Spotted on U Tube a video by furniture designer maker Jeremy Broun. All about chair making with special guest appearance by Borat?
Take a look..
More contemporary chair designs
Monday, October 12, 2009
Sunday, October 11, 2009
Rover Chairs or a ticket to Tel Aviv....Ron Arad speaks
Interesting article spotted on Icon eye website about Ron Arad, iconical designer who speaks about his origins in London, his independant attitude to design and his go out and get on with it attitiude....read on
'Ron Arad I came to London in ’73. I’d spent a year at art school in Tel Aviv and I needed a break. I didn’t even pack my LPs – they were very important to me. So I came to London for a break – and I’m still on my break.
I found myself studying at the Architectural Association. I didn’t plan to study architecture but it seemed the action was at the AA – more exciting than the Slade or the Royal College. Zaha [Hadid] and Nigel [Coates] were a couple of years before me. Will Alsop was teaching there, so was Peter Cook, so was Rem [Koolhaas] … something was happening.
Then punk happened of course. When I started to work I was described as punk by lots of mainly foreign writers. But I wasn’t punk. Punk was from deprived council estates, it was angry – I wasn’t angry. I was always over-privileged. I came from a very cultured background [Arad’s parents were leading figures on the Tel Aviv art scene].
I wasn’t shouting about anything. My concrete stereo project [1984] was a piece about looking for beauty in an unexpected place; about making a connection between pebbles and electronic components. It wasn’t advocating destruction, but lots of people dubbed it “Beirut style”; “heavy metal”. Lazy interpretations.
If someone at the AA had said I was going to be a furniture designer I would have laughed them off. I tried when I graduated from the AA to work for a firm of architects but I just walked away one lunchtime and went to a scrapyard and made the first Rover chairs and became a furniture designer. I had nothing to lose, I was about to be deported – I didn’t have a work permit.
I couldn’t have done what I did anywhere else but London; absolutely not. Say I had gone to Milan instead of London; it would be no problem for me to design forks and chairs and things and find manufacturers to do them and – va bene! – I would have become another Antonio Citterio.
I remember once looking at the Vitra poster – you know the one with all the chairs? – with Citterio and he said to me “I’ve been working for Vitra for so many years and I don’t have a single chair on this, and you have six.” I think that’s because he grew up in a place where there was an industry and there was a happy symbiosis that didn’t breed a lot of excitement; didn’t push the boundaries.
But here in London I had to invent my profession. There weren’t any role models. Who would be a role model? There was fashion: Biba, Mary Quant, the mini – I mean the mini skirt, not the car – but who were the designers? Who could I look at?
There was no manufacturing in London. This bred the designer-maker thing, people like Tom Dixon, people who designed and produced themselves; actually welding and making and crafting. André Dubreuil and people like that. In those days we had to do everything ourselves.
It came with a certain look. It coincided with people like Nigel Coates talking about neo-baroque, so they went to the scrapyard to find raw materials and old winged fireplaces that they turned into something else.
So there were the designer-makers, and the others had to travel to work. Jasper Morrison’s work was abroad, Ross Lovegrove’s too … and they made a name for British design, people started to talk about British design. It has a lot to do with the lack of British manufacturing.
Is it British design or is it London design? I think it’s London. Look, London is one of the centres of the world. I think in all fields it creates ideas, ideas that have resonance. There are very talented people in New Zealand, in Tel Aviv; you can find very good design schools abroad – and in this country, such as Sheffield Hallam – that are doing work that is better than at St Martins and Ravensbourne. I see them coming to the [Royal] College [where Arad is head of the Design Products course], these people, and they come here better informed, better educated.
But here, people are in a place where Swarovski is, where Bombay Sapphire is, where icon is, where the Royal College is, all these people … that’s why someone like Paul Cocksedge – who’s from Sheffield, by the way – can thrive. He has to be talented, he has to have drive – I don’t take anything away from him – but he needs the facilities of London to get the resonance for what he does. Had he grown up in Bratislava, we wouldn’t have heard of him. He wouldn’t have created as good work as he has here.
Sixty per cent of RCA students come from abroad. It has a very good reputation. Some people from Asia come just to get the diploma, they think it will be better for their career in Korea or Taiwan … but we try to spot that. A lot of them come because it’s London. Somehow, they’re not likely to find a better group of people to spend two years with than the international group that comes to the Royal College. We have brilliant students every year not because of us but in spite of us. It’s very easy to get complacent and lazy and too pleased with yourself. The Royal College runs on inertia.
