Global initiative to foster creativity and innovation
BE OPEN Inside the Academy – a new platform to showcase and honour recent achievements in educational approaches – at Design Miami/ Basel
The next stop on BE OPEN’s worldwide tour is Basel, for Design Miami/ Basel 2012. A new platform – BE OPEN Inside the Academy – will showcase and honour recent achievements in educational approaches that promote real-world problem solving through creative design.
London Design Festival 2012
19-23 September
Trafalgar Square project
BE OPEN Sound Portal
Take a journey to the heart of acoustic creativity, through a portal in Trafalgar Square
This year BE OPEN, the new global initiative to foster creativity and innovation, and the London Design Festival are co-producing a project in Trafalgar Square that focuses on the idea of ‘design you can’t see’.
Sociologist, journalist and author of over 20 books translated into various languages, ranging in subject from trends in consumption to social change. Founder of a Research and Strategic Institute – Future Concept Lab (1989). Mr. Morace is also Professor at Domus Academy and Milan’s Politecnico. He has participated in conventions and seminars in 22 countries worldwide.
Tim Abrahams is a former editor of Blueprint. He now writes for Icon, Architect’s Journal and RIBA Journal. He is also the owner of a digital publishing company and an advisor to major cultural institutions on their online strategy.
Everyone operating in the worlds of architecture, design and technology knows that the world has changed since 2008, but the job of identifying and describing exactly how is only just beginning to happen. It was the contention of the convener of the first BE OPEN conference, Francesco Morace, that three new relationships in the world of design had undergone a huge and important shift. Morace suggests that a fundamental realignment in thinking has occurred in over the issue of sustainability, the idea of happiness and perhaps most fundamentally the relationship between the local and the universal. These theories were tested by the inquiring minds of some of the leading figures in the design world.
Tim Abrahams is a former editor of Blueprint. He now writes for Icon, Architect’s Journal and RIBA Journal. He is also the owner of a digital publishing company and an advisor to major cultural institutions on their online strategy.
The most important object in the Freud Museum in London, where the great psychoanalyst lived for just one year before he died, is clearly his couch. Draped in Persian rugs and scattered with cushions, it is on the bohemian side of mid-20th century tastes. Although insignificant in size it is impossible not to look at the piece of furniture and not think of all the dreams that have been relayed there and the neuroses diagnosed. Given that Freudian analysis prioritises relations between the subject and their parents, the familial and domestic becomes the site of the fundamental debates of existence. The couch is not just important because of his historical significance but also because of its symbolism. Anne Leibovitz has photographed it and Louise Bourgeois has exhibited alongside it.
Russian art critic and expert on the 20th – 21st century art.
Russian design became widely acknowledged at the same period as Russian art, i.e., in the 1910-1920s. At that time the self-identifications of progressively minded Western and Russian artists had much in common: here and there the artists demonstrated a huge interest in new technologies, targeted the most unspecific audience and consequently aspired to achieve universal artistic solutions considering both economy and aesthetics. Yet, the imminent differences of the addressed audiences could not but draw a line between the Avant-garde practices in the West and in Russia.
Happiness is many things to many different people. To Julian Schnabel it is clearly the idea of ceaseless creativity that leads – sometimes inadvertently – to happiness. If Schnabel’s philosophy is that there is no past or future, but an endless present, then his art becomes a means of simultaneously existing in as many places as possible. Happiness for him is the bi-product of multiple acts of creativity. Separating where creativity ends and happiness begins is difficult to describe, as chef Carlo Cracco found. Alberto Alessi meanwhile used the history of his company to challenge our notions of what is serious and what makes us happy.
