Podcasts about Design Miami

Lauren welcomes Jesse Lee, founder of Basic Space and owner of Design Miami, back to the pod for a live taping at Design Space LA, a shoppable fair that took place in late March 2025 at the Pacific Designer Center, one of the freakiest buildings in Los Angeles. They discuss Jesse's theory that “design is the new luxury,” Virgil Abloh's lasting impact, the culture of club promotion in the 2000s, and why Jesse believes Demna is the right choice for Gucci. (He called it two years ago, I swear.) Double C Chanel Earrings Bottega Veneta Animal Chair Enorme Telephone Balenciaga Coffee Cup Bag Westman Atelier Highlighter Victoria Beckham x Augustinus Bader Tinted moisturizer To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

The inevitability of change is something we can either fear or embrace with insatiable curiosity, and one of them, of course, yields far better results than the other. Today's guest is a serial entrepreneur and self-described "forever intern" who co-founded Basic.Space, which later acquired Design Miami, where he now serves as chairman. Up next is Design.Space, a project that explores the power of quality curation within an IRL/URL retail experience while bringing together the worlds of design, art, and fashion. In a culture where the concept of community has been co-opted by big business and marketing teams, Jesse Lee shares a different approach that, for this conversation, we'll call a club. Whether or not you're familiar with the burgeoning world of design and its evolving role in communicating status the way a highly coveted watch or luxury fashion once did, Jesse's mindset is one to emulate. His perspective is especially valuable for those seeking their own point of convergence where passion and purpose meet in a way that is both meaningful and profitable. "It's not just about the work ethic, but also about wanting to learn. If it wasn't for that mindset, I don't think I'd be able to learn from music, fashion, technology, art, design, culinary—whatever it is. That's sort of been the mantra since day one." - Jesse Lee  Design.Space will showcase a curated selection of archival and contemporary pieces from top artists, designers, galleries, and brands, including: Alexander May, AMEN, Archived, Avery Wheless, Brett Robinson, Brian Thoreen, Cadogan Tate, David Kelley, Enorme, Ettore Sottsass, Found Objects, George Davies, GUFRAM, Guido, Jahlil Nzinga, Jean Pigozzi, Jeffrey Deitch, Jess Hannah, Jeaux de Peau by Purienne, Justin Reed, Keiko Moriuchi, Laura Sattin, Leyla Fisher, Lily Clark, Marcin Rusak, Marquel Williams, Marta, Max Lamb, Memphis, Meritalia, Michelle Jane Lee, niceworkshop, Nick Thomm, Nike, NM3, NO GA, Paulin Paulin Paulin, Period Correct, Puck, Raiffe Glass, Roham Shamekh, Sabine Marcelis, Sam Klemick, Same Old/BASA Vintage, Sasha December, Spaceless Gallery, Stephanie Ketty, Stickymonger, Studio Ker, The Future Perfect, The Pink Lemonade, Tokio., Tristan Marsh, Tsu Lange Yor, USM, Verre d'Onge, Wexler Gallery, Willo Perron, Yung Jake & more to be announced soon. Episode Highlights: Jesse Lee's Journey from Intern to Industry Leader – How his relentless curiosity and willingness to do any job led to his success in music, fashion, and design. The Birth of Basic.Space – Why Jesse created Basic.Space as a curated platform for creatives, and how it evolved into an ecosystem connecting sellers, collectors, and brands. The Acquisition of Design Miami – The strategic move behind Basic.Space acquiring Design Miami, and how the two entities complement each other. The Concept Behind Design.Space – How Jesse is bridging digital and physical retail by creating a hybrid shopping experience that blends the best of Basic.Space and Design Miami. The Shift from Fashion to Design – Why luxury consumers are now more interested in furniture, objects, and design than traditional status-driven fashion. The Strategy Behind Invitation-Only Shopping – Why Basic.Space is moving to a membership-based model and limiting access to its most engaged customers. Curation as the Key to Modern Luxury – How brands and platforms must focus on thoughtful selection rather than mass availability to stay relevant. The Role of Physical Events in a Digital World – Why Jesse believes creating real-world moments is critical, and how Design.Space will redefine the shopping experience. The Importance of Intersectionality in Business – Jesse's belief that success comes from mastering multiple industries—fashion, music, technology, art, and design—rather than specializing in just one. Why Push Marketing Is Over – Jesse's philosophy that the best brands don't chase customers but create experiences that naturally pull the right people in. Learn more about your ad choices. Visit megaphone.fm/adchoices

Wählerinnen und Wähler auf dem Marktplatz in Lörrach finden, die aktuelle Poltik habe versagt, vor einem Zuwachs der AFD fürchten sich dennoch viele. SWR-Journalist Matthias Zeller sieht auch die Anschläge von Migranten als Ursache für die gehässige Stimmung Ausserdem: · Keine Basler Ausgabe der Design Miami während der Art Basel im Juni · Das neue designierte Führungs-Duo der Basler Grünen im Interview

In this episode, Nina Roehrs, curator of the Digital section at Paris Photo, explores the intersections between culture, art, and digitalization. She shares her experience with online galleries, her advice on exhibiting digital art in physical spaces, and the impact of new technologies on artistic practices. She also highlights the importance of networking for artists and curators. I hope you will like this episode2'00 – In Düsseldorf, Nina Roehrs wanted to become a veterinarian. Her hobby was horse riding.5'40 – She started collecting old watches, old cars, design furniture, and vintage furniture, and then moved to contemporary design.7'00 – According to her, it was not the most complicated idea to start a gallery. She learned from the artists she exhibited.7'50 – She discovered that she preferred living people over dead people. She exhibited at Design Miami and transitioned from design to art.11'10 – She decided to focus her gallery on art in the digital age, as technologies evolved with AI, Blockchain, and NFTs in 2021. A lot of things changed.12'00 –Net artists use the internet as their platform for artistic expression—they do not need a gallery. 13'50 – Digital art is not always purely digital. It can start digital and end physical: installations, sculptures, or printed works. 16'00 – "I am interested in the digital and physical spaces: no gravity, no limitations. I like experimentation. There are so many things we can do. "20'00 – The NFT art market: the majority of collectors are new people, often from cryptocurrency backgrounds.21'40 – Online platforms generating art based on algorithms are bringing new collectors into the art world.23'45 – The shift from physical to online galleries: blockchain and NFTs are influencing traditional spaces.25'00 – Exhibiting digital art in physical spaces requires new curatorial approaches and specialized knowledge.29'00 – Advice for digital art gallerists: art curators should start with a strong network of artists and collectors. Make small investments and take it step by step.31'30 – Advice for artists: build a brand on social media like Twitter/X, attend events, and collaborate with other artists.34'30 – Follow famous artists and see who they follow and who follows them.35'30 – Artists, please don't send portfolios. Nobody will look at them. Instead, meet people in person and make connections.Digital sector at Paris Photo : https://www.parisphoto.com/fr-fr/exposant/Secteur_Digital.htmlPour vous inscrire à la newsletter du podcast : https://bit.ly/lesvoixdelaphotonewsletterPour devenir partenaire du podcast : https://bit.ly/sponsoriserLVDLPLe site du podcast : https://lesvoixdelaphoto.fr/Et vous pouvez retrouvez le podcast sur Instagram, Facebook et LinkedIn @lesvoixdelaphotoLes Voix de la Photo est un podcast produit et réalisé par Marine Lefort. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Lauren is joined by Basic.space founder and chairman of Design Miami, Jesse Lee, to discuss why young consumers are obsessing over furniture instead of fashion. They also run through the news of the week, including Matthieu Blazy's appointment at Chanel, Capri's potential sell off of Versace, Rhode beauty versus Rhode fashion, and eau de Trump. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

FLORIAN'S BIO Florian Faber has one of the coolest jobs in the world, he is CEO and on the Board of Directors of MCH Group, which among many endeavors owns, hosts, curates and puts together the incredible spectacles the four Art Basel shows deliver to millions. In June 2024, they concluded Art Basel in Basel, Switzerland, as he calls it “the mothership” and Art Basel Miami Beach is happening this week and weekend in Miami. He joined MCH's company Expomobilia in 2009 as New Business Manager and in 2014 he became Managing Director of Expomobilia (now MCH Live Marketing Solutions AG). In 2019, Florian Faber took over the management of the Live Marketing Solutions Division as a member of the Executive Board of MCH Group and was responsible for the repositioning and growth strategy of the brands MCH Global (Experiential Marketing Agency), MC2 (Brand Experience Solutions Provider) and Expomobilia (General Contractor Building Experiences). Before joining MCH Group, Florian Faber was responsible for Live Marketing Communication & Interactive Marketing in Europe at the Nissan car group. Florian Faber holds an Executive Master of Business Administration (MBA) degree from the University of Zurich. MCH brands include Art Basel Basel, Art Basel Miami Beach, Paris+ par Art Basel, Art Basel Hong Kong, Design Miami, Habitat Jardin, Swiss Bau, Powertage, Weinfestival, Hack Zurich and the company owns spaces that include Messe Congress Center Basel and Messe Zurich.  MCH Group Ltd., is listed on the SIX Swiss Exchange and headquartered in Basel.  It's roots can be traced 108 years back to the “Schweizer Mustermesse” (est 1916) and Schweizer Mustermesse Cooperative (est 1920). In 2000, the Cooperative was converted into a joint stock company, followed by it merging with the exhibition company in Zurichin 2001 under the joint umbrella of MCH Swiss Exhibition (Holding) Ltd. The holding company was renamed MCH Group Ltd. in 2009. FLORIAN RELATED LINKS MCH Profile CEO Appointment Art Basel On Bloomberg GENERAL INFO| TOP OF THE GAME: Official website: https://topofthegame-thepod.com/ RSS Feed: https://feed.podbean.com/topofthegame-thepod/feed.xml Hosting service show website: https://topofthegame-thepod.podbean.com/ Javier's LinkTree: https://linktr.ee/javiersaade  SUPPORT & CONNECT: LinkedIn: https://www.linkedin.com/showcase/96934564 Facebook: https://www.facebook.com/profile.php?id=61551086203755 Twitter: https://twitter.com/TOPOFGAMEpod Subscribe on Podbean: https://www.podbean.com/site/podcatcher/index/blog/vLKLE1SKjf6G Email us: info@topofthegame-thepod.com     THANK YOU FOR LISTENING – AVAILABLE ON ALL MAJOR PLATFORMS

Nearly two decades ago, while swimming in the Aegean Sea, Yasmine encountered a distressing sight: plastic waste clinging to rocks. This observation marked a turning point in her life. Over the years, the situation worsened, with more plastics dumped into the oceans, often with poorer countries being paid by the Western world to accept this waste. This realisation struck a chord with her, especially since she has always had a passion for materials in her roles as a designer and architect.It was then that her interest in sustainable materials took root. She dedicated her time and that of her team to researching and experimenting with recycled materials and various sustainable alternatives from around the globe. Yasmine's ambition is about demonstrating tangible, viable design and architectural solutions that avoid environmentally harmful materials like plastics and concrete, the latter of which accounts for a significant portion of global CO2 emissions.Today, she and her team have amassed a library of over 300 sustainable materials. Gradually, they started incorporating these into their projects, and it's only in recent years that the demand for sustainable options has surged. Yet, the battle against greenwashing persists. Yasmine is committed to demonstrating that sustainable decisions not only benefit the environment but can also enhance financial returns, contrary to common misconceptions. Her mission is to change the way we build by utilising alternative materials that are not only environmentally friendly but also aesthetically pleasing. This journey began with a single, transformative moment in the Aegean Sea, and it has propelled her to advocate for a more sustainable future in design and architecture.This meaningful moment extends beyond her personal realisation and into her broader mission to mobilize others towards sustainability. Her involvement in global discussions on sustainability, such as those at COP28 and during the World Economic Forum, has provided her with a platform to share her experiences and advocate for the adoption of sustainable materials. These talks are an integral part of her effort to not only showcase the environmental benefits of such materials but also to highlight their positive impact on our health. This awakening drove me to explore beyond traditional material research into the realm of 3D printing, specifically with recycled plastics, leading to global recognition and opportunities to exhibit her work at prestigious venues like Design Miami in Basel, the Venice Architecture Biennale, and the London Design Festival. Follow and learn more about my guest today:Websites: Impact Design & www.mahmoudieh.comInstagram: Yasmine MahmoudiehLinkedIN: Yasmine MahmoudiehTo learn more about SHIFT HAPPENS, click here To learn more about Claudia's business Curated Conversations and her Salons in New York, Zurich and Berlin, click hereYou can also connect with Claudia on Instagram @shifthappens.podcast and LinkedIn at ClaudiaMahlerNYCThis podcast is created, produced and hosted by Claudia Mahler.Social Media support Magdalena Reckendrees