Anyway, it used to be that for all the Italian companies, nothing happened here; they didn’t sell anything. There was absolutely no interest in design. But the place has changed. Now they’ll all tell you that London is one of the most important markets for them.
First of all it’s related to the economy. But also awareness – there’s quite a number of design magazines now. Back then there was Design Week, which we never took seriously, and then Blueprint started roughly when I started. We were quite dependent on each other. I had stuff to publish, they had stuff to write about.
I think there’s an advantage to not seeing the manufacturers every day. And London is exciting for them; it’s an exotic place for Europeans. We are also so lucky that English is the computer language. It gives us a great, great advantage. I just sent a [digital] model to Vitra. We design them here and they manufacture them in Weil am Rhein. I don’t need to live in Switzerland to work for Vitra.
London is so rich and so big and so amazing. It’s nice to see new areas getting discovered, until you’re fed up with them. The fact that there isn’t an obvious centre to London allows more things to happen. There’s definitely a new street life to London that didn’t exist before. Now when you go to Soho you think, oh, there’s a party going on!
But I’m a very lazy user of London. I live within walking distance of here. My local area is not the most exciting – Hampstead, Belsize Park; this part of Camden; Primrose Hill. Cosy and pleasant and comfortable.
But London is an expensive city. Jasper [Morrison] moved to Paris, Marc Newson moved to Paris; they were driven out of here. Young designers – why do they live here? The cost of getting to work … and rent and transport and food. All the German students at the Royal College used to stay in London, but now they are moving back to Berlin. We’ll see what happens now – with the panic.'
It would seem that London perhaps remains the centre of design life in this country, until at least the burn out syndrome takes over and people move away or the capital just gets too expensive to be a viable base?
your comments welcome...
'Ron Arad I came to London in ’73. I’d spent a year at art school in Tel Aviv and I needed a break. I didn’t even pack my LPs – they were very important to me. So I came to London for a break – and I’m still on my break.
I found myself studying at the Architectural Association. I didn’t plan to study architecture but it seemed the action was at the AA – more exciting than the Slade or the Royal College. Zaha [Hadid] and Nigel [Coates] were a couple of years before me. Will Alsop was teaching there, so was Peter Cook, so was Rem [Koolhaas] … something was happening.
Then punk happened of course. When I started to work I was described as punk by lots of mainly foreign writers. But I wasn’t punk. Punk was from deprived council estates, it was angry – I wasn’t angry. I was always over-privileged. I came from a very cultured background [Arad’s parents were leading figures on the Tel Aviv art scene].
I wasn’t shouting about anything. My concrete stereo project [1984] was a piece about looking for beauty in an unexpected place; about making a connection between pebbles and electronic components. It wasn’t advocating destruction, but lots of people dubbed it “Beirut style”; “heavy metal”. Lazy interpretations.
If someone at the AA had said I was going to be a furniture designer I would have laughed them off. I tried when I graduated from the AA to work for a firm of architects but I just walked away one lunchtime and went to a scrapyard and made the first Rover chairs and became a furniture designer. I had nothing to lose, I was about to be deported – I didn’t have a work permit.
I couldn’t have done what I did anywhere else but London; absolutely not. Say I had gone to Milan instead of London; it would be no problem for me to design forks and chairs and things and find manufacturers to do them and – va bene! – I would have become another Antonio Citterio.
I remember once looking at the Vitra poster – you know the one with all the chairs? – with Citterio and he said to me “I’ve been working for Vitra for so many years and I don’t have a single chair on this, and you have six.” I think that’s because he grew up in a place where there was an industry and there was a happy symbiosis that didn’t breed a lot of excitement; didn’t push the boundaries.
But here in London I had to invent my profession. There weren’t any role models. Who would be a role model? There was fashion: Biba, Mary Quant, the mini – I mean the mini skirt, not the car – but who were the designers? Who could I look at?
There was no manufacturing in London. This bred the designer-maker thing, people like Tom Dixon, people who designed and produced themselves; actually welding and making and crafting. André Dubreuil and people like that. In those days we had to do everything ourselves.
