FROM JAPANWe all have experienced seeing our vegetables getting wilted in the refrigerator, which were full of water and energy when we picked them up on the market. But after a few busy days when we finally want to use the vegetables, we find an altered appearance. Lifestyle has changed dramatically in terms of economic situation and our life has become busier and busier. Naturally both wife and husband work and there is less “housewife” archetype who can spend enough time for shopping everyday. We all know how tasty it is to pick up vegetables from the market every morning and eat them, but this seems to be so called “daily luxury”. Also from the research data, more and more people are anxious about “lack of vegetables & fruits” in their daily life, they even take a smoothie instead of coffee on a daily basis, taking fresh vegetables is a big matter nowadays. Recently I found two interesting directions for refrigerators, which have been developed by two home electronic companies in Japan. On 18 March 1922, the company of FT light tanks took part in its first combat operation, during the Rif War. Ordered to operate with the Spanish Legion, the force was. APDR Article Library: All Articles. To search our article database, enter a title or search term in the space below and press the "search" button. How would you describe yourself as an artist? As an artist I treasure diversity and my broad interest and need to be socially involved are bringing me that. Boeing 787 Dreamliner; All Nippon Airways Boeing 787-8 landing at Okayama Airport: Role: Wide-body twin-engine jet airliner: National origin: United States. Durante el embarazo, las mujeres tienen que tener mucho cuidado con los medicamentos que toman, puesto que algunos de ellos pueden afectar al feto. Auxilia na hidratação e nutrição dos lábios. Com alta cobertura e cores duradouras. Mantém os lábios confortáveis, coloridos e com acabamento matte. The Waning Presence of Poetry in Society Throughout history, poetry has had a meaningful part in the methods we connect to one another. As a result of poems, we have. DGA certifies the new 32t variant that grew out of combat lessons learned. Oct 2/14: VBCI-32 qualified. The DGA certifies the new 32t base weight VBCI. Liquid Market Definition . The opposite of a liquid market is called a "thin market. Both companies focus on “how to keep vegetables fresh in the refrigerator as long as possible” but come up with totally different answers. HITACHI who is one of the leading companies for technology and social solution has introduced new technology for refrigerators. To keep the vegetables “young and fresh”, their idea is to let vegetables sleep in the refrigerator like the story “ sleeping beauty”. They have collaborated with HOKKAIDO University to develop the platinum catalyst which works functionally even in the low temperature and to disassembly the Ethylene gas from vegetables and make carbon dioxide gas out of it. It keeps the concentration of carbon dioxide gas in the space to let vegetables sleep and not loose their youngness, like a fairytale. If it would be compared with a fridge without this function, it will keep more than 9. The magic moment of sleeping beauty’s wake up is not by the kiss of a prince but when we open the refrigerator and eat. On the other hand, there is another trial to keep freshness of vegetables done by MITSUBISHI ELECTRICS. To keep the vegetables fresh they focus on changes in the sun’s rays of the day and imitate the sunray’s change by using LED light. Starting with 2 hours in the morning, they use 3 colors, blue, red and green, and 1. By making a change in the cycle of light in the refrigerator it succeeds in keeping the freshness of vegetables by utilizing the mechanism of photosynthesis. With the gentle smile of “sunshine” in the refrigerator, the vegetables continues to grow slowly as if they were still in the farm, and as a result, not only keeping freshness, but also succeeded in raising the amount of vitamins and sugar in the vegetables. From this new development, we can read two important messages for creation. Nature is a great resource for innovation indeed and also fantasy has another function to think about things differently, and it is this combination that is our human being’s creativity. Kaori Ieyasu - From Japan. Flying Saucer, Spring/Summer 1. Koji Udo« Never fully satisfied by his success, Issey Miyake has constantly taken his curiosity one step further, driving his teams mad with his constant and challenging requests. The story of his life has been landscaped by creative encounters with people from all other disciplines such as artists, designers, choreographers and photographers, feeding his thirst for knowledge. Rarely before has such creativity ever existed.” - Lidewij Edelkoort. Issey Miyake has consistently presented new methodologies and possibilities for making clothes, while always focusing on the future. It all began in 1. Miyake, a student at Tama Art University, sent a letter to the World Design Conference, which was being held for the first time in Japan that year. The letter took issue with the fact that clothing design was not included in the event. At that point, Miyake’s notion that clothing is not merely “fashion” – i. Miyake has always explored the relationship between a piece