FLORIAN'S BIO Florian Faber has one of the coolest jobs in the world, he is CEO and on the Board of Directors of MCH Group, which among many endeavors owns, hosts, curates and puts together the incredible spectacles the four Art Basel shows deliver to millions. Last week, they concluded Art Basel in Basel, Switzerland, as he calls it “the mothership” and Art Basel Miami Beach takes place there every December.   He joined MCH's company Expomobilia in 2009 as New Business Manager and in 2014 he became Managing Director of Expomobilia (now MCH Live Marketing Solutions AG). In 2019, Florian Faber took over the management of the Live Marketing Solutions Division as a member of the Executive Board of MCH Group and was responsible for the repositioning and growth strategy of the brands MCH Global (Experiential Marketing Agency), MC2 (Brand Experience Solutions Provider) and Expomobilia (General Contractor Building Experiences). Before joining MCH Group, Florian Faber was responsible for Live Marketing Communication & Interactive Marketing in Europe at the Nissan car group. Florian Faber holds an Executive Master of Business Administration (MBA) degree from the University of Zurich. MCH brands include Art Basel Basel, Art Basel Miami Beach, Paris+ par Art Basel, Art Basel Hong Kong, Design Miami, Habitat Jardin, Swiss Bau, Powertage, Weinfestival, Hack Zurich and the company owns spaces that include Messe Congress Center Basel and Messe Zurich.  MCH Group Ltd., is listed on the SIX Swiss Exchange and headquartered in Basel.  It's roots can be traced 108 years back to the “Schweizer Mustermesse” (est 1916) and Schweizer Mustermesse Cooperative (est 1920). In 2000, the Cooperative was converted into a joint stock company, followed by it merging with the exhibition company in Zurichin 2001 under the joint umbrella of MCH Swiss Exhibition (Holding) Ltd. The holding company was renamed MCH Group Ltd. in 2009. FLORIAN RELATED LINKS MCH Profile CEO Appointment Art Basel On Bloomberg GENERAL INFO| TOP OF THE GAME: Official website: https://topofthegame-thepod.com/ RSS Feed: https://feed.podbean.com/topofthegame-thepod/feed.xml Hosting service show website: https://topofthegame-thepod.podbean.com/ Javier's LinkTree: https://linktr.ee/javiersaade  SUPPORT & CONNECT: LinkedIn: https://www.linkedin.com/showcase/96934564 Facebook: https://www.facebook.com/profile.php?id=61551086203755 Twitter: https://twitter.com/TOPOFGAMEpod Subscribe on Podbean: https://www.podbean.com/site/podcatcher/index/blog/vLKLE1SKjf6G Email us: info@topofthegame-thepod.com   THANK YOU FOR LISTENING – AVAILABLE ON ALL MAJOR PLATFORMS

The 18th edition of Design Miami is under way at Basel's iconic Messeplatz. We meet some of the award-winning exhibitors whose work is on show this week. See omnystudio.com/listener for privacy information.

Vladimir Putin touches down in China for a two-day state visit and meeting with Xi Jinping. Meanwhile, Gaza is at the top of the agenda as the Arab League Summit begins in Bahrain. Plus: Dutch coalition talks, free speech in Tunisia, climate news and Design Miami.See omnystudio.com/listener for privacy information.

The furniture shop and brand Aram celebrates its 60th birthday and we meet Jesse Lee, Design Miami's newest owner. Plus: we head to Copenhagen where a new exhibition examines the relationship between architecture and the senses.See omnystudio.com/listener for privacy information.

Matterport 3D Digital Twins Power Asia's Largest Virtual Art Exhibition Platform, ARTOGO SUNNYVALE, California, Tuesday, March 19, 2024 (GLOBE NEWSWIRE) -- Matterport, Inc. (Nasdaq: MTTR), announced that ARTOGO, the largest virtual exhibition platform in Asia, is utilizing Matterport as its 3D technology of choice to revolutionize the arts sector. Founded in April 2021, ARTOGO's online art platform offers immersive digital experiences powered by Matterport, allowing users to explore international art exhibitions from anywhere at any time. Collaborating with major art museums, galleries, museums, and historical sites throughout Asia, the company offers a comprehensive approach to digital art exhibits which covers content licensing, editorial planning, shooting, modeling, production, distribution, and ticket sales. After exploring various digital solutions, ARTOGO chose Matterport's Digital Twin Platform to bring art to life in immersive 3D, hosting more than 450 virtual exhibits that have drawn in more than four million views. In addition to Matterport's digital twin technology which powers ARTOGO's virtual exhibits, ARTOGO utilizes Matterport's developer tools to create unique, online experiences that are tailored to the needs of the arts and culture sector. “When we first began exploring the digital experience of online exhibitions in 2019, we looked at many different ways to digitalise exhibitions and create a platform where the public could browse at will,” said Howard Yang, Cofounder and CEO at ARTOGO. “After assessing different solutions, it was clear that Matterport's 3D technology was the right choice. Through our use of the Matterport digital twins, we have elevated the digital visitor experience to such heights that it now attracts paying customers.” The online pay-to-visit model is a huge boon for the arts and cultural sector, creating a new stream of revenue with significant potential to attract visitors from around the world. In 2024, ARTOGO plans to launch more than 20 paid experiences for exhibitions around the world, anticipating these experiences will reach a new milestone of 100,000 ticket sales. "Historically, art has been exclusive to a very select few. ARTOGO is proving that with our immersive 3D technology, art can be shared, preserved, and appreciated in a format that is much more accessible to all walks of life,” said Jay Remley, Chief Revenue Officer, Matterport. “ARTOGO is driving innovation in the arts across Asia and defining the premium digital exhibition experience that people are finally willing to pay for. We look forward to supporting their growth to make it easier for people to engage with art, design and culture, globally.” Matterport has partnered with leading institutions to digitize the world's most exclusive and unique art and design collections to make them accessible to the world. This has included the digitization of Design Miami/ Basel, Design Miami/ and the Miami Design District, as well as the first-of-its-kind digital presentation of the private collection of Robin Eley x David Korins for its gallery opening. Matterport helps customers better access, understand and utilize properties through its next-generation 3D digital twin solutions for Property Marketing, Facilities Management and Design and Construction Management. Read the full case study with ARTOGO and learn more about the company's solutions at: www.matterport.com About Matterport Matterport, Inc. (Nasdaq: MTTR) is the World's #1 Digital Twin Platform [data on file.] leading the digital transformation of the built world. Our groundbreaking platform turns buildings into data to make every space more valuable and accessible. Millions of buildings in more than 177 countries have been transformed into immersive Matterport digital twins to improve every part of the building lifecycle from planning, construction, and operations to documentation, appraisal and marketing. Learn more at: www.matterport.com ©2024 Matterport, Inc. All rights reserved. Matterport is a registered trademark and the Matterport logo is a trademark of Matterport, Inc. All other marks are the property of their respective owners. *Largest digital twin cloud hosted platform for the built world sq.ft. scanned. Source: Matterport via Globe Newswire

We head to the Rhode Island School of Design in Providence to visit its facilities and meet its president, Crystal Williams. Plus, a recap of Design Miami with Monocle's US editor, Chris Lord. See omnystudio.com/listener for privacy information.

Monocle's US editor, Christopher Lord, reflects on Design Miami.See omnystudio.com/listener for privacy information.

Join us on an enchanting journey live through Design Miami. From the mesmerizing "Moss People" by Kim Simonsson to the welcoming embrace of the cozy creatures crafted by the talented Haas Brothers, this podcast episode takes you on a tour of some of the most captivating works on display at Design Miami 2022.We'll delve into the compelling stories behind these works, including three interviews recorded live at Design Miami. You'll learn about the inspiration for theses creations, the challenges faced in bringing them to life, and the meaning they hope these works will have for viewers.So whether you're a design enthusiast or simply looking for a way to escape the hustle and bustle of everyday life, this episode is sure to transport you to another world. This is episode 36 of Vessel: Art as a Doorway Podcast. You can view the video on Youtube.Youtube:https://youtu.be/OAfrvx1Fa-oFind us online:Website:http://www.clss.studioEmail:leah@leahsmithson.comchanningsmithson@gmail.comHang out with us on Instagram:@leahsmithsonart@justglazechanningEarn yield on digital assetshttps://uphold.com/signup?referral=d8b2d5cb89Support the show

British born artist, Joanna Manousis creates sculptural objects and installations in glass and mixed media, manipulating materials through a multi-disciplinary process that includes bronze casting, enamels, and even taxidermy. With a hands-on studio practice spanning 17 years, she strives to transform cast glass surfaces into reflective, three-dimensional mirrors, shifting the viewers' perspective and bringing new experiential possibilities. Wrote Eve Kahn in a 2018 Todd Merrill exhibition catalog: “Joanna Manousis mines her life experiences while exploring broader themes—materialism, memory, domesticity, vanity, iridescence—in acclaimed sculptures that mingle glass with wheat husks and taxidermied birds. Viewers may find themselves reflecting on the transience of existence while seeing themselves literally and metaphorically mirrored in her works.” An only child raised by her mother, growing up Manousis loved drawing and painting. During early meditations with mirrors, she had the initial experience of being somehow detached from her body – a phenomenon whereby her spirit seemed disconnected from her visual appearance. In college, Manousis set out to become a painter, but the canvas plane gave her artist's block. She enrolled at Wolverhampton University for a bachelor of fine art-glass degree, and during a year abroad studied neon and glass casting and blowing at Alfred University in western New York. In 2008, she earned her MFA at Alfred, and by then had met her future husband, the Maine-born glass artist Zac Weinberg.  Now a working mom of two, Manousis travels the world to teach, exhibit, and make artworks, while winning awards and grants. Her work has been recognized with nominations for the Louis Comfort Tiffany Foundation Award and a Bombay Sapphire Award Nomination for ‘Excellence in Glass' as well as the Margaret M. Mead Award and the Hans Godo Frabel Award. She has received support from internationally recognized residency programs including the Glass Pavilion at the Toledo Museum of Art, Ohio; the Museum of Arts and Design, New York; the Corning Museum of Glass, New York; and Cité Internationale des Arts, Paris, France. Her work has been exhibited at Design Miami and Art Basel, Basel, Switzerland; FOG Art + Design, San Francisco; the Glasmuseet Ebeltoft, Ebeltoft, Denmark; and the British Glass Biennale, Stourbridge, England. The artist has worked, studied and taught in Japan, the United Kingdom, the United States and Australia. Manousis states: “My work is born out of a sustained exploration of human nature and the conflicts that exist between our inner reality and the world we occupy. I often emphasize decadence and grandiosity to illuminate the superfluous nature of accumulated luxury when faced with our own impermanence. I am also interested in engaging the viewer's gaze, drawing the participant into a state of reflection, literally and philosophically, about the essence of human existence and ideas related to growth, emotionality, aspiration and mortality.” She continues: “Glass is my chosen medium, and I am drawn to its contrasting qualities–transparent yet solid, it simultaneously reveals yet barricades. In recent works I use cast glass as a lens to magnify residual formations of objects within. On occasion these negative spaces are mirrored, enlivening static surfaces in my pursuit to reflect the viewer and the environment that the work inhabits. Incorporating the audience's gaze, whether it is distorted or clear, centralizes the viewer within the work itself, facilitating a stronger connection between observer and object.” ToYG podcast caught up with Manousis just prior to two US workshops: Penland School of Craft, Bakersville, North Carolina, July 2 – 14 and The Corning Museum of Glass, July 31 – August 6. In addition to her core-cast pieces with internal spaces, she continues her PhD testing, along with a new venture in customizable wall installations made with graphite molding techniques that she and husband Weinberg create together in their company Manberg Projects. Manousis' PhD research focuses on three-dimensional mirrors within cast glass resulting in work that deals with reflection, both physically and metaphorically. The artist has also recently started making jewelry – small scale pieces that are more accessible and used to adorn. Check out this new work on Instagram @jomanousis. Her sculptural practice can be found @joanna.manousis.  

