensation did. There’s a famous quote from Diana Vreeland that hot pink is the navy blue of India, but that’s equally true of orange—human, animal and mineral.

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1000 Words Manifesto on design by Allan Chochinov

Sunday, January 15th, 2012

I have nothing to add to 1000 Words: A Manifesto for Sustainability in Design by designer Allan Chochinov. To preface his manifesto Chochinov writes:

I don’t like the word manifesto. It reeks of dogma and rules—two things I instinctually reject. I do love the way it puts things on the line, but I don’t like lines, or groups.

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Dieter Rams, brilliant designer, brilliant accent

Tuesday, September 21st, 2010

Via Williamson.

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Interview with radical Italian design firm Poltronova on RoLu

Monday, July 12th, 2010

There’s a superb 5-part interview with radical Italian design company Poltronova on the thoughtful design blog RoLu. We’re currently at Part 4 and I’m looking forward to part five. Read parts one, two, three and four here. And see this related post on Wary Meyers.

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Omelette, Hotel Básico

Sunday, May 23rd, 2010

From Mexican design firm Omelette: “Mexico’s culture has been sculpted by its prolific natural world and its blessing/curse of petroleum.  Hotel Básico is an exploration of these twin mothers and their vastly undervalued aesthetics. Its furniture and finishes are not new, novel additions to the world, but reconfigurations of that which exists.  

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