The best of 2019

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The masters with Tiffany and company on one twenty four takes you on a journey to meet. Pioneers from the fields of design aren't fashion sport. Music and mole. Masters like read Cracow. It's something that you can't learn to do in six months. It's something that a lot of the people that are doing it. If spent ten twenty thirty years doing this and it's a true craft masters of diverse fields fields with vast ranges of talents. What unites all these? Trailblazers is a mastery of craftsmanship of technique of Materials of innovation to drive what they do. Innovators like Scott Campbell. So the final product is just richer and deeper and more interesting when you really put in the hours of making it with your own own hands. Learn about their life and work and maybe to a sense of the philosophy has brought them here and might just inspire you in however small away to follow blue in there footsteps. The masters with Tiffany and company on monocle twenty four This is monocle designed molecules at weekly peak at the best architecture attack industrial design graphics and fashion to. I'm Josh Bennett coming up today. We're looking back. At the past twelve months of Monaco on design and reliving some of the most illuminating moments. We'll be hearing from American architect. Elizabeth diller this accessible. The high line is proof that people still want to come out into public space and do something as old fashioned as walking and sitting reflecting on how design can help tackle homelessness. How do you deinstitutionalise a space to ensure that Sense sense of home that you're not in the system just somewhere secure. You can rebuild your life and getting a Master class book designed from the Dutch designer boom in my little red book. I also say that you can compare the work I'm doing like Film director it's all about giving direction. That's all coming up right right here on multiple on design on monocle thirty four and a very warm welcome to Monaco design. We're dipping into some of our favorite moments from the show in twenty nine this week before heading into the new year as regular listeners will be well well aware. There's a lot to pick from including chats with architecture masters including Sir Terry Farrell and the Pritzker prize went up B v Doshi. There was even a delve into the world of Sri Lankan modernism modernism with authors Sharoni Pinto Plus Stephens Sag maestas advice on making an album cover. There's plenty more besides and do head to Monica Dot Com to catch up on our back catalogue fought sadly there are only so many minutes show and a year for that matter. So we've picked some moments that we think help embody what good design meant in two thousand. Nineteen we begin with. Architect Elizabeth Diller when we spoke to her in April two thousand nine hundred and she just unveiled the shed a cultural center and Performing Arts venue in New York. and part of the Hudson Jason yards development the shed follows diller's other celebrated projects including a role. On New York's Highland Park. She also worked on the Institute of Contemporary Art in Boston. With steamed practice diller skin video. RENFRO Monaco's America's editor at large. Ed Stalker met Villa in her studio and began by asking her. If she'd it always wanted to be an architect. No my parents are actually Holocaust survivors. We lived in Europe. I was born in Poland. And we immigrated graded here when I was a kid and I had a very middle class upbringing. My parents really started from scratch here as laborers and it's the immigrants story. They just wanted a better life for their kids. And my mom sort of had to career paths plotted out for me. One was was being an architect and the other one was dentistry and between those I actually just sort of put them together and identified architecture with root canal. And all the things that I hated you know around going to the dentist but I always had a passion for art and I wanted to be a filmmaker or multimedia artists and I went to reunion and studied there and really my whole life had been making things. So there's some point in my I career at Cooper Union. I decided to take a class in architecture. And it's sort of drew me and I don't know what it was but it wasn't necessarily about coming coming out of school to be a professional architect at all. It was about the discourse it was about a way of thinking so I was able to channel my serve creative energies into to thinking about space and program and conventions of the every day and then just one thing led to another and we had some opportunities opportunities to build ideas in physical space and some permanently and we just got drawn more into architecture UH realizing that is possible to actually construct ideas rather than what I had thought before which was intellectually bankrupt. That was the preconception I had. So I'm happy today as I sort of our career in our studio has been morphing all the time we're taking on bigger and bigger challenges all over the world but at the same time this independent work continues to happen. There are always two or three independent projects that are self generated that are going going on in the studio where we