The renegade British designer Tom Dixon has long had a roving obsession with raw materials—everything from cast iron, steel, and copper; to clay, glass, and stone; to felt, plastic, and marble; to, more recently, cork and aluminum. Entirely self-trained and without any formal design education, Dixon emerged in the design sphere in the 1980s by creating unusual welded salvage furniture that was at once antique, experimental, beautiful, and punk in spirit. Never short of bold, forward-looking ideas, Dixon works from a materials-first perspective. Over the years, he has created an industrial chair with upholstery inspired by the rubber inner tubing of car tires, furniture made of flame-cut steel, and even conceptual pieces grown underwater and built of Biorock. Central to all that he does is a quest for longevity and, in turn, sustainability; he has even, in the past, toyed with the idea of a thousand-year guarantee.On the episode, Dixon talks about how two motorbike accidents transformed his life, his days in the early 1980s as a bass player in the disco-funk band Funkapolitan, why he considers cork a “wonder material,” and the parallels he sees between his design creations and those of a baker.Special thanks to our Season 7 sponsor, Van Cleef & Arpels.Show notes: [00:56] Tom Dixon[07:02] Flame-Cut Furniture[11:27] Design Miami[12:06] Craig Robins[13:50] Wolf Hilbertz[31:14] S-Chair[34:41] Giulio Cappellini[35:12] Marc Newson[35:15] Jasper Morrison[38:56] Isamu Noguchi[38:56] Akari Light Sculptures[39:57] Constantin Brâncuși[40:33] Dixonary[46:34] Funkapolitan[49:16] Funkapolitan's “If Only”[49:17] Funkapolitan's “In the Crime of Life”[50:17] August Darnell[53:56] Guy Pratt[53:58] Rockonteurs with Gary Kemp and Guy Pratt[54:50] Creative Salvage[01:01:06] IKEA[01:03:37] Ronan and Erwan Bouroullec[01:03:50] Enzo Mari[01:03:51] Achille Castiglioni[01:03:52] Verner Panton

Join Tamara for an interview with textile maven Katie Glusica. She came to Savannah in 2008 to pursue her MFA in Fibers from SCAD, where she would have access to a then-rare and sought-after jacquard loom.  Post-graduation, she exhibited her personal textile work in tons of renowned shows, including the Smithsonian Craft Show, the Philadelphia Museum of Art Craft Show, and a SCAD booth at Design Miami of Art Basel. She uses weaving as a means to engage her viewer with the quantum concept of wave/particle duality.  At the same time, Katie launched her business of repairing and restoring handmade rugs, caning, wicker, and rattan. In recent years she has *also* done consulting work with the Telfair Museum and the Owens-Thomas House, assisting them with various textile preparation, installation, and appraisal.  Check out her work and follow her here: https://www.instagram.com/katieglusica/  https://www.katieglusica.com/  Topics in their chat include: How landing a part-time job at a rug restoration shop in Richmond during undergrad inspired Katie's lifelong work; at her fine craft shows she created an immersive gallery space to create an "experience;" she built her business of restoring furniture and rugs with an eye toward sustainability, which is antithetical to the design world which relies on you consuming every few years; her work with the Oglethorpe Plan Coalition, dedicated to preserving the Savannah Downtown National Historic Landmark District; her message to artists: tenacity is very important and don't be afraid to hear "no;" rugs are a special niche even within the special niche of textiles, and not taught in very many academic spaces; what does "deaccessioned" mean?; and how the Jacquard loom, developed in 1804, was the first machine to use binary code.    * More info on the Oglethorpe Plan Coalition: The National Historic Landmark District in Savannah, Georgia, designated in 1966, is now under threat from excessive and inappropriate development. The district is supposed to be protected by local ordinances, but increasingly, important provisions in these ordinances are not being enforced. The National Park Service grades the district as “threatened,” and preservationists are now grouping together to take action to restore the district's integrity. https://oglethorpeplancoalition.org/  Tune in and get all the details!

On the occasion of Art Basel Miami Beach’s 20th anniversary, the artist studio Drift (Lonneke Gordijn, Ralph Nauta) performed the ...

Hear from the winners of the British Fashion Council's annual awards, including Gabriela Hearst, creative director at Chloé, and Charles Conn, chair at Patagonia. Then we head to Design Miami with Nada Debs, Maria Cristina Didero and more. Plus, Polestar's Maximilian Missoni on the Swedish company's new SUV.

Just opposite the Miami Beach Convention Center and Art Basel, Design Miami presents the 18th edition of its design fair. ...

Matterport Delivers Immersive 3D Experiences of Design Miami/ and the Miami Design District Celebrating the second year the iconic sister fair to Art Basel has partnered with Matterport to provide digital access for design fans worldwide SUNNYVALE, California, Wednesday, November 30, 2022 (GLOBE NEWSWIRE) -- Matterport, Inc. (Nasdaq: MTTR) announced collaborations with two leading art and design organizations, Design Miami/ and the Miami Design District. Using the new Pro3 3D camera, Matterport captured and produced immersive digital twins that allow visitors to partake in this year's Design Miami/ fair and the Miami Design District's Annual Neighborhood Commission. These digital experiences broaden accessibility for design lovers worldwide, and provide an opportunity for onsite visitors to dive deeper into the exhibitions and installations. Online visitors to the Design Miami/ digital twin can explore 50 exhibitions and galleries across 73,000 square feet, featuring fair partners such as Kohler, Audi, Fendi, and others. Virtual attendees can interact with the best in historic and contemporary design and make purchases on designmiami.com through direct links tagged within the digital twin. This marks the second year Matterport has provided the digital experience of the fair, reflecting Design Miami's ongoing commitment to innovation in design. “As the preeminent global forum for design, it's essential that we offer cutting edge digital experiences for our audience,” said April Magen, Director of Global Partnerships, Design Miami/. “Matterport provides us with a dynamic digital platform to strengthen engagement with our audience and increase the visibility and value we bring to our galleries and partners with an immersive digital experience of their exhibitions.” --- Matterport media release continues in the We Get Around Network Forum (www.WGANForum.com).

Aric Chen is general and artistic director of the Het Nieuwe Instituut, the Dutch national museum for architecture, design and digital culture in Rotterdam. During one of those careers that makes you wonder what on earth you've been doing with your time, he has also been creative director of Beijing Design Week, lead curator for design and architecture at M+ in Hong Kong, curatorial director of the Design Miami fairs in Miami Beach and Basel, and professor and founding director of the Curatorial Lab at the College of Design and Innovation at Tongji University in Shanghai.As a result, he has a genuinely global perspective of the design industry. In this episode we talk about: the Instituut's new show that looks at design and energy; issues around decarbonising the grid; his problem with design manifestos; how the Instituut is becoming a ‘Zoop' and giving non-humans a voice (you read that right); providing agency to microbes; making new ideas visible; why he didn't become an architect; his first job in PR; the relationship between journalism and curating; the similarities between the US and China; and how the Instituut will curate next year's London Design Biennale. (For various reasons – mainly to do with microphones being held up in EU customs – the sound on this episode isn't up to our usually quality. Apologies but, frankly, I'm blaming Brexit.)Support the show

Welcome! This week, Etosha is out sick and resting but she will be back next week better than ever. In the meantime, co-host, Alex interviews guest, Nicolle Smith, a 5th Quarter Graphic Design student at Miami Ad School. We get to hear all about her experiences before and during school and we find out some great advice on how to navigate the creative landscape. Learn more about Nicolle on our instagram @jgspodcast and enjoy!

"In Miami, all roads lead to Craig."  Virgil Abloh, fashion designer, artistic director of Louis Vuitton's menswear No one of our generation has played a more influential role in defining, redefining and shaping the culture in Miami than Craig Robins. Craig is a visionary in the truest sense of the word, nothing short of brilliant. However, it was his unpretentious personal warmth and willingness to engage with this unknown restaurateur in the 80s that established our connection, one that has endured through his astronomical rise over the past four decades. As the CEO and President of Dacra, the real estate development company he founded in 1987, Robins focuses on developing creative communities that integrate art, design and architecture to accelerate asset value creation and enrich urban life. Dacra has spearheaded some of the most successful and transformative commercial, residential and mixed-use projects in Miami's history, including South Beach, the Lincoln Road area, Allison Island and the Miami Design District, an 18-square block neighborhood dedicated to fashion, design and art that incorporates the work of emerging and established architects, public art, Michelin restaurants and stores by the world's most significant luxury brands. In 2005, the neighborhood's rapid renewal inspired the creation of Design Miami/ (Jun) in Basel, Switzerland and subsequently Design Miami/ Basel (Dec) in Miami, design fairs that have evolved into the world's premier global forum for collectible design. Robins is the Chairman of the show, which he owns in partnership with MCH Swiss Exhibition, the producers of Art Basel. Join me, your host Brad Johnson , and Craig as we discuss his family life growing up, how a year studying abroad in Spain broadened Craig's view of urban design and inspired his citizen-of-the-world perspective. We learn about the three mentors in his career, the importance of historical buildings in preserving and reflecting culture, and how Craig's love of art, design, architecture and sense of community melded into his business philosophy and storied journey.  * * * Instagram: Corner Table Talk  and Post and Beam Hospitality LinkedIn: Brad Johnson Medium: Corner Table Media E.Mail:  brad@postandbeamhospitality.com For more information on host Brad Johnson or to join our mailing list, please visit: https://postandbeamhospitality.com/ Corner Table™ is a trademark of Post & Beam Hospitality LLC © Post & Beam Hospitality LLCSee omnystudio.com/listener for privacy information.

Monocle's US editor, Christopher Lord, has the latest on the 6 January attack hearings. Plus: an update on Colombia's presidential run-off, an interview with one of Design Miami's co-founders and Andrew Mueller's take on what the past seven days have taught us.

In this video we have a look at this year’s edition of Design Miami Basel. It’s the 16th edition of ...