It came with a certain look. It coincided with people like Nigel Coates talking about neo-baroque, so they went to the scrapyard to find raw materials and old winged fireplaces that they turned into something else.
So there were the designer-makers, and the others had to travel to work. Jasper Morrison’s work was abroad, Ross Lovegrove’s too … and they made a name for British design, people started to talk about British design. It has a lot to do with the lack of British manufacturing.
Is it British design or is it London design? I think it’s London. Look, London is one of the centres of the world. I think in all fields it creates ideas, ideas that have resonance. There are very talented people in New Zealand, in Tel Aviv; you can find very good design schools abroad – and in this country, such as Sheffield Hallam – that are doing work that is better than at St Martins and Ravensbourne. I see them coming to the [Royal] College [where Arad is head of the Design Products course], these people, and they come here better informed, better educated.
But here, people are in a place where Swarovski is, where Bombay Sapphire is, where icon is, where the Royal College is, all these people … that’s why someone like Paul Cocksedge – who’s from Sheffield, by the way – can thrive. He has to be talented, he has to have drive – I don’t take anything away from him – but he needs the facilities of London to get the resonance for what he does. Had he grown up in Bratislava, we wouldn’t have heard of him. He wouldn’t have created as good work as he has here.
Sixty per cent of RCA students come from abroad. It has a very good reputation. Some people from Asia come just to get the diploma, they think it will be better for their career in Korea or Taiwan … but we try to spot that. A lot of them come because it’s London. Somehow, they’re not likely to find a better group of people to spend two years with than the international group that comes to the Royal College. We have brilliant students every year not because of us but in spite of us. It’s very easy to get complacent and lazy and too pleased with yourself. The Royal College runs on inertia.
Anyway, it used to be that for all the Italian companies, nothing happened here; they didn’t sell anything. There was absolutely no interest in design. But the place has changed. Now they’ll all tell you that London is one of the most important markets for them.
First of all it’s related to the economy. But also awareness – there’s quite a number of design magazines now. Back then there was Design Week, which we never took seriously, and then Blueprint started roughly when I started. We were quite dependent on each other. I had stuff to publish, they had stuff to write about.
I think there’s an advantage to not seeing the manufacturers every day. And London is exciting for them; it’s an exotic place for Europeans. We are also so lucky that English is the computer language. It gives us a great, great advantage. I just sent a [digital] model to Vitra. We design them here and they manufacture them in Weil am Rhein. I don’t need to live in Switzerland to work for Vitra.
London is so rich and so big and so amazing. It’s nice to see new areas getting discovered, until you’re fed up with them. The fact that there isn’t an obvious centre to London allows more things to happen. There’s definitely a new street life to London that didn’t exist before. Now when you go to Soho you think, oh, there’s a party going on!
But I’m a very lazy user of London. I live within walking distance of here. My local area is not the most exciting – Hampstead, Belsize Park; this part of Camden; Primrose Hill. Cosy and pleasant and comfortable.
But London is an expensive city. Jasper [Morrison] moved to Paris, Marc Newson moved to Paris; they were driven out of here. Young designers – why do they live here? The cost of getting to work … and rent and transport and food. All the German students at the Royal College used to stay in London, but now they are moving back to Berlin. We’ll see what happens now – with the panic.'
It would seem that London perhaps remains the centre of design life in this country, until at least the burn out syndrome takes over and people move away or the capital just gets too expensive to be a viable base?
your comments welcome...
Thursday, October 8, 2009
The Ideal office chair?....Humanscale could be the provider..
Spotted on Humanscale website report from Wired Magazine for the ideal office chair...read on especially if you want to be leader of the Daleks..
Link....The ideal work chair
Link....The ideal work chair
Wednesday, October 7, 2009
One to watch while you can...back to the 80's
Seen on BBC 4 this week 'Designing the Decades', a gripping and highly reminiscent look back at design we have grown up with.This week saw the wonderful decade, the 1980's
The whole series includes as the BBC states 'Contributions from Paul Smith, Janet Street-Porter, Richard Rogers, James Dyson, Alan Sugar and Christopher Frayling.'Designing the Decades, a new four part series for BBC TWO, revisits the nation's design heritage, from the 1960s to the 1990s, and takes a journey through forty years of iconic architecture, interiors, fashion and design.
From the Mini to the Dyson; the Post Office Tower to Waterloo's Eurostar terminal; Laura Ashley to IKEA and the waterbed to the Filofax, the programme charts the designs – both popular and classic – that encapsulated the spirit of each decade.