need to raise money. We need to convince people to do things sometimes by commission but very often by just the the desire to execute something in public space. I mean tell me about that. I feel the studio really does approach everything in such a multi disciplinary away and you very much effort in the arts world still uneven. You know you're working designing with prod. I mean that seems to be a lot going the on. Do you think you're different in a way in the fact that you still like to do all these things that aren't always profit making you're still interested in stuff that's just in a way for the greater good or for arts in general totally. I think that we are different. I think recognize especially as the founding partners in the studio are wired that way and we will always continue to do independent experiments. One of the most recent that came off is the my long opera on the high line. We decided after having worked on the highland for so many years and seeing the hugh transformation and some for the good and some. I'm not for the good. Lots of gentrification that we really wanted to make a kind of creative response post occupancy response to it so so we decided to do this performance piece it had to be an opera and it had to take on this operatic project and content which is is the transformation of the city and the misaligned rhythms of its inhabitants. That was the idea and so this piece was for one thousand singers us. That were dispersed all along the mile and a half of the high line with an audience that was basically wandering through promenading through from start to the end and leaning in to hear these individual voices with beautiful micro stories about how their lives have changed changed with the transformation rob transformation of the city. Not necessarily about that specific site but generally about gentrification central location of New York. I was there. It was incredible. I mean there were so many great little touches from even the lights in the caps that the singers will wearing sort of luminated their faces to people who were cleaning windows in the buildings as you walked along the Hi line. I mean. We've talked about the highland but we haven't really talked about the highlight because this is in many ways it sort of project that really catapulted the studio to international fame. All you surprise is looking back now. Just how many other cities around the globe sort of referenced it and wanted to copier and just really how much of a reaction reaction. It's had one totally surprised and to. I'm thrilled by it. You know in many cases I would feel like well. No that's like I would feel very possessive of a project and if I see it repeated everywhere I would feel somehow that is inappropriate but in this case I feel like we touched a nerve. Serve a global nerve if you will today in our culture. We're very fixed to our screens. And somehow imagine that public life you you know doesn't matter out in physical space but it does and the success of the high line in and of itself. The original highland is proof that people still want to come out into public space and do something as old fashioned as walking and sitting. Because after all you can't do much there you can't really ride ride a bike or you can't bring a dog. You can't throw a Frisbee you basically walk and sit and it's turned out to be such a hit because urbanites nights don't actually understand the notion of doing nothing you know and I think it's like an invention for them. Wow there's a place where I'm not working king or burning calories or you know being productive. It's a place to do nothing. And I think that that spurred has really really caught on on up kind of moment in parentheses away from everything seeing New York from a different perspective but where it really hit that nerve was the sort of desire to be in public space because of privatization of space public space is being eaten up all the time. And it's up to policymakers acres all over the world to protect public space. Really for the use of the public and even if it means rethinking spent infrastructure rather than destroying trying it so this is a very sustainable approach to city building. Elizabeth diller speaking to add stocker back in April as influential eventual and in demand as diller may be her fine cultural spaces and planning many of the challenges found in cities. Need to be tackled from the ground up one of the most pressing thing issues. We've been thinking about here in London. Is The troubling increase in homelessness all the more shocking considering the pockets of extraordinary wealth in the city in two thousand on seven Londoners Sheila Scott and Louis Salvo Ni decided to take matters into their own hands and opened a non government. Funded free homeless shelter. It's it's called shelter from the storm and do look up and after years in a temporary space in King's cross in two thousand nineteen. They officially opened a new home. Purposely designed by the architect attacks Holland Harvey in Archway North. London we invited Sheila Scott from shelter from the storm architect Richard Holland from Holland Harvey and term. It would from Insulin Clinton Council to discuss the issue in greater depth shelter. The storm is an