What you'll learn in this episode: The difference between art jewelry and jewelry by artists Why more collectors and jewelry enthusiasts are starting to appreciate artist jewelry How Elisabetta helps visual artists bring their first pieces of jewelry to life Why artist jewelry is a smart investment About Elisabetta Cipriani Elisabetta Cipriani invites world leading contemporary artists to create aesthetically innovative and socially relevant wearable art projects. Since the opening of her namesake gallery in 2009, Elisabetta's pioneering vision has redefined the boundaries between jewelry and fine art, capturing the imaginations of artists and collectors across the globe. The gallery has collaborated with over 50 critically acclaimed painters and sculptors, including Ai Weiwei, Chiharu Shiota, Giulio Paolini, Ilya & Emilia Kabakov, Carlos Cruz-Diez, Enrico Castellani, Erwin Wurm, Giorgio Vigna, Jannis Kounellis, Rebecca Horn, and Pedro Cabrita Reis, to name a few. The gallery's projects can be found in museums and private collections across the globe, including Musée des Arts Décoratifs, Paris; Museum of Art and Design, New York; World Jewelry Museum, Seoul; and The State Hermitage Museum, St Petersburg. A number of Elisabetta Cipriani's jewelry collaborations are featured in From Picasso to Koons: The Artist as Jeweler, the international touring exhibition of artist jewelry curated by Diane Venet. Elisabetta Cipriani participates in leading art and design fairs, including Design Miami and Design Basel, TEFAF Maastricht, Artissima Turin, MiArt Milan, PAD London, and PAD Monaco. Additional Resources: Instagram Website Photos: Available on TheJewelryJourney.com Transcript: Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. Today, my guest is Elisabetta Cipriani, founder and owner of the gallery Elisabetta Cipriani Wearable Art, a gallery of limited-edition jewels created by artists. The gallery has collaborated with more than 50 well-known painters and sculptors since its opening in 2009. Welcome back.    I remember years ago, even eight, nine years ago, I bought an artist jewel, and people just didn't understand why you would buy a jewel from an artist. In fact, I was listening to a panel once, and somebody said they wouldn't buy an artist jewel by Man Ray because it wasn't what he was known for. That really surprised me, because I think I would want a piece like that because it's so unusual. What changed?   Elisabetta: I think people are more knowledgeable now. They study more. I'm talking about art, not about jewelry. Even young collectors who want to start a collection, they are eager to learn more about the artist and the works. I think they are acquiring a stronger sensibility in work that is art. Can jewelry be art? Yes, if it's done by an artist. Also, when people see an art piece from an artist and they see a jewel from the same artist, they see the connection. The dialogue is the same; there is a continuity.   Before, people were probably seeing it as a decorative piece rather than a pure art piece. The traveling exhibition really helped because it went to New York, it went to Miami, it went to Venice, it went to Paris at the Museum of Decorative Arts, I think Brussels. It went everywhere, and she is still working on it. She wants to bring it to Brazil and a main city in Italy like Milan or Rome. She's working on it. So, people are seeing art as jewelry, and they understand that it's not decorative, but it's an art piece. It's collectable, and it is precious not because it's a jewel, but because it is an intimate aspect of an artist.    An artist, especially in the past, they didn't do it for a commercial purpose. They did it for themselves, for their friends, for their lovers. It was only later that, for example, Picasso had François Hugo, who was doing his gold plates. He asked Picasso if he could do those big plates reduced as small medallions to wear. That was a goldsmith who actually started the collaboration with the medallions with Picasso, GianCarlo Montebello in Milan. In the seventies, they started inviting artists like Man Ray, GianCarlo Montebello, Niki de Saint Phalle, Lucio Fontana to do jewelry as a commercial business, basically.   Then, apart from people seeing artist jewelry in museums, they also see us: galleries showing in the best fairs around the world, in New York, in Maastricht, in London or in Paris, the Basel Design Fair in Miami, and also auctions. At the auctions, the prices are crazy. I can't buy at an auction. If I look at something that I would love to buy, I'm there, but I already know that I can't reach that price, because it goes five times more than the estimated price.   Sharon: The Picasso medallion was at auction. I don't know what it went for before. I don't even know if it sold, but when Bonhams had its modernist jewelry auction recently, that was the centerpiece, that Picasso medallion.   Elisabetta: Yes, even Claude Lalanne, for example, was at a recent auction in Paris, and the prices—the estimate was 3,000-5,000 euros, and it sold for 70,000 euros. I have two Lalannes, thank god. These pieces, they grow in value; we all know that. For example, recently I collaborated with Carlos Cruz-Diez, one of the most important Venezuelan kinetic artists. He passed away a few years ago at the age of 91, so he had a great life. He was an amazing artist. He was a beautiful man, and we did a necklace together and a bracelet. With him, we split the editions. He took a certain amount of necklaces and a certain amount of bracelets. Mine sold out, and I had one left in another color, gold. I had a client coming to see the pieces, and I was surprised at the increase in price. When I asked him, “Can you update me on the price?” the new price was 40% higher. I never say this to my clients because I don't like it. You buy it because you love it, not because you want to make an investment, but it's obvious that's an investment because, after two years' time, it's 40% higher.   Sharon: Somebody once said that people buy jewels done by artists because the painting, the artwork itself, may be unaffordable, but this way they can buy something that's relatively affordable. Do you find that true? Do you find that people say, “I love this artist. I want a piece of his or hers”?   Elisabetta: First of all, my collectors are art collectors, so those who buy my jewelry are mainly art collectors or lovers of jewelry. Most of them, they buy the jewel because they have the art piece but they can't carry it with them around the world, whereas the jewel, yes, they can, and they love it. Of course, if I say it's $30,000, for them, it's nothing compared to how much they paid for the art piece by the artist. Art collectors, they understand the value of the piece. Even if there is no diamond, no precious stones, they know it costs that amount of money because it's made by that artist.    Sharon: Was opening your own gallery something you wanted to do for a long time?   Elisabetta: No, not at all. I started this business as a passion. I wasn't really thinking to become a gallerist or a dealer. I just wanted to do something I really loved, that I always wanted to do. Even better, because I linked jewelry with art. I'm continuing to work one-to-one with visual artists. It's something I love, to talk to artists. I'm a curator as well because I choose the artists that I love, as a painter, as a sculptor. I choose the artist with whom I would like to collaborate. I see an art piece; I don't see a jewel at all. I love what they create, and it happened like this spontaneously.   Sharon: You've mentioned there's resistance from the artists. Is it because they're surprised that somebody would ask them to do that? Do they feel like, “I don't do jewels; I do paintings”? What's their resistance?   Elisabetta: I must say I've only had a few turn-downs, artists that say, “No, I'm not interested. It's not what I do.” They don't see it as their language, so they say, “I'm not doing it.” This past year there were ones that said “no is no,” but there were two or three others who said “not now.” I understood in time that “not now” means they are too busy creating art works and going to museums, as I said before, and that they need to have a quieter moment to do this. It's really very challenging for them.    Imagine an artist who creates big sculptures. They work with their hands, with arms opened up. They also have to think about wearability. How can I translate that sculpture into something very small, in the same language? How can I translate the strength of a big sculpture into a miniature? It's difficult. It's even frightening, but I am good at reassuring them that once they come up with an idea, with a sketch, with a prototype, I'm good at helping to transform it into something wearable.    Sharon: What's the process? They say, “O.K., now's the time,” they sketch something and bring it to you and say, “What do you think?”    Elisabetta: Once they agree, I ask them to create a sketch or a protype, something. I need to start with their design. They give me the design which, thank god, I always like it. It would be difficult to tell them I don't like it. Every time I pray it's something nice, and thank god, it was always nice.    Then I bring the design to my goldsmith, who is in Rome, and I start the production, meaning I start a protype. We do casts and samples in silver, and once I'm happy with my goldsmith, once we get close to the design the artist has given me, I show the first model of the prototype to the artist. Then we make changes. It's back-and-forth communication and changing until the artist is 100% happy. Then we can start making the piece in gold or in silver. It depends on the artist, if he wants to do it in silver or in gold.    It's all up to the artist whether we make a small edition or a unique piece or a bigger edition. The maximum I work with is an edition of 12. I have a few where I have an edition of 20, but that's because they're made in silver and it's easier. Still, even if it's an edition of 20, there are limits depending on how big it is. I also have unique pieces. In any case, even if it's a limited edition, it's always handmade at the end. There isn't a stamp, a mass production. It's always the hand of the goldsmith who needs to modify it. They are the same within an edition, but not exactly the same. We keep the beauty of it as well.   Sharon: I don't mean to put you on the spot, but it's a question that nobody can answer definitively: what's the difference between art jewelry and jewelry by artists? For instance, when I think of art jewelry, art jewelry can be made of gold or silver, but it can also be made of wood and plastic and feathers. What is the difference between somebody saying, “I do art jewelry” as opposed to, “I'm an artist”? What's the difference?   Elisabetta: The difference, very obviously, is that art jewelry is made by someone who does only that, and artist jewelry is a jewel made by a visual artist, a painter or a sculptor that has nothing to do with jewelry. It's a classic experiment. It's more traditional in a way. I've never an artist-jeweler bring an experiment or feathers. It's not the material; it's the intrinsic thing, the complexity of the material, combining the classic with precious materials. It's too advanced for an artist to do that, I think.   Sharon: That's interesting. If they're not doing jewelry, if their métier is painting or sculpture, to come and say, “I want to make something that has plastic and gold or plastic and wood,” that is—   Elisabetta: And you can see the difference. Just yesterday I sold a piece to a well-known American collector. I didn't know about her. She sent me an article about her collection. She has a contemporary jewelry collection. I call it contemporary jewelry, quite impressive, but it's very different from an artist jeweler. I don't know; It's a feel. It is a little bit colder to me.   Sharon: Cold contemporary. There's so much beautiful contemporary jewelry, but it's done for the beauty of the jewelry in a sense.    Elisabetta: Yeah, I see artist jewelry being more sculptural, more two-dimensional.   Sharon: Do you see this as a growing field? Are more galleries coming online with this?   Elisabetta: There aren't many galleries. There are five in the world. It may happen that a person wakes up in the morning and says, “O.K., I'm going to collaborate with an artist,” and they do three projects with different artists and then they disappear. There are only five proper galleries who have a program, who show at fairs, who are around, but the interest is for sure on collectors.    I would be happy for more galleries to open. The more there are, the better the word is spread. It's important. We need quality, not quantity, so if they open, they should do it in a nice way. It would be a shame to work with an artist and create something that is not properly made.   Sharon: Do you ever have artists come to you and say, “I'd like to do some jewelry”?   Elisabetta: Not visual artists.   Sharon: No?   Elisabetta: Not sculptors and painters. Jewelers? Yes, many, because I have two sections in my gallery. One is what I specialize in, which is artist jewelry. A few years ago, I opened up the gallery with jewelers who have a very strong sculptural approach when they create jewelry. For me, both of them are artists. Even if you're not a painter and a sculptor, you're indeed an artist as well, because you're creating something. So, a few years ago—I don't remember if it was before Covid—I launched this section, which is called EC Lab.   Sharon: I'm sorry; what is it called?   Elisabetta: EC Lab.   Sharon: EC Lab, O.K.   Elisabetta: You know about it.   Sharon: I've seen it. I didn't realize what it was. I've seen it on your website, yes.    Elisabetta: There are great artists there. There's Ute Decker; there's Joy BC; there's Gigi Mariani; Leonid Dementiev; John Moore. They are artists to me. Some of them actually create small sculptures. That is what they do for a living. It's not painting, it's not traditional sculpture, but their approach is sculptural and so unique that, for me, I don't see the difference between artist jewelry and contemporary jewelry, if you want to call it that. It's quite successful, and I enjoy seeing these artists within the context of artist jewelry and identifying them as artists.    Sharon: Interesting combination. I could see why that would work out, and that it's popular because it's not retail. You're not going to walk into a mall and find them.   Elisabetta: No. Actually, most are by appointment. Not everyone can come and ring the bell and come upstairs. You need to make an appointment because it's exclusive here, and I protect them. They're like my little children.   Sharon: So you have to do it by appointment. It's not like somebody walks in off the street.   Elisabetta: The gallery is always open, but I want people to make an effort to make an appointment.   Sharon: Is that the way it's always been?   Elisabetta: Yes.   Sharon: That's interesting. Elisabetta, thank you so much. I would love to enter your gallery. Thank you so much for joining us today.   Elisabetta: It's been a pleasure.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