Designing the Decades remembers some of the best British and international designs which have achieved success on the British market, such as Robin Day's best-selling stacking chair, Mary Quant's mini-skirt, Barbara Hulanickii's Biba, Clive Sinclair's calculator, Richard Roger's Lloyds building, the Paul Smith suit, the Dyson vacuum cleaner and the IMAC.
The series also explores how design icons reflect the aspirations and ideals of each decade.
The series follows the career progression of and features interviews with some of Britain's most enduring designers including Norman Foster, Richard Rogers, Terence Conran, Robin Day, James Dyson and Paul Smith.
And consumers, historians, critics and fans share their personal recollections of the trends that changed the face of their homes and lives.'BBC precis...'
This week the series charting modern design in Britain through the latter half of the 20th century looks at the 1980s, a time characterised by yuppies, shoulder pads and excess cash.
Stories include designer Paul Smith, a look at the ultimate 80s status symbols - the filofax, Porsche 911, Sony Walkman, Amstrad computers - and the most expensive building Britain had ever seen, Lloyds of London.
Previous programmes in the series include Designing the |Decades 1960's and 1970's
Check it out via the BBC 'I' player while you can
The whole series includes as the BBC states 'Contributions from Paul Smith, Janet Street-Porter, Richard Rogers, James Dyson, Alan Sugar and Christopher Frayling.'Designing the Decades, a new four part series for BBC TWO, revisits the nation's design heritage, from the 1960s to the 1990s, and takes a journey through forty years of iconic architecture, interiors, fashion and design.
From the Mini to the Dyson; the Post Office Tower to Waterloo's Eurostar terminal; Laura Ashley to IKEA and the waterbed to the Filofax, the programme charts the designs – both popular and classic – that encapsulated the spirit of each decade.
Designing the Decades remembers some of the best British and international designs which have achieved success on the British market, such as Robin Day's best-selling stacking chair, Mary Quant's mini-skirt, Barbara Hulanickii's Biba, Clive Sinclair's calculator, Richard Roger's Lloyds building, the Paul Smith suit, the Dyson vacuum cleaner and the IMAC.
The series also explores how design icons reflect the aspirations and ideals of each decade.
The series follows the career progression of and features interviews with some of Britain's most enduring designers including Norman Foster, Richard Rogers, Terence Conran, Robin Day, James Dyson and Paul Smith.
And consumers, historians, critics and fans share their personal recollections of the trends that changed the face of their homes and lives.'BBC precis...'
This week the series charting modern design in Britain through the latter half of the 20th century looks at the 1980s, a time characterised by yuppies, shoulder pads and excess cash.
Stories include designer Paul Smith, a look at the ultimate 80s status symbols - the filofax, Porsche 911, Sony Walkman, Amstrad computers - and the most expensive building Britain had ever seen, Lloyds of London.
Previous programmes in the series include Designing the |Decades 1960's and 1970's
Check it out via the BBC 'I' player while you can
Tuesday, October 6, 2009
Polar bear to go under the hammer...no animals will be harmed
Spotted in Design week online by Jack Jones
'Work by Marc Newson, Jean Royère and Frits Henningsen will feature at the London Design Sale later this month.
The auction, by Phillips de Pury, will be held on 15 October and the pieces can be viewed from 10-14 October at its London headquarters on Howick Place, SW1.
Lots include a large Diode lamp by Newson and work from his Micarta series, which use a composite of resin-impregnated linen generally intended for utensil handles.
Earlier this year, Phillips de Pury established the world auction record for a living designer when it sold Newson’s Lockheed Lounge for £1 105 250.
Also on offer are mid-century Scandinavian designs including Frits Henningsen’s Wingback armchair, Poul Henningsen’s Piano lamp and works by Finn Juhl, Poul Kjaerholm and Tapio Wirkkala.
A 1950 Polar Bear sofa by French designer Royère will also be going under the hammer.
The pieces will be offered alongside architectural works and Harry Bertoia’s monumental Sonambient sculpture.'
Start saving up now...lets hope modern furniture design can at last start to realise some realistic prices at auction.
your comments welcome......see examples of Kevin Hallsworth contemporary furniture designs including the Industryindesign collection by visiting his web site http://www.kevinhallsworth.co.uk/
'Work by Marc Newson, Jean Royère and Frits Henningsen will feature at the London Design Sale later this month.