emergency shelter. That means he's not home. It's not a hostile. It's a place where we look after homeless people we give them a badge gives them dinner. We give them breakfast. We try to address their needs. Try to help them find employment such live deal support for meagre shoes. Have we offer counseling we offer. So classes it's basically basically a holistic way of trying to help people move old up out of the streets term it. I'm GONNA come to you at this point anecdotally. We're told that London is an extraordinary prosperous interesting place to live but it would seem that we do have a problem with homelessness. How bad is that situation on the ground from where you're setting? The problem with homelessness across the capital is desperate. It's especially acute in London especially in the BIRLA. Ours is Lincoln we have just under fourteen thousand households on our housing register. That's fourteen thousand households that are either Desperately Overcrowded rided Sofa surfing and temporary accommodation. There's all kinds of ways you can be homeless at a desperate situation. We are building council homes as much as we possibly can as Lenton consular. Sales are building five. Hundred Fifty Costal homes between Ny on twenty twenty two and along with Housing Association partners. Were building a total of nine thousand. Nine hundred genuinely affordable homes across the border. But it's not enough. There is too much much red tape around. The building of console homes. Austerity has changed things beyond belief. The housing benefit cap makes it so difficult to Get somewhere to live in the private sector on. Of course most people in the private sector are not only with sky high rents there also faced with very very very uncertain tenures the biggest cause of homelessness in London right now is quite simply the end of an assured shorto tendency Anisi generally the twelve months long at the end of the contract attendance here in the UK has basically got no rights. The LONARD can say I'm very sorry but you've got to go and when thinking about the design of spaces specifically for people who are homeless to offer them legal advice to give them a nutritious meal and even a simple thing that other other people might take for granted such as a quiet night sleep where they felt safe with design preconceptions. Jonathan that you guys needed to question the need for instance for white clean surfaces everywhere restaurant environment that could could change every evening was who she lives expensive actually dealing with people and how they use. These spaces informative here. Oh massively it was Dermott center which is about kind of creating stable. Can warm homes is like the same goes for the design of a shelter. So it's at the heart of it. There is the kitchen. The kitchen is the kind of almost primal thing that we do together. And so I guess. Learning from seeing the the shelter was was achieving. The same way which is at the heart of it is a kitchen and around radiates these other functions say they eat together the one of the main function one of the main things things that happens every night in the shelters these community tables and they sit. Everyone's together so the idea that the volunteers are being the senator cooking and then together they eat and then from everything kind of goes guys from there. And then from there then start to have discussions as oppose Abou- Aesthetic and materials. And and I suppose the big question is how do you indeed `institutionalise space to ensure that sense of home that that your nor in a system. You're just somewhere secure way. You can rebuild your your life the radiated I into every kind of design decision that we made at the end of the day you show within a challenging shell was was very much a shell. There was nothing we had to create every aspect of it so it was an amazing opportunity to say. Well what if you create it from scratch. Uh Uh space a place that could rehabilitate these people. In the best way possible ultimately lead wolves we will need a floor. We need lives now. They don't need to be If we take that approach that we took to giving someone the most amazing experience in a hotel. Why couldn't you take that same principle and ultimately then spent time you spend a lot of time finding running really cost effective materials or just finding suppliers who are willing to do to do it for nothing in US have to speak to twenty different supplies about single tile? But you know that tile needs to have is that right feeling to create a space and if you don't find that out actually you won't how the guests in the way that they could you could enhance experience and therefore hopefully with a stable. They can build from from the from assaulted Sunday background so she led to bring you in here. Why is it taking so long for us to have a free free homeless shelter in London? And how easy is it to find the kind of space that you need to then give Jonathan the the the floor plan to say. Hey let let's get this thing going. Let's humanize the space. It was incredibly difficult to find the space we. This is the force shelter that we've had and hopefully it's going to be permanent home. People off frightened of the homeless big narrative around homelessness