What you'll learn in this episode: The difference between art jewelry and jewelry by artists Why more collectors and jewelry enthusiasts are starting to appreciate artist jewelry How Elisabetta helps visual artists bring their first pieces of jewelry to life Why artist jewelry is a smart investment About Elisabetta Cipriani Elisabetta Cipriani invites world leading contemporary artists to create aesthetically innovative and socially relevant wearable art projects. Since the opening of her namesake gallery in 2009, Elisabetta's pioneering vision has redefined the boundaries between jewelry and fine art, capturing the imaginations of artists and collectors across the globe. The gallery has collaborated with over 50 critically acclaimed painters and sculptors, including Ai Weiwei, Chiharu Shiota, Giulio Paolini, Ilya & Emilia Kabakov, Carlos Cruz-Diez, Enrico Castellani, Erwin Wurm, Giorgio Vigna, Jannis Kounellis, Rebecca Horn, and Pedro Cabrita Reis, to name a few. The gallery's projects can be found in museums and private collections across the globe, including Musée des Arts Décoratifs, Paris; Museum of Art and Design, New York; World Jewelry Museum, Seoul; and The State Hermitage Museum, St Petersburg. A number of Elisabetta Cipriani's jewelry collaborations are featured in From Picasso to Koons: The Artist as Jeweler, the international touring exhibition of artist jewelry curated by Diane Venet. Elisabetta Cipriani participates in leading art and design fairs, including Design Miami and Design Basel, TEFAF Maastricht, Artissima Turin, MiArt Milan, PAD London, and PAD Monaco. Additional Resources: Instagram Website Photos: Available on TheJewelryJourney.com Transcript: For a long time, jewelry created by visual artists was considered lesser than artwork made in the medium the artist was known for (compare the price of Man Ray jewelry to the price of Man Ray photographs, for example). But in recent years, both jewelry and art collectors have realized the significance of artist jewelry, due in no small part to Elisabetta Cipriani. Through her gallery, Elisabetta Cipriani Wearable Art, Elisabetta collaborates with leading visual artists to create limited edition artist-made jewels. She joined the Jewelry Journey Podcast to talk about what inspired her to combine fine art and jewelry; the process she uses to work with artists; and why jewels by artists should be a part of any jewelry lover's collection. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Here at the Jewelry Journey, we're about all things jewelry. With that in mind, I wanted to let you know about an upcoming jewelry conference, which is “Beyond Boundaries: Jewelry of the Americas.” It's sponsored by the Association for the Study of Jewelry and Related Arts, or, as it's otherwise known, ASJRA. The conference takes place virtually on Saturday and Sunday May 21 and May 22, which is around the corner. For details on the program and the speakers, go to www.jewelryconference.com. Non-members are welcome. I have to say that I attended this conference in person for several years, and it's one of my favorite conferences. It's a real treat to be able to sit in your pajamas or in comfies in your living room and listen to some extraordinary speakers. So, check it out. Register at www.jewelryconference.com. See you there.   This is a two-part Jewelry Journey podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is Elisabetta Cipriani, founder and owner of the gallery Elisabetta Cipriani Wearable Art, a gallery of limited-edition jewels created by artists. The gallery has collaborated with more than 50 well-known painters and sculptors since its opening in 2009. We'll hear more about Elisabetta's jewelry journey today. Elisabetta, welcome to the program.    Elisabetta: Hello, Sharon. Thank you for having me.   Sharon: So glad to have you. Tell us about your jewelry journey. Did you study jewelry as a young girl? Did you like glittery things? Tell us about that.   Elisabetta: Basically, I didn't study jewelry when I was in university. I never studied jewelry; I only had a big passion for traditional jewelry. I'm Italian. I come from Rome, and there is this Italian tradition of having beautiful jewelry. Especially in the 80s, women were going out with parures, with the necklaces and bracelets. They were taken out from the safe for special occasions. I have memories of me as a young girl on my mother's bed with her jewelry on the bed, dressing up for various events and weddings. I was touching them and looking at them from the back and the front, and I was trying them on and asking her all the time, “Please, can I have this when I'm older?” I was playing with them while she was selecting the right piece for the right event. For me, when she went out, it was the best moment. It wasn't like playing with a doll. It was like, “Oh my god, beautiful jewelry. I can have a look at them again.” I've always had this passion.    I have a background in jewelry in terms of how to make a jewel. I didn't study the history of jewelry. Of course, now I know about it because I read and studied a little bit. I'm not an expert; I know what I'm talking about, but I never had the occasion to study in depth in university, for example. When I finished school, I wanted to study jewelry, to create jewelry, and my father said, “There's no way you can do that. You need to do a proper degree.” I took a gap year, and I remember that I did an evening course on pearls and diamonds. It was really advanced, and I didn't understand much of it, but I ended up doing history of arts, which is now all connected.   After university, I worked in a museum of contemporary art in Rome called MACRO. It's a state museum for contemporary art in Rome. I worked there for three years as co-curator. I had the best experience of my life because I met the most important artists the museum was inviting to have their exhibitions there. How old was I? I was 23 years old, and for me, it was natural to talk to a famous visual artist like Tom Wesselmann, who passed away, or Cecily Brown, Vik Muniz, Tony Cragg. For me, it was natural to have a conversation with them and go to their artists' studio with the director of the museum to select the artworks for the exhibition. I learned how to move in the world of art with the artists. I was really comfortable being with them, but deep in my heart, I always had this love for jewelry. I was wearing jewelry from my mother and grandmother that they were giving to me as gifts. I always kept it as a passion.   I moved to London in 2005, and I worked for an art gallery. I left Rome because I wanted to grow and be independent and learn the art market, how you sell an art piece, rather than being a curator. Then I learned about jewelry by Picasso and Man Ray, and I thought it was an interesting topic to follow and learn about. Then there was Louisa Guinness. I used to work for the husband of Louisa Guinness, Ben Brown. At that time, I think it was two years since she had started her business, and she had one kid after another. She asked me to bring the cabinet of jewelry to the art fairs, so I was bringing this cabinet with Picasso jewelry and Kapoor jewelry. It was 17 years ago. I remember there was an interest in artist jewelry, but not as much as today. I was selling the pieces. People were seeing them more as jewelry back then, sculptures by artists. It's weird how things have changed. The perception is that what you are buying or owning is not a jewel, but it's an art piece you can wear by a visual artist.    I worked for Ben Brown for three years, and then I got married. When I was pregnant, I said, “That's it. I'm not going to continue working for the gallery. I want to work independently. I'm going to open my own business.” I started an artist jewelry gallery. I invited the artists I met at the Museum of Contemporary Art in Rome and asked them to work with me. At the beginning, they were very supportive. Most of them said yes. One didn't say yes, but I'm still in touch and asking him if he would like to do a project with me. I've been waiting 12 years and he hasn't come back to me yet. He didn't say no. They say they are busy with their art works, with their museum shows. An artist needs to be free mentally and needs the time to sit down and work small. You might think it's straightforward for an artist to do a wearable art piece, but it's not something they typically do. My first collaboration was with Tatsuo Miyajima, a Japanese artist. He works with LED. He's a very established sculptor from Japan.   Sharon: What is his name? I'm not familiar with him.    Elisabetta: Tatsuo Miyajima. If you want, I can send you his email.   Sharon: That would be great. So, he's very established. What was his reaction when you talked with him?   Elisabetta: This was in 2009. He was surprised at the time that someone would propose something so unusual. He had never done a jewel, so it was also a challenge for him, and he agreed. He sent me an LED from Japan. Basically, it's a digit with numbers that count from one to nine or nine to one. I have it here. It represents the continuation of life in Buddhism. It's never zero. This LED has been mounted inside a ring with three colors: rose gold, white gold and yellow gold. It's a very complicated ring to put together. When you close the ring, the ring turns on and you see this LED that counts from one to nine. Whoever buys the ring can choose the counting speed, from one second to five minutes, because you decide how long you want your life to move on.    Actually, a museum purchased this piece for the museum collection. The museum is called the Slager Museum in Hertogenbosch. They did a beautiful exhibit called “Private Passion” many, many years ago, and they bought the Miyajima ring and a few other pieces. It was my first museum purchase.   Sharon: How exciting.   Elisabetta: It was very exciting. My first project was with Tatsuo Miyajima, then Atelier Van Lieshout, then Tom Sachs. I only had three pieces, and the museum contacted me to go to Holland and bring this jewelry, these small pieces to show them. I was very pleased with it.   Sharon: Wow! You're just starting your own business.   Elisabetta: When I look back to how I started and with the resources I had, it's incredible what I've done in the past 12 years. I should say to myself more often that I should be proud of myself. Normally I don't say those things. I always move forward, and I never stop and say, “Well done, Elisabetta.” Sometimes I need to stop and say it.   I'm inside my husband's gallery, Sprovieri. We are in Mayfair. When I started in 2009, my husband only had a piece of the gallery. Ten years ago, he expanded and got another space which is linked to this one. When I started, he gave me a shelf from his library. So, I had this shelf and then he said, “O.K., you can take this space.” It was a shelf like this. I think it was light blue or grey blue; I don't remember which color. I put my three little jewels on it. So, I had this shelf with these three jewels, and I remember Diane Venet, the most important artist jewelry collector in the world, coming to visit me to see my new projects. I was young; everything was new. She bought the Miyajima ring and the Atelier Van Lieshout piece. That's how I started from my little shelf.    Then I took a small space from the gallery. In 2019, when I celebrated the 10-year anniversary of my business, I took this space here, which is very nice. It's always inside my husband's gallery, where he sells art. It's very nice, because when people come to see the exhibition of an artist, then they come here and discover the most intimate aspect of an artist, which is a jewel.   Sharon: How did Diane Venet know that you even existed there? Were you advertising? How did she find out about you if you only had three pieces?   Elisabetta: When I was working from Ben Brown and bringing this jewelry to the fairs, I spoke to her a few times. I went to see her exhibitions because I was starting to become passionate about artist jewelry. That's how I learned about artist jewelry. So, I went to her. I think her first exhibition was in—I don't remember the city in France where she first showed her collection, but she brought this exhibition to the MAD in New York. I kept in touch with her, and she came to visit me. After a few years, when she opened her exhibition at the Museum of Arts and Design in New York, she invited me to talk with her and Didier and Marc Vendome in this huge stadium about my projects.    In any case, I continued inviting artists to work exclusively for me worldwide. I had a very successful project with Giuseppe Pennone; he's an artist from the arte povera movement. He created this beautiful necklace called “Feuille,” which means leaf, made in bronze and pure gold. The necklace is basically bronze where it's rolled into a leaf, and the artist's hand is imprinted on the leaf because his work is about the connection between nature and the person and the human. It was a very successful piece, and I brought it to my first fair in Paris.    The fair was in 2011 or 2012. It was my first fair. At the fairs, there's always a prize for the best piece in the fair or the best designer. At that fair, there was a prize for the best piece. I was not even thinking about the prize. For me, I was like, “Oh my god, it's my first fair. How do I do this?” I was panicking. Then all of a sudden, the director of the fair came to my booth and said, “Congratulations, you've won the prize.” I'm like, “Which prize?” I won the prize for the best piece in the fair with the Feuille necklace. The prize was basically that the Museum of Decorative Arts in Paris would purchase the best object of the fair and put it in the collection of the museum.   Sharon: That's a high bar to pass. You surpassed it.    Elisabetta: Exactly. There were dealers there who had 40 years of experience. I had just arrived in their world. That piece sold out in less than six months, which is quite unusual for an artist jewel, especially back then. Now, things are quicker. I remember when I started, I had an inquiry once a month. Now, I've got 10 inquiries a day for prices from people all around the world. I don't know how they know about me because I'm so niche in field. I think this is the power of the virtual world, that people browse online and discover. Maybe it's actually thanks to Diane Venet, because she's bringing her collection around the world and people are even more knowledgeable about the subject matter. They might see pieces that come from me, so maybe it's because they've seen it in Diane's exhibition.

In his role at the Corning Museum of Glass (CMoG), Eric Goldschmidt gives demonstrations in flameworking, glass breaking, and optical fiber, in addition to teaching, lecturing, and exhibiting his work around the world. In the winter of 1998, he took his first formal class in flameworking with Roger Parramore at the Museum, which opened his mind and illustrated the possibilities of what could be done with the material and processes. In 1993, with the goal of gaining residency to attend The University of Vermont, Goldschmidt relocated to the state and found work as a short-order cook, then as a candle maker. As a Dead Head, he had seen Snodgrass pipes in the early ‘90s, and his roommate at the time had worked with Chris Shave, one of Snodgrass' early students in Oregon. With a torch set up in the garage, Goldschmidt began making mushroom pendants and marbles, working hollows, and by 1996 making his own pipe work.  Goldschmidt began working for The Studio of The Corning Museum of Glass in 2001 and returned to work for the Hot Glass Demo Department in April of 2008. In between, he worked for Arribas Brothers Company at Disney World from July of 2007 to March 2008. Making dragons, fairies and mermaids to entertain the public, Goldschmidt had to push his skills daily, perfecting the very techniques he relies upon today.  Missing the academic atmosphere of CMoG, Goldschmidt returned, moving from studio to demonstrations. From the walk-in workshop where guests made a piece of glass to serving as Resident Flameworker, he taught, advised, helped other instructors, and made his own work in the classroom when it was free. Having the opportunity to assist, observe or interview artists in Italy, Germany, and the Czech Republic, Goldschmidt was able to tune into cultural differences in the way flameworked glass is considered and approached.  Some favorite tasks in his current role as Flameworking and Properties of Glass Supervisor at CMoG include assisting Toots Zynsky during her residency and making work for a Robert Wilson installation that was shown at Design Miami in 2019. One of his many responsibilities is setting up glass demos such as the recent multi-day demonstration that resulted in incredible work by Dan Coyle (aka Coyle Condenser), Ryan O'Keefe (aka sdRyno), and Hoobsglass. Parts of the collaboration were livestreamed with thousands of artists tuning in from across the country. It is now available on CMoG's YouTube channel. Says Goldschmidt: “The world of flameworked glass has been seeing a great deal of innovation and momentum over the past decade that has largely been driven by artists making pipes for cannabis consumption. These artists are constructing objects that are not only beautiful and intriguing, but they must also function in specific ways for their collectors.”  Although Goldschmidt stopped making pipes when he began working at CMoG, he has been welcomed into the functional glass community as a “brother of the torch.” With a passion for goblets, he is known for both his Cage Cup series as well as his series of elegant Lidded Goblets. Sheet glass figurative work is his most unique contribution to flameworked art. The artist's Cage Cups feature fragmented face imagery surrounded by twisted vine-like “cages.” These cages create a more in-depth narrative beyond their traditional silhouettes, presenting a metaphor for the cages that we become entrapped in within our lives. They draw the viewer in to find the deeper narrative. Each of his Lidded Goblets has a removable lid accented with a delicate finial.  In comparing pipes to goblets, Goldschmidt states: “Goblets are other objects that have potential for decoration. They involve the use of hollow forms, solid forms, and pattern work. Pipes and goblets are certainly related. The techniques and materials are very similar, if not exactly the same. People talk about the taboo of pipes because they're used for cannabis. Cannabis is gaining huge acceptance these days. It's a matter of time before the taboo is completely gone. Goblets and drinking vessels have been used for the consumption of alcohol for a long time. I don't see too much of a difference. Some people are now connecting pipe makers and collectors with drinking vessels.” Currently travelling in Italy, Goldschmidt is working with Cesare Toffolo's sons on the beginnings of a film series that will cover a great deal of the history of flameworking. He will teach a workshop at Salem Community College, Goblet as a Tool for Growth, June 13 – June 16, 2022 and at Snow Farm: The New England Craft Program, a nonprofit, residential craft school in Williamsburg, Massachusetts, in October, 2022.  

Live From Miami… In today's episode, step into the halls of the 2021 Design Miami exposition for a special in-conversation with Paula Wallace and Cliff Fong. In front of a live audience, Paula explored the genesis of Fong's acclaimed curatorial eye, how he creates cohesion out of a broad spectrum of fine art and furnishings, and stories behind his businesses: matt blacke inc. and Galerie Half. If you couldn't be at Design Miami 2021 in person, this episode brings the best of the design world to you.

Alex Proba is a New York and Portland-based creative director of Studio Proba. She's a multidisciplinary designer, focused on brand design, art direction, product design, illustration and murals and you must have seen online her playful sculptural installation Tomorrow Land from Design Miami 2021. In our conversation, Alex shares with me her educational path, which spanned dentistry, architecture and product design. We discuss her career in creative industries, which included design roles at Kickstarter and Nike before she established Studio Proba in 2013. We also chat about making work that makes people happy, setting yourself 100-day projects and sometimes, putting your personal life plans first. Mentioned in the episode: Alex's website: https://www.studioproba.com/ To get new weekly On Design podcast episodes directly in your inbox, sign up to our newsletter at https://ondesignpodcast.com/newsletter. Podcast music: James Greenfield, production: Green Podcast Productions

In this episode, I talk to Yuri Suzuki, a sound artist, designer, electronic musician, and partner at Pentagram. We cover topics such as the importance of business skills, the value of mentors and being open to asking for advice, career tips for designers in any field, the intersection of art and commerce, the importance and opportunities of sound design in the years to come, how he became a partner at Pentagram and much more.BiographyYuri Suzuki is a sound artist, designer and electronic musician. His practice explores the realms of sound through designed pieces that examine the relationship between people and their environments – questioning how both music and sound evolve to create personal experiences.Central to Suzuki's practice is collaboration. He has worked with various musicians, including will.i.am and Jeff Mills, and commercial clients such as BBC, Disney, Audi, Facebook, Korg, Teenage Engineering, Moog, Red Bull, and Google, with whom he developed a unique AR Music Kit.His work can be seen in several international museum collections, including the Museum of Modern Art in New York. He had both solo and group exhibitions at the Tate Britain London, Mudam Luxembourg, MoMA and the Museum of Modern Art Tokyo. In 2016, he received the designer of the Future award at Design Miami.In 2018 Suzuki was appointed a partner at Pentagram, the world's largest independently-owned design studio. Based out of their London headquarters, Suzuki and his team continue to work internationally, pushing the boundaries between art, design, technology and sound, crossing the fields of both low and high technology.Selected Links From the EpisodeYuri Suzuki's WebsiteYuri Suzuki's InstagramPentagramMaywa DenkiRoyal College of Art, LondonRon AradLogic ProAbleton LivePro ToolsDr. Robert MoogArturia MicrobruteRoland Boutique SeriesCounterpoint StudioDaniel WeilJesper KouthoofdTeenage EngineerShow NotesIntroduction [00:00:00]The Mindful Creative Year [00:01:02]Episode Introduction [00:05:35]Career Advice and Tips for Young Designers [00:08:17]Work Routines of a Sound Designer at Pentagram [00:26:12]On the Importance of Business Skills and Having Mentors [00:33:59]The Intersection of Art and Commerce [00:42:07]Short Episode Break – Support the Podcast [00:47:16]On Becoming a Pentagram Partner [00:47:59]The Future of Sound Design [00:52:14]How to Be a Better Creative Professional [01:07:35]Episode Outro [01:10:51]Full transcript and more at https://creative.voyage/

