BBC Tomorrow’s World, 1985 – STRIDA Prototype


1980년, 영국 왕립미술학교(Royal College of Art)와 임페리얼 칼리지(Imperial College)의 공업디자인공학(Industrial Design Engineering) 연합과정에 입학한 마크 샌더스(Mark Sanders)는 84년 졸업작품으로 스트라이다라는 이상한 모습의 접이식 자전거를 발표했다. 이후 30년이 지나는 동안 그는 회사를 차렸고 스트라이다 또한 여러번의 업그레이드를 거쳤다.

현재 스트라이다의 핵심을 이루는 디자인 부분의 저작권이 만료되었기 때문에 중국이나 한국을 비롯한 여러 곳에서 그냥 생산해서 판매하고 있다. 화면은 그가 1985년, BBC ‘Tomorrow’s World’라는 프로그램에서 스트라이다를 소개하는 모습.


스크랩, 파이낸셜타임즈 + 런던디자인페스티발 토크

9월 말 런던디자인페스티발 행사 기간 동안 V&A에서 열린 토크 프로그램의 동영상입니다. 파이낸셜타임즈와 런던디자인페스티발이 공동 주관한 이 행사는 불황, 사회적 책임 등 올해 대두된 주요한 글로벌 이슈들과 디자인의 관계를 다뤘고, 총 다섯 회로 나뉘어 진행되었습니다.

Financial Times and the London Design Festival – Business of Design – responses to the recession 21.09.2009 from Jonathan Pawley on Vimeo.

Miguel Fluxa Orti – Vice President Camper
Rolf Sachs – Designer
Doreen Lorenzo – President Frog Design
Geoffroy de la Bourdonnaye – CEO Liberty plc.

Financial Times and the London Design Festival – Responsible Design from Jonathan Pawley on Vimeo.

Oscar Pena – Creative Director of Lighting, Phillips
Thomas Bergmark – Global Sustainability Manager, IKEA
Alfonso Albaisa – Vice President, Nissan Design Europe

Financial Times and the London Design Festival – New Frontiers – 23.09.2009 from Jonathan Pawley on Vimeo.

Maurizio Ribotti – MD, Design Partners (Milan)
Yang Ling Duan – 100% Design Shanghai
Paravi Wongchirachai – Deputy MD & Cheif Curator TCDC (Bangkok)
Caroline Muzi – Design Journalist, Clarin (Argentina)

Financial Times and the London Design Festival – Evolving Architecture – 24.09.2009 from Jonathan Pawley on Vimeo.


David Glover – Global Property Leader, Arup
Ricky Burdett – Professor of Architecture and Urbanism, LSE
James Sellar – Chief Executive, Seller Developments
Amanda Levete – Amanda Levete Architects

Financial Times and the London Design Festival – Design in Adversity – 25.09.2009 from Jonathan Pawley on Vimeo.

Tom Dixon – Designer
Jaime Hayon – Artist/Designer
Deyan Sudjic – Director, Design Museum
Nigel Carrington – Rector, University of the Arts, London

via Jonathan Pawley

서른 명의 디자인 전문가들, 질문에 답하다

Thirty Conversations on Design 이라는 웹 도큐멘터리 프로젝트가 진행 중이다. 제목이 말하는 것 처럼, 디자인과 관련된 약간은 바보스런 질문에 인터뷰이가 대답하는 걸 담은 것이 전부인 이 사이트. 짧은 필름들이 돌아가고 방문자들은 오른 편에 코멘트를 남길 수 있다. 서른 명의 디자인 전문가들, 질문에 답하다 더보기

Iwangjik Crafts Workshop


A little translated excerpt from <Iwangjik Crafts Workshop and Contemporary Crafts in South Korea>, written by Gongho Choi

The development of modern crafts has not been investigated due to the lack of historical records and researches. It is a lucky that I’ve got recently found design sketches and photographs of Iwangjik’s products, so that now it has become possible to see the production process of Iwangjik though limited.

The workshop, titled as Hansung(the name of capital since the beginning of Chosun dynasty) Crafts Workshop, founded in 1908, had ran its business for 30 years till the era of Japanese occupation in Korean peninsular faced its end, in other words the end of WW2. It was a facility producing crafts and played a crucial roll in developing modern Korean crafts.

It was when various traditional, cultural values were to be destructed that the workshop was established, and the modernization in Korean peninsular was initially began in this era by external influence. the workshop’s official aim was “to encourage the nation’s craft tradition” while this institution actually restored some bits of traditional craft skills as fine as the product quality of Kyoung-gong-jang(light factory)s, which had produced for long times various office and domestic goods only for governmental bodies. Also, it was a crucial moment in the modern history of Korean crafts that the workshop, as a semi-institutional body, trained a number of craftspeople who was to make the nation’s crafts tradition survived and who later became profound influences on the restoration of previously-demolished craft traditions.

In addition, this organization claimed that “the designs planned here should be made on possible traditional ways though production processes had to be modernized” as opposed to the dominated mood of modernization or Japan-ization in Korea. This was apparently a bold, important approach to restore and cherish tradition and was when nationalistic intelligentsias were influenced by Dong-Do-Seo-Gi(Eastern world take morality or inherited identity while Western world has science or technology), which was a widespread idea for the restoration of national sovereignty at the time.