A beautiful Navaho Sand painting from the southwestern region of USA. Pueblo peoples settled there more than 2,000 years ago. The Navaho was migrated from the Northwest 600 years ago.
Canadian graphic designer, illustrator Marian bantjes is a speaker at the TED conference in Long Beach today. I wish I was there. worked as a book typesetter for 10 years (1984–1994), marian bantjes had a deep understanding of typography. Her innovative hand work, patterning and highly ornamental style made her “one of the most innovative typographers working today,”. Check her blog www.bantjes.com
Below is a lecture she did two years ago in Walker Art Center, Minnesota.
In China, EXPO 2010 Shanghai is another big event after Olympic game. Here is an evidence that the spotlight has moved from Beijing to Shanghai. Check the THE POLISH EXPO 2010 EXPOSITION PAVILION website
Here is the project concept quote from the site.
“In the contemporary world with its abundance of visual experience, with the pictorial language of communication reigning supreme, with the almost unconstrained and instant accessibility of iconographic material, an exposition piece of architecture will only be attractive insofar it can offer perceptual sensations attainable only through direct, unmediated exposure to out-of-the-ordinary, singular stimuli, insofar it can provide a quality of experience born out of the chemistry of inter-sensory stimulation. Given the nature of the exposition, the exhibition facility has to denote, by its esthetic distinctiveness, the country of origin, has to constitute, by the strength of its stylistic connotations, an evocative, recognizable and memorable cultural ideogram. In our design, the cultural idiom is primarily conveyed through the theme, the motif of folk-art paper cut-out. Or, more precisely, through a rendering of the motif, a transcription of an elementary esthetic code into the contemporary language of architectural décor. The transcription rationale was twofold. First of all, we did not wish the design to be literally folklorish, a mechanical multiplication of convention-approved set patterns. The intention was for the structure décor to draw on and make reference to tradition, but ultimately to be that tradition’s contemporary reinterpretation, a creative extension into the present day by way of inspiration rather than replication. Secondly, we aspired to make the structure in its own right, in a purely architectural dimension, a significant landmark, a showcase of Polish design achievements. That it should be an attractive, eye-catching exterior both in daylight, against the panorama of other Expo facilities, as well as a mesmerizing experience at night with the edifice drawn by the multi-colored light seeping through the cut-out patterns. And reversely, that it should provide inside visitors with comparable experience by shaping the outer skin patterning in such a way that the sun rays shining through would chisel, by light and shade, the space under the vault. The structure’s overall shape, with many slanting planes, on the one hand complements and rounds out, by the suggestion of a folded sheet of paper, the ‘cut-out’ narrative, on the other creates inside a geometrically intriguing and flexible space that can be creatively apportioned, by inner divisions, to different exhibition, performance and utility functions and uses. “