Peter Blake is a globally recognized  pioneer of the Laguna Beach fine art world, as a beacon and early champion of the California contemporary minimalist style, notably California Light and Space, his particular backing of that time in art has been validated in spades by action houses around the worlds in recent times. Bringing a level of expertise, passion, and advanced foresight into investment markets Peter has stuck to his guns in all ways, a true patron of the arts who's authenticity shines in every move he's made. Such a pleasure to present this in-depth interview with the man who's mission has elevated the art sophistication and appreciation so single handedly, Peter Blake. Peter Blake is a renowned dealer of California Light and Space who opened his eponymous Laguna Beach gallery in 1993. The Peter Blake Gallery is recognized today as the longest standing and leading exhibitor of West Coast Minimalism and is known for its rigorously curated solo and group exhibitions. The Gallery's program has an ongoing history of exhibiting artists long due for reappraisal such as Peter Alexander, Lita Albuquerque, Larry Bell, Mary Corse, Tony Delap, Fred Eversley, Joe Goode, James Hayward, Scot Heywood, John M. Miller, Helen Pashgian, and DeWain Valentine. Over the last decade the gallery has also participated in a number of prestigious art fairs including The Armory Show, Art Los Angeles Contemporary, Design Miami, Design Miami/ Basel, EXPO Chicago, and Seattle Art Fair. In 2018 Peter was elected by majority vote onto the Laguna Beach City Council, which marked a new chapter in his career and continues his ongoing commitment to his local community.

We meet the incoming curatorial director of this year's Design Miami. Plus: musical trio Khruangbin give us some insight into the creation of their unique tour posters.

The Future Perfect Presents New Works by 15 Established and Up-and-coming Avant-garde Artists and Designers at Design Miami 2021, from December 1 – 5 Designer Bradley Bowers' sculptural light works named ‘Best Contemporary Work in Show' by Design Miami MIAMI BEACH, FL – December 1, 2021 The Future Perfect unveils an extensive exhibition of cutting-edge design ...

Wava Carpenter, the curatorial director of the Design Miami fair, speaks with us about what she's doing to make Design Miami a potent platform for conversation, how the pandemic created an ideological shift in the design industry, and the age-old debate around what constitutes “art” versus “design.”

Working as DRIFT, Dutch art duo Lonneke Gordijn and Ralph Nauta make spectacular immersive installations. For this September's Design Miami fair in Basel, they are presenting their biggest and most complex Shylight project to date. Seeing Shylight is a mesmerising experience, as dozens of silk flower-like lights gracefully open and close above the viewer's head. We hear about the level of detail involved in creating the Shylights effect, with hundreds of hours spent sewing the delicate silk shapes and programming the choreography of their movement - not to mention the challenge of a global computer chip shortage. DRIFT are known for the way they use technology to explore the hidden mechanisms of nature: the movement in Shylight is inspired by the way some flowers close at night. In other works, DRIFT have programmed drones to swarm the skies in patterns based on bird flight, made concrete blocks float, and captured the fragility of dandelion seed heads. As she anticipates the final reveal in Basel, journalist Bidisha talks to Lonneke Gordijn and Ralph Nauta about their decades-long working partnership.

Aric Chen is a curator, writer, and design historian. He was recently appointed the general and artistic director of Rotterdam's Het Nieuwe Institute (The New Institute) and previously served as curatorial director for Design Miami, curator at large for M+ and creative director of Beijing Design Week. He also is a professor and founding director of the Curatorial Lab at the College of Design and Innovation at Tongji University. In this episode, Jarrett and Aric talk about the value of wide interests and multidisciplinary careers, building M+'s collection, and what he hopes to do in his new job.Links from this episode can be found at scratchingthesurface.fm/196-aric-chen. — If you enjoy the show, please consider supporting us on Patreon and get bonus content, transcripts, and our monthly newsletter! www.patreon.com/surfacepodcast

In this third of three podcasts on the theme of creativity, Barbara and David are joined by two guests: Ambra Medda, a global expert in art and design, founder of the Design Miami fair, advisor to Christie's, and much-in-demand as a curator of exhibitions; and Sophie Pretorius, art historian, and researcher and archivist for The Estate of Francis Bacon, one of the most important figures in 20th Century art.

In this second of three podcasts on the theme of creativity, Barbara and David are joined by two guests: Sophie Pretorius, art historian, and researcher and archivist for The Estate of Francis Bacon, one of the most important figures in 20th Century art; and Ambra Medda, a global expert in art and design, founder of the Design Miami fair, advisor to the auction house Christie's, and much-in-demand as a curator of exhibitions.

Alexandra Cunningham Cameron is a curator of contemporary design and the Hintz Secretarial Scholar at the Cooper Hewitt Design Museum. At Cooper Hewitt, she organized the first retrospective fashion designer Willi Smith that includes an exhibition, book, and online archive. Previously, she was a curator at Design Miami and the editor in chief of The Miami Rail. In this conversation, Jarrett and Alexandra talk about finding definitions for design, the relationship between literature and design, and institutional critique. Links from this episode can be found at scratchingthesurface.fm/188-alexandra-cunningham-cameron. — If you enjoy the show, please consider supporting us on Patreon and get bonus content, transcripts, and our monthly newsletter! www.patreon.com/surfacepodcast

Sabine Marcelis, the Dutch-New Zealand designer based in Rotterdam, The Netherlands, is challenging the status quo worldwide with her works with light, water, glass, and resins. One of the most sought-after names in the collectible design scene, Sabine speaks with Yoko Choy about her exciting new projects and personal works. What inspires Sabine is the interaction between light and materials. One of the best examples is the installation 'The Shape of Water' she created for Fendi, exhibited at Design Miami in 2018. And recently, she was approached by Ikea to design an object for their Art Event in 2021, in which a wall lamp was conceived using a single sheet of paper with a cut through it to create an interesting lighting effect.

What you’ll learn in this episode: Why you don’t always need to focus on big cities when looking for art jewelry How Ornamentum finds and selects artists to represent How Stefan defines conceptual jewelry The inspiration behind the work of Jiro Kamata, one of Ornamentum’s well-known artists How Ornamentum has attracted a loyal, young group of collectors and maintained those relationships, even in the pandemic About Stefan Friedmann Stefan Friedmann is the co-founder of Ornamentum Gallery with his wife, Laura Lapachin. Founded in 2002 in Hudson, New York, Ornamentum exhibits a dynamic collection of contemporary jewelry as well as related objects and artworks. Stefan and Laura founded the gallery after themselves being educated as jewelers/designers in the USA and Germany. These experiences put to work in the gallery setting have earned them international acclaim as impeccable and discerning curators. Transcript  Additional Resources: Website Photos: Pink and grn neck iro Kamata Holon Necklace 6, 2021 necklace, oxidized silver, camera lenses with PVD coating length 16.93 inches /43 cm photo: Jiro Kamata David Bielander Cardboard (Heart), 2016 bracelet, 18k gold, white gold staples 3.65 x 3.125 x .9 inches 9.3 x 7.9 x 2.3 cm Edition of 12 - 1 example in the Newark Art Museum collection. photo: Dirk Eisel Aaron Decker Pink Tug, 2018 necklace, enamel, copper 7.87 x .79 x 1.57 inches 20 x 2 x 4 cm photo Aaron Decker Ornamentum showing jewelry and related art and design works at Design Miami in 2019 photo: James Harris.

What does it mean for architecture to have character? Stewart and Allison are co-founders of Design With Company, who's work is interested in concepts that are shared between architecture and literature, including: narrative fictions, type, and character. The work has earned awards such as the Architecture Record Design Vanguard Award and the Young Architect’s Forum Award and has been featured in exhibitions such as the Chicago Architecture Biennial and Design Miami, as well as at the V&A Museum and Tate Modern in London.  Allison has lectured at institutions like MoMA in New York, the Vancouver Museum of Art, the Art Institute of Chicago, the Graham Foundation, and universities across the country and abroad. Stewart is an Associate Professor of Architecture at the University of Illinois at Chicago, and an Associate Dean of the College of Architecture, Design, and the Arts.  Mas Context 'Character' Issue

Michael-Birch is a fiber artist and fashion designer. Pierce has interned for Diane von Furstenberg, embroidered Christmas decorations for the Obama White House, and designed an exclusive collection for Levi's. They have performed their embroidered portraits at Oscar and Super Bowl events, Design/Miami, and SXSW, and worked with clients such as Visa, Target, Amazon, Delta, NBCUniversal, and Airbnb. And they have exhibited in numerous galleries and museums both domestically and abroad. In this hour long conversation we discuss: - Surviving as an artist during a pandemic - Collaborating with corporations - Dealing with scam inquiries - and more! Michael-Birch's site: michaelbirchpierce.com Michael-Birch's IG: @michaelbirch Noah on Patreon: patreon.com/noahscalin Music by Jantrax

When Christopher John Rogers was in fifth grade, he knew he wanted to be a fashion designer. He later stumbled on an Alexander McQueen show on YouTube and has since been hooked. Roger’s love of unadulterated and saturated Fashion with a capital F, has seen him rise quickly with his eponymous label, garnering a CFDA/Vogue Fashion Fund in 2019 and an incredible cohort of CJR wearers such as Lady Gaga, Michelle Obama, Alexandria Ocasio Cortez and Beyonce. Iridescent fabrics, saturated jewel tones and dramatic volumes that physically take up the space of a room have marked Rogers out in the New York fashion scene. Jillian Choi, director of global exhibitions at Design Miami and hardcore fashion enthusiast, speaks to Rogers on this episode of the Live Curiously podcast, delving into his journey - from his upbringing in Baton Rouge, where prim church goers and an anything-goes eclecticism have become part of his ongoing reference points, to his time in New York designing for DVF, whilst side hustling with his own brand. Choi and Rogers also unpack an unprecedented year, in which the young designer has had the luxury of time to be with his thoughts and really think about what his brand really stands for, realising that it’s ok not to be “everything to everyone.” Rogers’ hopes for fashion’s future? No grand plans for now, but just pure gratitude for doing him. “To be able to make clothing that is specific and charged with emotion be able to have a business out of that. I feel lucky that we’ve found a community that understands that and relate to that and allow us to continue what we’re doing.”

Peter Marigold is a London-based product designer who originally studied sculpture at Central St Martins before changing tack and enrolling at the Royal College of Art in 2004. Since then he has created gallery pieces for the likes of Libby Sellers and, more recently, Sarah Myerscough, had furniture and shelving manufactured by SCP and others, as well as creating a porcelain collection for Meissen. Best known for his use of wood, in 2015 he launched a new product FORMcard, essentially a small piece of bio-plastic which can be heated and then moulded, allowing users to mend their own products. His work has been exhibited at New York’s MoMA, Design Miami, Design Museum Holon, the V&A, and the Design Museum in London. He has also created commissions for the likes of Paul Smith, Bloomberg and The Museum of Childhood. And if that wasn’t enough, he teaches design at London Metropolitan University. In this episode we talk about: his issues with passive consumption and sustainability; his collecting habit; why he has an odd relationship with wood; his problem with art; and the joy of keeping a pet giant snail. Perhaps most importantly, we discuss FORMcard, and how it can be used to ‘make, fix and modify the world around us’. Support the show (https://www.patreon.com/materialmatters)

What you’ll learn in this episode: How John created Lacewing, his award-winning large-scale neckpiece The unexpected effects that winning an award can have on a jewelry artist’s career Why film can be a better medium than still photography to capture jewelry Why the key to artistic success is unlearning the limiting beliefs we learn in adulthood How the current climate may create opportunity for new growth About John Moore: With unbridled self-expression at its core, the work of multi-award-winning artist John Moore inhabits a nameless realm of possibility without frontiers. Currently represented by Elisabetta Cipriani Gallery in London and Charon Kransen in New York, he is a unique and evolving presence in the world of art jewellery. His distinctive creations have appeared at high profile fairs and exhibitions in the UK, Europe and the USA, including Masterpiece London, Design Miami, SOFA Chicago, MIART Milan, PAD Monaco and PAD London. Moore’s work has been recognized with a number of awards, most notably The Goldsmiths Company Award both in 2016 and 2019. Affectionately known as The Jewellery Oscar, it is ‘only given when, in the [Goldsmiths Craft and Design] Council’s judgement, an entry achieves the highest standard of creative design and originality.’ Commissioned by international collector Tuan Lee, renowned for her taste in statement pieces, his 2019 winning entry, Lacewing, is the latest in the Verto series. Made from sterling silver discs embellished with 48 diamonds set with 18ct gold, Lacewing takes precious jewellery into a new realm, commanding attention and challenging the notion of jewellery as an accessory. Additional resources: Website Instagram Video: A World Away Video: Lacewing Episode Transcript  

Asad Syrkett is the new Editor-in-Chief of Elle Decor. Recently, he was Deputy Editor at the design and cities website Curbed, where he oversaw the senior editing and reporting staff. He's also held staff positions at Architectural Digest and Architectural Record magazines. Beyond the written word, he has guest-lectured at Harvard's Graduate School of Design, appeared on panels at South By Southwest and Design Miami, and co-hosted two seasons of a design podcast, The Curbed Appeal. Asad graduated from Columbia University with a degree in architectural history and lives in Brooklyn. http://www.asadsyrkett.com/ https://www.instagram.com/as4d/

Designer Willo Perron talks about creating a stage-show that pops for everyone from Jay Z to Florence and the Machine. Plus a word with Design Miami’s curatorial director and a documentary maker on her latest film all about Mexican architect Luis Barragán.