sort of media very negative media narrative about the homeless. I believe that is because it is. It's convenient to make people feel that the poor and the homeless a somehow culpable so If they were Daochi good working people than on his Jason Labor. They would be because a lot of people that we we all know however if they somehow different we wouldn't have. This problem are identified the use but I clearly uttering you can other people You can make it feel like they're somehow apart from us and therefore we really have to worry about them and they will won't classically they'll use stories about. It's all to do with drink drugs and substance misuse mental health. I'm sure you can everybody. Nobody can think of the arguments that we have a budget all experiences that and statistics bear. This is actually the horrendous ranges rents and the terrible tenancy arrangements in the private rented sector the lack of council housing that got sold off right left and center and there was never the facility there to replace it it. It's just not been replaced wages minimum wage which I refuse to call a living wage. Because it's not to. Living wage is not enough to live on these. Are the real issues around around housing and we have fought what. I can't tell you how hard it's been. It's probably this lost eighteen months trying to find somewhere even when when we managed to get amazing people that helped us we. We raise all the money ourselves. We managed to get a mortgage. We managed to do all of the stuff literally getting people to let uh spilled this beautiful place. It's been so difficult. There's been so much negative attitudes from people. I we a US still. I think we're getting there. We're willing hearts and minds. I call it trying to show people really this is it look. It's nothing to be frightened off. This is a beautiful place. This is a place where people can grow where they can we generate where they can be alive where they can be reintegrated into society. Not Really Sheila Scott. From shelter from the storm there architect Richard Holland and is linked counsels. Dermot Ward they were speaking to me back in July at twenty nine thousand nine. We'll we'll be listening back to our meeting with book. Designer Irma Boom. After this you're listening to monocle on design. Don't go anywhere and you'll back with Monica on design. I'm still Josh Bennett. With nearly at the end of the program and we're in the closing hours of two thousand nine hundred. Nineteen two will embark on. This show's final chapter with the Dutch book. Designer boom so boom has collaborated with artists. Such his laugher eliason plus design fashion brands numbering vitro and Chanel anti work which sees her examine the structure and flow of a book with the scrupulous. I have an architect macos well. Beyond judging one by its cover Monaco's business editor Venetia. Rainy met Irma boom the designers Amsterdam studio in February two thousand nineteen so I'm working long long always on many projects. elway's thing that I'm lazy so that I need to do. I always keep plates in the air and guess yes. We Love Drennan Lynn. You mentioned that you're working on something for the next museum. Can we talk about that. Yes so I work already. I think fifteen years for the museum. Even Wedneday were so-called record. Close this small part was opened and I started working for them and they reopened six years ago five years ago and then they asked. Yes we to make the logo and I always thought if two big museum ovens invited big designer office or agency to work on their new identity. Today's but they asked me so the tiny tiny office and as I read a logo for them with a space x Space Museum which people were not happy with it because in Holland Museum is one word but in the Netherlands. We have to so-called space. Police and space. Police said is was US wrong at the National Museum for sure Expel Museum rights. And that's as one word but I thought Access such a weird word so I wanted to make it more as an image house who we have to the letters. I J which is a sound which only early Dutch people can pronounce and then weren't museum is generic so I saw two specific generic and then we have to space. It's very special but anyway it's caused a a lot of rumor but in the end people said well I didn't change. The word. Museum made a logo artistic freedom and saw. Aw professors from universities all protecting me and giving arguments why it was good but anyway I work for the museum mm-hmm and before I did small works with Hedge Museum but now I do all their books which is amazing and I also do a design exhibitions. That's and that's when we fantastic's how at the moment there are two new exhibition in both. We designed as specially the older Rembrandt exhibition. Which Che's amazing that the museum shows all the rembrandts? They have which is about four hundred works. The paintings are on Great Wall. So it's a combination of blue and gray to blue walls are sort of a harmonica securely. You do stuff other than books which l. let people not do you get sick of being known as the Queen of books and being hold like pass over. I am the person I think even if I make an the exhibition as a book designer. I'm also an editor and my little red book. I also