The auction, by Phillips de Pury, will be held on 15 October and the pieces can be viewed from 10-14 October at its London headquarters on Howick Place, SW1.
Lots include a large Diode lamp by Newson and work from his Micarta series, which use a composite of resin-impregnated linen generally intended for utensil handles.
Earlier this year, Phillips de Pury established the world auction record for a living designer when it sold Newson’s Lockheed Lounge for £1 105 250.
Also on offer are mid-century Scandinavian designs including Frits Henningsen’s Wingback armchair, Poul Henningsen’s Piano lamp and works by Finn Juhl, Poul Kjaerholm and Tapio Wirkkala.
A 1950 Polar Bear sofa by French designer Royère will also be going under the hammer.
The pieces will be offered alongside architectural works and Harry Bertoia’s monumental Sonambient sculpture.'
Start saving up now...lets hope modern furniture design can at last start to realise some realistic prices at auction.
your comments welcome......see examples of Kevin Hallsworth contemporary furniture designs including the Industryindesign collection by visiting his web site http://www.kevinhallsworth.co.uk/
Monday, October 5, 2009
Design on the move leads to restoration of old Commonwealth Institute..
News from Design week online October 1st 2009...by Jack Jones
'The Design Museum’s proposed move to the former Commonwealth Institute in London’s Kensington will extend the reach of the ‘Albertopolis’ cultural quarter, says Paul Thompson, rector of the Royal College of Art.
Thompson was speaking after Kensington and Chelsea Council and English Heritage approved plans drawn up by Dutch architect Rem Koolhaas’ practice OMA to house the museum in a redeveloped Commonwealth Institute building. This would move the Design Museum 10km west from the Shad Thames home it has occupied since 1989.
The planned move has been welcomed by many in the creative industries. Thompson says, ‘[The move] would help the RCA to foster even stronger links with the Design Museum. It would also be great to see this iconic post-war building restored.’
Sebastian Conran, who is currently also making an east/west move, shifting from Shad Thames-based Conran & Partners to reopen Sebastian Conran Associates in its former west London home, says, ‘It is the most fantastic thing I can possibly imagine. The extra space will mean more exhibitions, an improved visitor experience, and more opportunities for educational programmes.’
David Field, founder of the Design Prima show, who ran the Spectrum exhibition at the Commonwealth Institute from 1998 to 2004, describes it as ‘the most spectacular venue I’ve ever exhibited in’. Field adds, ‘It will look fabulous, and I’m so glad that this little gem of a building will be open to the public again - it’s a national asset.’
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The plans for the move have met with some controversy, with many architectural observers questioning the plans to alter the Grade II*-listed building. Initial plans were sent back to the drawing board by the council earlier this year amid concerns about the scale of the scheme.
But in the design world, the plans to add to west London’s museums have been met with near-universal approval. Conran says the move will ‘act as a magnet and focus for the creative industries’.
Design Museum director Deyan Sudjic says the new and approved plans will ‘give a neglected London icon a new life’.
Councillor Merrick Cockell, leader of Kensington and Chelsea Council, says, ‘The arrival of the Design Museum, on the heels of the Saatchi Gallery, in two of the borough’s most iconic buildings will help secure our position at the heart of cultural life in London. [They] will attract visitors, locals and retailers to Kensington, helping secure its long-term viability and combat the recession.’
Meanwhile, over in east London, reacting to the potential loss, councillor Lewis Robinson, executive member of culture, media and sport for Southwark Council, says, ‘We’re very sorry to hear of the proposed move, but our ambitious regeneration plans mean Southwark is changing fast and bringing in lots of new attractions.’
The Design Museum story so far:
1989 - Design Museum founded, housed in former banana factory in Shad Thames which was redesigned by Conran Roche
2006 - Deyan Sudjic succeeds Alice Rawsthorn as director
October 2008 - Plans emerge to move the Design Museum to the Commonwealth Institute
April 2009 - OMA’s designs, which are later altered, are submitted to Kensington and Chelsea Council
September 2009 - Council and English Heritage approve revised plans'
Hopefully more space could maybe leave opportunity for lesser known designers coming up in the scene to have a chance of exhibiting here?
We will have to wait and see...