Monocle’s design editor Nolan Giles heads to Design Miami to meet some of the most dynamic talents at the annual showcase. Including Australian designers Broached Commissions, curator Alice Stori Liechtenstein, artist and designer Daniel Arsham and mayor of Miami Beach Dan Gelber.

Montenegro says that it will be the EU’s next member state – but will it? Plus: tourism in Sri Lanka, what the film industry might learn from the unlikely legacy of ‘Showgirls’ and a dispatch from Design Miami.

Craig Robins strongly believes that all good things take time. Since launching his vast real estate enterprise Dacra in 1987, at age 24, he has, with this ideology in mind, become one of Miami’s shrewdest mover-shakers. Intimately involved in the revitalization of South Beach in the late ’80s and early ’90s, Robins helped restore—and save from demolition—several now-prized Art Deco properties, including The Webster (designed in 1939 by Henry Hohauser as a hotel and now home to Laure Hériard Dubreuil’s flagship fashion boutique). From there he began to quietly shift his focus across Biscayne Bay, to the Design District neighborhood, unveiling the beginnings of his ambitious plans in 2002. A visionary thinker, tinkerer, and doer, Robins also got involved in bringing the Art Basel fair to Miami in the early aughts and in 2005 co-founded the Design Miami collectible design fair.Thinking about things slowly and holistically, Robins—unlike so many others in his line of work—does not follow a build-it-cheap-and-fast-and-flip-it edict. His is a long-haul, less-but-better vision. Robins cares deeply about the urban fabric and the textures of the city, about architectural serendipity and surprise, about moments of wonder and beauty and joy. A finger-on-the-pulse master of cultivating culture, he has thoughtfully constructed a synergistic amalgam of art, architecture, design, dining, fashion, and urban planning within the Design District, a New Urbanism–infused neighborhood that seems to subtly morph every month, if not every week, bit by bit. While it hasn’t been without its detractors and naysayers, the Design District clearly offers an alternative, human-scale approach to city building. Now home to standouts such as the Institute of Contemporary Art (which opened in its new location in late 2017) and the Pharrell Williams–owned Swan restaurant and Bar Bevy, the Design District is beginning to show its potential not as just a luxury shopping mall—though it’s certainly that, too—but as a dynamic cultural hub.On this episode of Time Sensitive, Robins talks with Spencer Bailey about his big-picture vision, his early career helping rejuvenate South Beach, his forward-thinking approach to bolstering Miami culture and his obsession with river rafting and disconnecting in nature.

Today, we take you to meet three globally engaged, Miami-based contemporary art experts. Ombretta Agro Andruff, Tami Katz-Freiman and Kathryn Mikesell are here to help you navigate the city and enjoy the intense burst of international art that transfigures the cultural landscape every December. Miami Art Week brings together local and international art worlds. This is not only an opportunity for globally active galleries to present the best work of artists they represent. Miami art spaces, museums, community initiatives, individual artists and designers and collectives all rise to the occasion, too, to show their creative force to the world. Diverse participants have diverse agendas. Whether you’re a collector, a curator, a creator, or an aficionado, focus on your passion—what would you like to discover? Takeaways Plan your itinerary to focus on one art corridor— either the mainland or the beach Use the map guides offered at the venues you visit, mark your map - where you want to go and where you’ve been  Take water and snacks, wear comfortable shoes Do your homework, but be willing to improvise — follow your intuition! Of Special Interest in 2019 BEFORE THE FAIRS: Dec 1, Miami—Progressive Brunch with local galleries | Dec 2, Miami Beach—Faena Festival Dec 3-8 ART FAIRS Recommended: Art Basel Miami Beach, Design Miami, UNTITLED, NADA, PINTA and PRIZM  EXHIBITIONS—Openings: The new Rubell Museum and El Espacio 23 in the Allapattah district | Teresita Fernandez at Pérez Art Museum Miami | Yayoi Kusama and Sterling Ruby at the Institute of Contemporary Art | Trenton Doyle Hancock at Locust Projects | Haegue Yang, Mickelene Thomas and Lara Favaretto, at the Bass Museum | Cecilia Vicuña at North Miami Museum of Contemporary Art PUBLIC ART on Miami Beach—Collins Park, Lummus Park, on the beach and at the Convention Center Related Episodes and Guides: Miami Art Week 2018 Preview, Miami Art Week 2017 Preview, How to Seize the Art Week Moment Related Links: Art Basel Miami Beach, Rubell Museum, Pérez Art Museum Miami, Institute of Contemporary Art Miami, Museum of Contemporary Art North Miami, The Bass Museum, El Espacio 23 About Our Experts: From Italy, Ombretta Agró-Andruff, is an independent curator and founder of ARTSail residency and research initiative. The program connects artists and scientists to address the climate change specific to South Florida through creative projects. From Israel, independent curator, art historian and critic Tami Katz-Freiman remembers Miami before Art Basel. Katz-Freiman curated the Israeli Pavilion in the 57th Venice Art Biennale. From the U.S., Kathryn Mikesell is co-founder and executive director of Fountainhead Residencies and Studios. The Residency offers artists from around the world a shared creative space and an introduction to Miami’s art scene. Sound Editor: Anamnesis Audio

Born in London in 1974, Peter Marigold earned his B.A. in Fine Art and Sculpture from Central St. Martins in London in 1997, and his M.A. in Design Products, studying under Ron Arad, at the Royal College of Art in 2006. Early on, he worked in sculpture and theatrical and event scenography (props, costumes, sets, etc.), ultimately focusing primarily on furniture design. An avid collector, much of Marigold’s work is concerned with storage and object display, and he often combines natural and man-made materials within simple, austere structures. Marigold’s clients include Paul Smith, Fendi, Sony, Gallery Libby Sellers, and Li Edelkoort, among others. His work has been exhibited at New York’s MoMA, Design Miami, Design Museum Holon, Victoria & Albert Museum, and the Design Museum in London. In June 2009, he was awarded the Designer of the Future Award by Design Miami.

Installation artist David Wiseman always loved design and drawing, but it was a small, ceramic deer that really kicked off his career. Since then, David’s ceiling installations have been featured in venues such as Christian Dior Shanghai, Design Miami, and global cities like London, New York, and Los Angeles. David lays out the foundational values that have carried him throughout his craftsmanship - ​​why artists can make money and not be sellouts, how to break down a big project into smaller steps, and why sharing your creative passion is a privilege and a responsibility for humanity. Thank you Blue Apron! Check out this week’s menu and get your first three meals FREE — with FREE SHIPPING — at BlueApron.com/DREAMJOB. Thanks to Work In Progress for their support! Follow along on Twitter @slackstories or at slack.com/podcast. Thank you Beachbody On Demand! Text DreamJob to 303030 for a FREE trial membership and get full access to this entire platform for FREE!

Audi is presenting the future of electric mobility at this year’s Design Miami in the shape of the Audi e-tron quattro concept. The Stockholm design studio “Humans since 1982” has been given the commission to present the sporty SUV. Audi has been a partner of Design Miami since 2006.

Auf der diesjährigen Design Miami präsentiert Audi mit dem Audi e-tron quattro concept die Zukunft der Elektromobilität. Das Stockholmer Designstudio „Humans since 1982“ gestaltet die Inszenierung des sportlichen SUV. Audi ist bereits seit 2006 Partner der Design Miami.

Der Auftritt von Audi auf der Design Miami/Basel steht in diesem Jahr ganz im Zeichen des neuen Audi Q7. Als exklusiver Automobilpartner präsentieren die Vier Ringe vom 16. bis 21. Juni „The great quattro“: eine dreidimensionale Installation mit dunklen Monolithen, die das größte Modell der SUV-Familie prominent in Szene setzt. Die Installation „The great quattro“ inszeniert das Raumgefühl des neuen Audi Q7 auf kunstvolle Weise. Die Skulptur umgibt den SUV mit sechs Monolithen, jeder mit mehr als vier Metern Gesamthöhe, auf insgesamt 300 Quadratmetern Fläche. Besucher können diese begehbare Berglandschaft auf unterschiedlichen Höhenniveaus und Pfaden selbst erkunden.

This year, the Audi presence at Design Miami/Basel revolves around the new Audi Q7. The brand with the four rings is the exclusive automotive partner of the show and from June 16 to 21 it will be exhibiting “The great quattro”: a three-dimensional installation with dark monoliths which prominently showcases the largest model of the Audi SUV family. The “The great quattro” installation sets the stage this feeling of space in an artistic way. A sculptural scene surrounds the SUV with six monoliths, each over four meters (13.1 ft) in overall height on an exhibit area measuring 300 square meters (3,229.2 sq ft). Walking on paths, visitors can explore this mountain landscape for themselves at various elevations.

As Design Miami celebrates its 10th anniversary, Monocle films explores new themes in the collectable design market.

Audi is continuing with its new design strategy: At Design Miami, the brand with the four rings is presenting the essence of quattro as “The force within”. To mark the tenth anniversary of the show, which takes place from December 3 through 7, 2014, Audi is also presenting the revolutionary Audi prologue concept car – this is the first vehicle created by the Audi design team under the leadership of new design chief Marc Lichte.

Audi setzt seine Design-Offensive fort: Auf der Design Miami inszeniert die Marke mit den Vier Ringen unter dem Titel „The force within“ die Essenz aus quattro. Außerdem präsentiert Audi zum 10-jährigen Jubiläum der Messe vom 3. bis 7. Dezember 2014 die revolutionäre Konzeptstudie Audi prologue – es ist die erste Arbeit des Audi-Designteams um den neuen Designchef Marc Lichte.

Auf der diesjährigen Design Miami/Basel präsentiert Audi erstmals eine Architekturinstallation von Konstantin Grcic, einem der einflussreichsten Industriedesigner unserer Zeit. Inspirationsquelle für den polygonalen „TT Pavilion“ ist der neue Audi TT. Grcic hat aus Teilen des TT einen mobilen Raum geschaffen, der die Technologie des Automobilbaus auf die Gestaltung von Architektur überträgt.

Audi is presenting its first-ever architecture installation designed by Konstantin Grcic, one of the most influential industrial designers of the age, at this year’s Design Miami/Basel. The source of inspiration for the polygonal TT Pavilion is the new Audi TT. Grcic has used parts of the TT to create a mobile space that transfers the technology of automotive engineering to architectural design.

A tour of our favourite galleries and artists from the Design Miami 2013 show. Featuring Formlessfinder, Humans since 1982, Jon Stam, Julien Carretero, Guilherme Torres, Simon Heijdens, Nao Tamura, Wonderglass, Tahar Chemirik, Nacho Carbonell, Djim Berger, BSL, BCXSY, Wonmin Park, Nika Zupanc, Rossana Orlandi, Gijs Bakker, Reinier Bosch, Dominic Harris, Stuart Haygarth, Carpenters Workshop, Campana brothers, Studio Job, Maarten Baas, rAndom international.

A tour of our favourite galleries and artists from the Design Miami 2013 show. Featuring Formlessfinder, Humans since 1982, Jon Stam, Julien Carretero, Guilherme Torres, Simon Heijdens, Nao Tamura, Wonderglass, Tahar Chemirik, Nacho Carbonell, Djim Berger, BSL, BCXSY, Wonmin Park, Nika Zupanc, Rossana Orlandi, Gijs Bakker, Reinier Bosch, Dominic Harris, Stuart Haygarth, Carpenters Workshop, Campana brothers, Studio Job, Maarten Baas, rAndom international.

A tour of our favourite galleries and artists from the Design Miami 2013 show. Featuring Formlessfinder, Humans since 1982, Jon Stam, Julien Carretero, Guilherme Torres, Simon Heijdens, Nao Tamura, Wonderglass, Tahar Chemirik, Nacho Carbonell, Djim Berger, BSL, BCXSY, Wonmin Park, Nika Zupanc, Rossana Orlandi, Gijs Bakker, Reinier Bosch, Dominic Harris, Stuart Haygarth, Carpenters Workshop, Campana brothers, Studio Job, Maarten Baas, rAndom international.