of cloth and the body, and the space that is created as a result, unrestricted by any existing framework. In addition, along with his team of designers, he persistently undertakes research and development to create clothing that combines both innovation and comfort. The exhibition « Miyake Issey Exhibition » sheds light on Miyake’s ideas about making things and his approach to design by examining his entire career, from his earliest work to his latest projects, and his explorations of greater creative possibilities in the future. This exhibition provides viewers with an opportunity to expand the boundaries of their thought and stimulate their creativity, allowing everyone, young and old alike, to experience the joy of creation. Using a single piece of cloth to create a piece of clothing is his main creative quest, but also an ethical choice. By doing so, in fact, he can develop new shapes, while enhancing the beauty and texture of the fabric and reducing its waste to virtually zero, in respect of the environment. As a result, the almost abstract forms that derive from a single piece of cloth free the body from any constriction, while reacting differently to different body shapes, making clothing truly personal, in an unfussy, immediate way. One room in the exhibition explores the main themes of Issey Miyake’s innovative drive and groups them in thematic clusters. A link unites them in a whole, however, because in the design studio cross- pollination is an essential practice. Fabric is pivotal: a maker of things, Issey Miyake believes that any material can be turned into clothing. He used Japanese washi paper, horsehair and raffia; conversely, he has rediscovered traditional materials. But he has also experimented special treatments giving surfaces an alive, animal look, as well as exploring futuristic fabrics, such as a polyester that is heat- cut and molded into shape with the aid of just snap buttons. Miyake has also developed treatments based on the idea of re- use, like the Starburst series which acquire a new look after the foil is pressed on the fabric surface, or the needle- punching that produces unique textures by laying layers of different materials. Pleats is a theme that crosses a large dent of the Miyake production. Working first with blends of polyester and natural fibers, then with a specially developed weave of polyester that can be heat processed, Issey Miyake turned pleats, one of the most ancient ways to wrap a three dimensional object with a two- dimensional material, into an expression of aesthetic pureness with a pragmatic aim. He developed a special process of “garment pleating”, which means that a piece of clothing is pleated after it is sawn, resulting in very sharp, defined lines. Pleats allowed Miyake the opportunity of working with shapes that laid flat have almost a purely abstract quality - a staircase, a circle, a flying saucer - playing with the space between body and clothing, but pleats and specifically the “garment pleating” process he devised, ultimately provided the solution to one of Miyake’s dreams to create clothing as universal as jeans and T- shirts, and allowed the creation of a whole new species of utilitarian clothes, at once inventive, sturdy and extremely practical. Freeing the movement was the aim, and in fact these solutions were first tested for the William Forsythe’s Ballet Frankfurt, and later introduced into the collection, finally culminating in the launch of PLEATS PLEASE in 1. The exhibition actively shows the pleating process as well, revealing the keen engineering that is required in order to pleat a piece that is already sewn. Making things: this is how Issey Miyake defines his activity. Wearable things, in his views, have to be made in respect of the individual as well as in respect of the environment. A- POC and 1. 32 5. ISSEY MIYAKE are the result of such convictions, almost thirteen years apart from one another. A- POC is a revolutionary process that Miyake developed with Dai Fujiwara in 1. Starting in knit, and evolving in wovens, A- POC is the one piece of cloth quest brought to levels of groundbreaking invention. Launched in 2. 01. ISSEY MIYAKE has been developed inside Miyake’s Reality Lab., a think tank cum design collective crossing boundaries and disciplines. Using recycled polyester as material and techniques inspired by the algorithms, a new breed of clothes is born: items that can be completely folded into flat, geometric shapes, and that only gain life through the body movements of those who unfold them and wear them. As such, this technology has been extended beyond clothes making: similar shapes made with the same folding technique characterize in fact the IN- EI ISSEY MIYAKE lamps made with recycled PET bottles. MIYAKE ISSEY EXHIBITION: The Work of Miyake Issey. March 1. 