In dieser Reihe gibt es mit „K%“ von Nendo und „K Projects“ nun ein weiteres Label. Konzeptionell folgt es Nendos Gestaltungsansatz, Menschen überraschen und einen kleinen „!-Moment“ vermitteln zu wollen, also bei jedem Objekt etwas Fundamentales herauszuarbeiten. Die erste Kollektion heißt „Black on Black“ und stellt das Verhältnis zwischen Funktion und Struktur in den Vordergrund. Die Möbel, Leuchten und Accessoires bestehen größtenteils aus Holz und Metall und sind in Schwarz gehalten. Der Stuhl „Melt“ von Nendo gilt als beispielhaft, jedoch stammen die Produkte auch von anderen Designern wie Studio Juju und Exit Design.
Eine völlig neue Sicht der Dinge kann und will „K%” nicht hervorbringen. Überraschten Pioniere wie Muji noch damit, dass sie als Gegenentwurf auftraten und sämtliche Branding-Theorien auf den Kopf zu stellen schienen, so sind die Mechanismen inzwischen bekannt, werden von neuen Firmen wie „K%“ gezielt aufgegriffen und damit zu einem gewissen Grad ad absurdum geführt. Angesichts aktueller Debatten um ethischen Konsum überzeugt diese Form der Einfachheit jedoch nach wie vor.
We're once again at the tail end of an annual ritual, the iPhone rumor cycle, and we're just days away from finding out what Apple has been working on for the past year. Will the iPhone 5 look exactly like the leaks, effectively an elongated 4 / 4S with a new mini dock connector? Will it support LTE on every US carrier? Are there any surprises in iOS 6 that Cupertino has been keeping under its hat? Will it even be called the iPhone 5 at all? Everything will be revealed at 10AM PT on Wednesday, September 12th, and we'll be covering it live.
07:00AM - Hawaii
09:00AM - Alaska
10:00AM - Pacific
11:00AM - Mountain
12:00PM - Central
01:00PM - Eastern
02:00PM - São Paulo
06:00PM - London
07:00PM - Paris
09:00PM - Moscow
02:00AM - Tokyo (September 13th)
03:00AM - Sydney (September 13th)
Some things contain an aura. They attract your attention; they remind you of something or someone or somewhere (or someone you used to be), and you feel an immediate connection with them. They are magical. They are not necessarily beautiful, but they provide you with a delightful and sensual experience. You feel an intimate connection with them. Instantaneously.
But since the mentioned aura-experience is closely connected to sentimental value, is it then possible to create new objects that can provide the viewer/ user with the described sensuous delight?
In the essay The Work of Art in the Age of Mechanical Reproduction (published in 1936) Walter Benjamin (1892-1940) uses the term aura. Benjamin differentiates between cultic and profane aura, and discusses how the modern reproduction techniques imply a cultic aura loss. However, an aura-experience, cultic or profane, is an aesthetic experience (see my previous posts on more on this topic). And aesthetic experiences provide insight. The aura-experience can be described as a sudden experience of fusion between present and past, or between closeness and distance. The “has been” and the ”here and now” are momentarily one. A passage is created between “then” and “now”. Such experiences may lead to an insight in events from past.
Many authors have written on magical things that belong to, or have been worn in the presence of the beloved (often unattainable or lost) other. Goethe (1749-1832) in The Sorrows of Young Werther (1774) describes how the main character Werther creates an auratic vibe around the blue coat and yellow vest he wore the first time he danced with Lotte. Every time he wears these items of clothing he recreates the feeling of the magical first dance – and thereby he creates a instant passage to the past. The blue coat and yellow vest unite the distant (romanticized) “then” and the (painful, lonely) throbbing “now”.
And in Roland Barthes’ (1915-1980) A Lover’s Discourse (published in 1978) the beloved other’s body and clothes are objectified and fetishized and thus given mystical qualities.
Recently I read Orhan Pamuk’s novel The Museum of Innocence (published in 2008) in which the main character Kemal spends his life collecting things that belong to, have belonged to, or in some way remind him of his beloved Füsun. These things (e.g. cigaret butts, an old ruler (that he sometimes can’t help tasting), hair pins, porcelain figurines, pieces of clothing) provide him with an aura-experience; while touching them, a passage from the unbearable present to the wonderful, yet lost, past is created. Momentarily the distance between “then” and “now” is removed.
I guess we all know the aura-atmosphere that surrounds our loved one’s favourite clothes. They are so closely connected to their owner; smell like them, feel like them; they are nearly a part of them. And therefore they are magical.
How can you as a designer work with aura? The aura-experience is very subjective and refers to personal memories, and to intimate life details, so is it at all possible to create items that can provide many different individuals with an auratic aesthetic experience?
I work as a lecturer at a design school in Copenhagen (I primarily teach the students that specialize in Fahsion Design), and my students have recently worked with creating magical items of clothing that can give the receiver some kind of aura-experience. One of my students, Trine, worked with creating references to being a teenage girl; the secretive, melancholic, and naive universe that characterizes the essence of teenage life. Her clothes are not targeting teenage girls, but by referring to feelings and atmospheres that a lot of women (or at least the target group for this collection) would recognize, Trine worked with creating sentimental value that could provide her receiver with an aura-experience. The clothes link to a lost time of teenage wisdom and girly melancholia.
By referring to certain life phases (e.g. teenage life), to common memories (e.g. childhood summers), to cultural rituals, or to certain decades and attitudes (e.g. the 90´s grunge) you can seek giving your receiver an aura-experience by creating a passage to past influential experiences.