say that you can compare the work. I'm I'm doing like a film director. It's all about giving direction like elements of architecture. Which I did? We've REMCO has I was also to say the director. I made sort of system how to read a book with two thousand five hundred pages so it's giving directions. It's editing and helping the people how to Manage so much information it's really yeah. Directing but to make an exhibition is exactly the same. It's also making direction and helping people how to get the best out of it. If they spend an hour two hours in a museum you need to help them how to look and where to look and what is interesting. And that's directing. But in a very seamless way if people go to the museum it's see Rembrandt Exhibition. They hardly feel my I designed but it's definitely there and it's the same way for example Edmonds of architecture book. It's a sort of concept. It's an idea which I do without without compromise for me. Making an exhibition is making a book. A making a book is making an exhibition for me. The difference is not that big but I am making books is what I do. Ninety eight percent of my job. I'm really intrigued by something that I read that you said in another interview you said that you work never never art but you do consider architecture. Where's that line few? Why why is it never us? Why does that both the well? I went to art school to become a painter and I saw that for me But it's really the reason if your painter in the best way like there was a an artist in the Netherlands called Danda phone holden which I admire hugely. He was his autonomous person. Who who marketing didn't even out a word? I died unfortunately a few years ago but he did whatever he wanted to do. And he always had a necessity from insight to make Silkscreen to make a painting to make a photograph also for him medium. Didn't matter it was the I rich was made it down for hold apiece and then didn't produce that much work. He only did what he thought he should do. So for me. I had this enormous enormous admiration. But I didn't know what to do when I was at article and studying painting I didn't know what to do. I really thought I need took somebody to ask me something. Then I get to work so for me. There's this sort of difference that if you want to make something that it's like an artist it's comes from yourself. It's not commission of course in that Acts Museum from Mir the old commission but they also were autonomous thinkers and makers and. I had to feeling that I needed to be commissioned and there is the the line. Do you have a book that you're most proud. Go pats a book that you feel. Didn't quite get to the place. He wanted it to get too well. It's interesting so I if I give a lecture somewhere always bring the real books I never showy away. PDF's and my books are not PDF's. Because I work with the book. And how a book functions. So it's turning the pages there is a Sequenced stairs await stairs smelled size. There's proportion so for me that's really important. So if I give a talk doc every you suitcase works always one suitcase. Because books are so heavy. How many books can it depends what I bring before four hours to two suitcases? Twenty one books. I am daughtry into numerology. It always has to do something with three. So to Casa the fall last week abroad twelve oaks because one and two is three so the books I always bring is to s h fee thing book I made started just to make in one thousand nine hundred ninety which was a pivotal moment in bookmaking because then Internet was new yeah became more democratic critic because it was of course already there but then people started to use it and that was a jubilee book for Multinational Base here in the Netherlands and Dennis. Oh well if you get a project on which you can work five years. Let's do something special. But then in the end it was so new to new media everybody and after five years imagine if we would have made a CD-ROM DVD didn't exist. Then you couldn't play it anymore. So that's why I decided. Take a book by the book based on the idea of Internet and I was totally fearless designer and wish always that I was as fearless as then and so for me. Those books remind me to experiment because to experiment to try things and even to make mistakes. I think that is crucial. So if you want to develop and if you want to develop in for me in making boom that speaking to Monaco's very own Venetia rainy back in February. And that's all we have time for on today's show and for twenty nine thousand nine for that matter will be back next week in twenty twenty when we'll be joined by architect Cepeda Cook and design writer. I took kt triggered and to look ahead to the ideas shaping the year four more design stories. You can hit subscribe to this show. And you'll also get a mini mid week. podcast on design nine extra. And if you like the stories we tell you should also apply monocle magazine which is available on older self respecting newsstands now. MONOCLE on design was produced by Tom Hall and it was edited. Edited by May Evans. I'm Josh Fan at thank you very much for listening and fierce support into nineteen and for me and the team wishing you a very happy new year

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