Der Auftritt von Audi auf der Design Miami/ stand in diesem Jahr ganz im Zeichen von Audi Sport. Vom 3. bis 8. Dezember präsentierte die Premiummarke zwei ihrer sportlichsten Modelle: Das Serienmodell Audi R8 V10 Spyder und den Kundensport-Rennwagen R8 LMS ultra. Als Kulisse diente die Audi-Skulptur „Fragmentation“ – die dreidimensionale Installation spielt mit der roten Raute, dem Symbol von Audi Sport.

Audi’s presence at Design Miami/ from December 3rd to 8th has been dominated by Audi Sport and featured two of its sportiest models: the production model R8 Spyder and the R8 LMS ultra for customer racing. The Audi sculpture entitled “Fragmentation” served as the backdrop. This three-dimensional installation plays with the red rhombus, the symbol of Audi Sport.

At Design Miami/Basel held from June 11 to 16, Audi will showcase an installation by Tim John: “Home of quattro.” The scenographer will portray milestones from quattro history as silhouettes. And two extraordinary Audi models will take center stage: the new Audi RS6 Avant – unveiled at the Geneva Motor Show in March – and the legendary 1984 Audi Sport quattro. In February 2013, the company with the four rings celebrated a remarkable achievement: the five-millionth Audi with quattro drive rolled off the assembly line.

Audi präsentiert auf der Design Miami/Basel vom 11. bis 16. Juni die Installation „Home of quattro“ von Tim John. Der Szenograf gestaltet hier Meilensteine der quattro Geschichte im Scherenschnittstil. Im Mittelpunkt der Inszenierung stehen zwei außergewöhnliche Audi-Modelle: der neue Audi RS6 Avant, der im März auf dem Internationalen Auto Salon in Genf Premiere feierte, und der legendäre Audi Sport quattro von 1984. Im Februar dieses Jahres feierte das Unternehmen mit den Vier Ringen darüber hinaus ein besonderes Jubiläum: Der fünfmillionste Audi mit quattro Antrieb fuhr vom Band.

The R18 Ultra Chair set to be exhibited by Audi at Design Miami/ was masterminded by Clemens Weisshaar and Reed Kram, who represent a new generation of digital designers. The prototype was developed in cooperation with the Audi Lightweight Construction Center and made its very first appearance at the Milan Furniture Fair in April. The chair was fine-tuned using data obtained from an interactive installation that was trialed by over 1,500 testers, plus the know-how of Audi lightweight engineers. The result is sturdier, more comfortable and one kilogram (2.20 lbs) lighter.

Auf der Design Miami/ präsentiert Audi den R18 Ultra Chair designed by Clemens Weisshaar und Reed Kram, Vertreter einer neuen Generation digitaler Designer. Der Prototyp wurde in Zusammenarbeit mit dem Audi Leichtbauzentrum entwickelt und erstmals im April auf der Mailänder Möbelmesse vorgestellt.

London and Berlin-based architect David Adjaye kicks off the spring 2012 GSAPP lecture series by questioning the meaning of time. When is now, and how does it manifest in his recent work? Projects range from the ephemeral to the institutional ("Genesis," Design Miami; Moscow School of Management, Skolkovo), and from the contemporary to the historic (Museum of Contemporary Art, Denver; Smithsonian National Museum of African American History and Culture, Washington DC) #wood012512

Straßen kommunizieren in Zukunft mit allen Verkehrsteilnehmern – diese These stellt das Architekturbüro Bjarke Ingels Group (BIG) in ihrer Vision über die Mobilität der Zukunft auf. Wie die Idee der Architekten konkret aussieht, können Besucher der Messe Design Miami/ 2011 (29. November bis 4. Dezember) erleben. In Kooperation mit Audi haben sie die interaktive LED-Installation „Urban Future“ geschaffen. Im Zentrum des futuristischen Modells befindet sich der Audi A2 concept, der mit Straße und Verkehrsteilnehmern kommuniziert.

In the future, streets will communicate with every road user – this hypothesis is put forward by architectural firm Bjarke Ingels Group (BIG) in their vision of mobility of the future. Visitors to Design Miami/ 2011 (November 29 to December 4) can discover what the architecture group’s idea actually looks like. In cooperation with AUDI AG, they have created the interactive LED installation “Urban Future”. At its heart is the Audi A2 concept: an integral part of the future model that connects to its environment.

Tanken, Bezahlen, Losfahren. So einfach wird das mit einem Elektroauto vermutlich nicht. Denn Stromtanken dauert länger als die Betankung mit Benzin oder Diesel. Auf der Messe Design Miami 2010 beschäftigte sich Audi spielerisch mit diesem Aspekt: Was macht der Fahrer in der Zwischenzeit? Welche Annehmlichkeiten muss eine Ladestation der Zukunft bieten? Hinweis: Diese Episode steht nur in englischer Sprache zur Verfügung,

Fill it up, pay, get on your way. It probably won’t be that easy with electric cars, since charging takes longer than filling up with gasoline or diesel. At the Design Miami show 2010, Audi took a playful look at this aspect: What can drivers do in the meantime? What amenities will charging stations of the future have to offer? Furthermore Audi presented four electric vehicle concepts with its e-tron family within just one year – and the small-series, 100% electric R8 e-tron supercar will be on the market in 2012.

Extraordinary trade fair displays are ‘par for the course’ at Audi, and have been for years. This was true at Design Miami in Basel and Miami, and it will also be true at the Milan Furniture Fair, also commonly known as the Milan Design Week, were Audi will have a display for the first time ever. The highlight will be Lucid Flux, a light installation by innovative designer Moritz Waldemeyer to showcase two new Audi models, the sub-compact A1 and the A8 luxury sedan.

Ungewöhnliche Messeauftritte sind bei Audi Programm und das schon seit Jahren. Sei es die Design Miami in Basel und Miami oder jetzt zum ersten Mal auf der Mailänder Möbelmesse. Der innovative Designer Moritz Waldemeyer gestaltet hierfür die Lichtinstallation Lucid Flux, eine Art Schaukasten für die beiden neuen Audi Modelle, den Kleinwagen A1 und die Luxuslimousine A8.

YDN design guide recently visited the Tidal Ossuary exhibition commissioned by Gallery Libby Sellers at Design Miami. explanation courtesy Gallery Libby Sellers : Tidal Ossuary continues Lohmann and Grundmanns investigations into the contradictions inherent in our relationship to animals as sources of food and materials. The series of small, covetable vessels have been made from found animal bones, collected on the banks of the River Thames. Lohmann and Grundmanns sensitive handling of the materials and exquisite attention to detail have restored the discarded bones into beautiful objects of use and worth. information: www.libbysellers.com video by designguide.tv

YDN design guide recently visited the Tidal Ossuary exhibition commissioned by Gallery Libby Sellers at Design Miami. explanation courtesy Gallery Libby Sellers : Tidal Ossuary continues Lohmann and Grundmanns investigations into the contradictions inherent in our relationship to animals as sources of food and materials. The series of small, covetable vessels have been made from found animal bones, collected on the banks of the River Thames. Lohmann and Grundmanns sensitive handling of the materials and exquisite attention to detail have restored the discarded bones into beautiful objects of use and worth. information: www.libbysellers.com video by designguide.tv

YDN design guide recently visited the Tidal Ossuary exhibition commissioned by Gallery Libby Sellers at Design Miami. explanation courtesy Gallery Libby Sellers : Tidal Ossuary continues Lohmann and Grundmanns investigations into the contradictions inherent in our relationship to animals as sources of food and materials. The series of small, covetable vessels have been made from found animal bones, collected on the banks of the River Thames. Lohmann and Grundmanns sensitive handling of the materials and exquisite attention to detail have restored the discarded bones into beautiful objects of use and worth. information: www.libbysellers.com video by designguide.tv

The 100th anniversary year of the Audi brand is set to culminate with a very special occasion. November 30 sees the world premiere of the new Audi A8 – in the extraordinary setting of Miami. Here the brand’s new flagship will be presented in a truly innovative way in the Audi Pavilion, a temporary museum structure. It is to be the focal point of the vernissage “The Art of Progress,” which exhibits cultural and technological progress and echoes the values of the new A8: Vorsprung durch Technik and design expertise that stirs the emotions.

Das Jubiläumsjahr zum 100sten Geburtstag der Marke Audi endet mit einem Höhepunkt der besonderen Art: Am 30. November feiert der neue Audi A8 seine Weltpremiere – im außergewöhnlichen Ambiente der Stadt Miami. Dort wird das neue Flaggschiff der Marke im Audi Pavillon, einem temporären Museumskonstrukt, auf innovative Weise inszeniert: Im Zentrum der Vernissage „The Art of Progress“. Diese stellt kulturellen und technologischen Fortschritt dar und greift die Werte des neuen A8 auf: „Vorsprung durch Technik“ und emotionale Designkunst.

Audi is the exclusive automotive sponsor for the third year running at Design Miami/, the leading global forum for high-end design. From December 2 through 5, the world’s most influential dealers, designers, collectors, curators, and critics met to celebrate the design scene’s highlights at countless events. Audi was not only sponsor of the VIP fleet, but also – with the “Audi Coastline Marina” installation – a participating designer. During the same week, Audi has participated for the first time at Art Basel Miami Beach, a key U.S. art show.

Bei der weltweit führenden Messe für High-End-Design in Miami trat Audi bereits im dritten Jahr als exklusiver Automobilpartner und Aussteller von innovativem Design auf. Die Design Miami/ fand von 2. bis 5. Dezember statt. Sie gilt als Highlight der Design-Szene. Seit diesem Jahr engagiert sich Audi zeitgleich bei der Art Basel Miami Beach und sponsert somit die beiden wichtigsten Messen für zeitgenössische Kunst und Design.

The movers and shakers of the art world converged in Basel for Design Miami/ Basel 2008, the world’s biggest art trade show, being held June 2-5. Audi took part as an creative exhibitor and automotive sponsor. Audi is well-equipped to present itself within this somewhat unusual terrain: with its extraordinary design, the exhibition booth makes a clear statement about the brand’s design philosophy. The presentation centers on the Audi R8 sports car. The interplay between human creativity and “Vorsprung durch Technik” is the theme of this year’s appearance.

Vom 2. bis 5. Juni 2008 traf sich in Basel alles, was in der Kunst- und Designszene Rang und Namen hat: Auf der Design Miami/ Basel, der wichtigsten Kunstmesse weltweit. Als Aussteller und Fahrzeugsponsor beteiligt war auch Audi. Der Audi Messestand mit seinem außergewöhnlichen Design ist ein klares Statement zur Designphilosophie der Marke. Im Mittelpunkt der Präsentation steht der Sportwagen Audi R8. Das Thema des diesjährigen Auftritts ist das Zusammenspiel von menschlicher Kreativität und „Vorsprung durch Technik“.

We have a talk with Mike Meiré at Design Miami 2007, who tells us about his "Farm Project" was created in conjunction with the Dornbracht Edges series. With this installation he wants to bring life back into the kitchen, thereby creating an antithesis to the minimalist design that has taken over this space in recent years. “The Farm Project” is an improvised living space, filled with materials, animals, plants, and objects. www.designmiami.com www.meireundmeire.de www.dornbracht.com www.designguide.tv

We have a talk with Mike Meiré at Design Miami 2007, who tells us about his "Farm Project" was created in conjunction with the Dornbracht Edges series. With this installation he wants to bring life back into the kitchen, thereby creating an antithesis to the minimalist design that has taken over this space in recent years. “The Farm Project” is an improvised living space, filled with materials, animals, plants, and objects. www.designmiami.com www.meireundmeire.de www.dornbracht.com www.designguide.tv

Between December 7th and 9th, 2007, the most influential designers, art gallery owners, dealers, and collectors have gathered in Miami’s Design District to present and absorb the latest trends from the world of design. This year, Audi again was present as the exclusive automobile sponsor and creative exhibitor at “Design Miami/ 2007”. The focal point of the creative presentation was the Audi Cross Cabriolet concept study - see the presentation and experience the Audi design processes in the official Audi video podcast.

Vom 7. bis 9. Dezember 2007 trafen sich im Design District von Miami die einflussreichsten Designer, Galeristen, Händler und Sammler, um die jüngsten Trends aus der Welt des Designs zu präsentieren und zu begutachten. Audi war auch dieses Jahr wieder exklusiver Fahrzeugsponsor und kreativer Aussteller der "Design Miami/ 2007". Mittelpunkt des kreativen Auftrittes bildet die Automobilstudie Audi Cross Cabriolet. Erleben Sie exklusive Einblicke in die Audi Design Prozesse - jetzt im Audi Videocast!

Design Miami/ 2006 has become one of the groundbreaking gatherings of top designers. Located in the atrium of the Moore Building, Audi revealed the R8 ignition installation. Teardrop shaped arrows shoot across the room, expressing motion and speed.

Miami ist eine der Trendmetropolen der Welt und die „Design Miami/ 2006“ eines der wegweisenden Treffen der Top-Gestalter. Im Moore Building enthüllte Audi die Installation "R8 ignition", die den Audi R8 als dynamisches künstlerisches Unikat inszeniert.