6 – Mon., June 1. The National Art Center, Tokyowww. MIYAKE ISSEY EXHIBITION: The Work of Miyake Issey - installation view at the National Art Center, Tokyo - photo: Masaya Yoshimura. MIYAKE ISSEY EXHIBITION: The Work of Miyake Issey - installation view at the National Art Center, Tokyo - photo: Masaya Yoshimura. MIYAKE ISSEY EXHIBITION: The Work of Miyake Issey - installation view at the National Art Center, Tokyo - photo: Masaya Yoshimura. MIYAKE ISSEY EXHIBITION: The Work of Miyake Issey - installation view at the National Art Center, Tokyo - photo: Masaya Yoshimura. MIYAKE ISSEY EXHIBITION: The Work of Miyake Issey - installation view at the National Art Center, Tokyo - photo: Masaya Yoshimura. MIYAKE ISSEY EXHIBITION: The Work of Miyake Issey - installation view at the National Art Center, Tokyo - photo: Masaya Yoshimura. MIYAKE ISSEY EXHIBITION: The Work of Miyake Issey - installation view at the National Art Center, Tokyo - photo: Masaya Yoshimura Nowadays, we can perceive the changes occurring in our society in many ways, from social issues to fashion. TALENTS Dutch designer Cox Janssens graduated last year from Design Academy Eindhoven. She has created things as long as she can remember: drawings, prints, comics, stories, poetry and songs. Her project . Instead of diminishing clothes, she turns their change into something positive. Textiles become more interesting through processes such as washing, surface friction and color change by sunlight. With this, the consumer is tempted to use them longer. What was your main inspiration for this project? The idea was born three years ago. I can feel very guilty and responsible towards things. The overall idea in society is that something looks best if it looks like new (with some exceptions of course). So mostly, traces make things less attractive. However, I realised that I could feel emotionally good if I saw traces of use on products, because it shows these weren’t made for nothing. That’s why I thought about creating good looking . As it’s the most important topic in design, it can feel heavy weighted and a lot of responsibility because we need to buy less and use things longer. This project can be an inspiration for both consumers and companies, to see that there are various nice notions of durability. It would be great to make this accessible for many people. Do you think the textiles of this project could be used for mass- production in the near future? I would like to develop this project further, make it easier to produce and super sustainable. To achieve that I need investors and partners from the industry, so unfortunately this will not be in the near future but I am working on it. Besides that, . Nevertheless, I hope some will see change as a quality; to make people dare to use it with pleasure. How would you describe yourself as an artist? As an artist I treasure diversity and my broad interest and need to be socially involved are bringing me that. Furthermore, I like to observe human behaviour, question norms and see paradoxes. In my work I use humour and make unexpected connections, to show different sides or positivity in something that is known for the opposite. I create better things through discussions with other people and highly believe in unusual collaborations between the creative industry and other industries. Whose work do you admire and why? David Bowie is a creative I admire because during a lot of experimentation he was still able to deliver qualitative, characteristic music. He was curious after other professions and unusual collaborations and used this for music videos and album covers. The inspiring thing to me is that you can be diverse yet . For this project I worked together with psychologists to create a set of cards that can be used as a conversation tool to talk about norms and desires around having children. I visualised about hundred motivations for having or not having children. The cards help to distinguish your own desires from those projected by outsiders. What are your plans for the future? I am now part of a starting up collective of designers and workspace for other creative people in Rotterdam: The Commune. It’s so interesting and exiting to see how collaborations evolve. I’m also curious to work with people from very different cultures. For me it’s important to keep on learning and that can happen everywhere. Nine van der Wal www. Joanne Tan. Joanne Tan is graduated last year from Central Saint Martins with her project . She questions and discusses the concept of beauty and today’s media beauty standards through jewellery. She’s interested in the interaction between humans and objects and human’s complexity. How would you describe yourself as an artist? Art and design are my way of going all out in self- expression. Thus, as an artist, I see myself as the one who creates conversation with or through jewellery; who gives new life towards jewellery and redefines what people would perceive as jewellery. Why is your project about celebrating natural features through enhancement instead of plastic surgery? Not Your Average Beauty collection is a project that I want to create conversation and discussion on the topic of beauty and plastic surgery. Through my design, I would like society to be exposed to an alternative form of beauty enhancement and rethink about what plastic surgery and what beauty is about. What does beauty mean to you? Beauty is a very dependent entity and heavily influenced by our surroundings. Human aren’t born with an innate knowledge of beauty. But, we acquire the knowledge of beauty through our cultures, societies and mass media. How much impact does your work have on society? I believe my work will kick start a paradigm shift on what society would perceive as jewellery and elegance. The reaction for Not Your Average