'The Design Museum’s proposed move to the former Commonwealth Institute in London’s Kensington will extend the reach of the ‘Albertopolis’ cultural quarter, says Paul Thompson, rector of the Royal College of Art.
Thompson was speaking after Kensington and Chelsea Council and English Heritage approved plans drawn up by Dutch architect Rem Koolhaas’ practice OMA to house the museum in a redeveloped Commonwealth Institute building. This would move the Design Museum 10km west from the Shad Thames home it has occupied since 1989.
The planned move has been welcomed by many in the creative industries. Thompson says, ‘[The move] would help the RCA to foster even stronger links with the Design Museum. It would also be great to see this iconic post-war building restored.’
Sebastian Conran, who is currently also making an east/west move, shifting from Shad Thames-based Conran & Partners to reopen Sebastian Conran Associates in its former west London home, says, ‘It is the most fantastic thing I can possibly imagine. The extra space will mean more exhibitions, an improved visitor experience, and more opportunities for educational programmes.’
David Field, founder of the Design Prima show, who ran the Spectrum exhibition at the Commonwealth Institute from 1998 to 2004, describes it as ‘the most spectacular venue I’ve ever exhibited in’. Field adds, ‘It will look fabulous, and I’m so glad that this little gem of a building will be open to the public again - it’s a national asset.’
But in the design world, the plans to add to west London’s museums have been met with near-universal approval. Conran says the move will ‘act as a magnet and focus for the creative industries’.
Design Museum director Deyan Sudjic says the new and approved plans will ‘give a neglected London icon a new life’.
Councillor Merrick Cockell, leader of Kensington and Chelsea Council, says, ‘The arrival of the Design Museum, on the heels of the Saatchi Gallery, in two of the borough’s most iconic buildings will help secure our position at the heart of cultural life in London. [They] will attract visitors, locals and retailers to Kensington, helping secure its long-term viability and combat the recession.’
Meanwhile, over in east London, reacting to the potential loss, councillor Lewis Robinson, executive member of culture, media and sport for Southwark Council, says, ‘We’re very sorry to hear of the proposed move, but our ambitious regeneration plans mean Southwark is changing fast and bringing in lots of new attractions.’
The Design Museum story so far:
1989 - Design Museum founded, housed in former banana factory in Shad Thames which was redesigned by Conran Roche
2006 - Deyan Sudjic succeeds Alice Rawsthorn as director
October 2008 - Plans emerge to move the Design Museum to the Commonwealth Institute
April 2009 - OMA’s designs, which are later altered, are submitted to Kensington and Chelsea Council
September 2009 - Council and English Heritage approve revised plans'
Hopefully more space could maybe leave opportunity for lesser known designers coming up in the scene to have a chance of exhibiting here?
We will have to wait and see...
Design Council creates vast online Image bank
Snippet from Design week online noted today 4th October...by Emily Pacey
'The Design Council has put thousands more images from its slide collection online.
The pictures went live on the national Visual Arts Data Service website, based at the University for the Creative Arts, on Friday.
About 4000 images of tableware, furniture, lighting, toys, domestic appliances, textiles, wallpapers, office equipment and machinery, as well as branding and graphic design examples from the past 50 years, have been added to the online resource.
Nearly two-thirds of the collection, or more than 13 000 images, are now available to view on the Vads website, which showcases more than 100 000 museum, gallery and university images.
The Design Council moved its physical slide collection to Manchester Metropolitan University in 1995, since when it has been put online in stages.'
This can only be an incredibly useful resource for designers and researchers of design, both fro inspiration and for contextual studies.
Let me know if you check it out...
'The Design Council has put thousands more images from its slide collection online.
The pictures went live on the national Visual Arts Data Service website, based at the University for the Creative Arts, on Friday.
About 4000 images of tableware, furniture, lighting, toys, domestic appliances, textiles, wallpapers, office equipment and machinery, as well as branding and graphic design examples from the past 50 years, have been added to the online resource.
Nearly two-thirds of the collection, or more than 13 000 images, are now available to view on the Vads website, which showcases more than 100 000 museum, gallery and university images.
The Design Council moved its physical slide collection to Manchester Metropolitan University in 1995, since when it has been put online in stages.'
This can only be an incredibly useful resource for designers and researchers of design, both fro inspiration and for contextual studies.
Let me know if you check it out...
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