Beauty collection is very subjective. People would either like it or not based on their personal perspectives. Can you tell me a little about the design process, how do you start your design and what’s your goal? My work is concept driven with topical approaches. Thus, I would first set a theme for the collection, followed by doing a wide range of research related to the theme in the idealization process. Ultimately, I want to create visual impacts, conversation and interaction through or with jewellery using minimal and subtle design. In an interview, you said you’re interested in human identity. In what way is this related to jewellery? Throughout history, jewellery has been worn not only to beautify our body, but also to communicate social status, identity and even to protect one from evil spirits and misfortune. When a piece of jewellery is worn, it visually communicates who we are, who we would like to be, what kind of social group we belong to and so on. It reveals information such as character, taste, cultural background, sexual preference, economic status and educational achievement. Above all these shape our identity. What’s your dream? People use technology and social media platforms as mediums of communication. My dream is for jewellery to be a means of communication, i. T’, what does the future hold for you professionally? I believe life is limitless, as in my journey as an artist and designer. I hope through various forms of collaboration, we could work together to learn and explore the unlimited. I personally am very excited to see what’s awaiting ahead. JOANNE. T Nine van der Wal. Joanne Tan. Joanne Tandesign wendy andreu - photo ronald smits. Wendy Andreu is a recent Design Academy graduate; she describes herself as a craft designer that communicates through the materials she is using. In her work she bridges matter, people and space and through her project . I found out that the latex could get stuck into the cotton fibers and therefore « glue » them together. By analyzing the property of the material, I concluded that this new fabric was actually waterproof and I naturally directed the function of it towards rainproof accessories. From this first sample, I developed a production system and a finally a collection and brand. The whole making process works with molds: all products are already shaped in 3. D, and there is no need of sewing machine to make them. Moreover, by coiling the rope around the mold in one go, there are no material leftovers. How did your background in . This school teaches students the traditional French craft heritage. There, I learned to have a good vision in 3. D, precise technical skills and an eye for quality. Some aspects of this education have remained strongly in my mind: as we were forging our own tools with a fire torch and a hammer, I designed my own tools - all laser cut in steel- to construct the . I also love all the little technical tricks that make crafts and techniques being so smart. And to conclude, I really enjoy the craftsman routine: spending time in an atelier, being physically active and focused, trying out different tools, making a mess, and having the greatest satisfactory feeling when all the products are finally done and the atelier is clean again. What fascinates you about designing materials? First of all I would say that I am a materialist and therefore, I like to touch and feel the matter. I like the weight, the texture and the smell of things. I feel connected to the materials because my senses can relate to them. I like the smell of Argon when I weld, the smell of sheep when I work with wool, the smell of latex when I work on . All these details give an atmosphere to my days. Besides this, I am seeking unexpected outcomes from common materials. I enjoy playing with their limits, or combine them to extract possibilities they haven’t given yet. When I manage to get a surprising effect, then I feel that I have achieved my goal. Can you describe your creative process? I am working hands- on most of the time, materializing the ideas I have in my mind. I barely draw on a piece of paper; I would rather sketch in 3 dimensions. I am experimenting a lot and try to be very open at the beginning of the process and then narrow my ideas in order to design towards a function or a purpose. Organization is something I find absolutely fantastic but I always keep a space for procrastination and spontaneity. An efficient process makes me have a strong satisfactory feeling. More than experimenting only with materials, I find value in designing processes. Next to this, I feel that inspiration cannot be always found at the museum or into books but everywhere in life. I like to see beauty in the insignificant things as much as in the spectacular ones. What is your inspiration for the project . In this way, the material gains value and is suitable for a production in series. All the metal molds are sustainable and can be used endlessly. I drew all the parts of the molds on technical drawing software. From there, it was a puzzle of trying to translate the shapes of our body from 3. D to 2. D and try to combine them in the most ergonomically volumes. The cap and the raincoat for instance, are the two products I designed with the raw shapes.
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