Hands-on with Design
As the senses acquire appreciation, academic interest quickly follows, and the experience evolves into a meaningful relationship.
The gallery experience provides hands on connectedness to objects from the permanent collection, as well as objects from the contextual collection. The latter may be like objects in terms of typology, material, design aesthetic, or other relational criteria.
Events, currently and previously executed in the arango design foundation gallery, arango design store or collaborative location provide examples of the mechanism:
arango explores industrial product in all its form, capturing functional and aesthetic qualities in compositions that showcase phenomenal characteristics. We explore functionality beyond intentional use – often finding that objects offer more than their advertised values.
Objectively, design manifests from life experience. When something is produced with careful craft, clear purpose, and a passionate investment, it may inspire your life.
Life is best enjoyed with nurturing relationships. Positive connections with the people around you, and likewise, the objects with which you surround yourself, create greater opportunity to enjoy each moment, present and future.
arango’s wide selection of products provides the experiential place to recapture tactile interaction that explores beyond synthetic and digital representations. First hand experience provides a true filter for selection and integration of objects into your life.
Promoting this awareness, arango selected the Joy n.1 bowl, designed by Claudia Raimondo for the Italian manufacturer Alessi.
Joy n.1 bowl creates a visual celebration of each life moment. By reflectively abstracting the visible content of objects inside and environmentally nearby, Joy elevates experience with kaleidoscopic surprise.
arango is pleased to share with you results of our continuing exploration of the joy n.1 bowl – and invite you to visit our store to explore it for yourself!
More common activities including exhibitions, lectures and workshops also provide the opportunity to explore educational objectives:
june - july 2013
Creating salad cuisine via images printed on clear acetate, and vinyl remnants, to simulate relational design criteria between tabletop elements.
(un)forbidden city exhibition
Presenting the collective work resulting from the invitation of an Italian manufacturer, Alessi, to discover form through the mix of the cultural perspective of Chinese designers and the technological prowess of Italian production facilities.
arango ♥ stelton: a 50 year love affair
Presentation demonstrating the longevity of well-designed contemporary products and their translation into new aesthetic parameters by the forwardly engaged manufacturer, Stelton.
50 AT 50
Retrospective exhibition featuring 50 years of products grouped in reference to function.
design house stockholm
Exhibition announcing the complete product line of a fully distributed transcontinental manufacturer, DHS-Sweden.
Event presenting the work of a lighting designer as context to the designs presented by a local high school design class at DASH created in a workshop led by the designer, Pablo Pardo.
magis on the road / with Karim Rashid
Event presenting the range of products from an Italian manufacturer, Magis, highlighted by the perspective of a collaborating designer, Karim Rashid.
somewhere between T+O – collegiate workshop, FIU
exploring carbon fiber forms in conjunction with a lecture by architect, Bill Price discussing explorations with transparent concrete.
design with air/ with campana brothers
Workshop at Design and Architecture Senior High exploring the use of air as a design catalyst under the tutorial of internationally acclaimed designers.
Presentation of the results of one of the first Internet structured design challenges.
piet stockmans: material being
Exhibition demonstrating the soft border between hand made products and their transformative meaning in the context of multiplicity and designer intent.
design by architects
Presentation of objects designed by architects in the context of their architectural work.
Study of Italian manufacturer Kartell, and its integration of movement into the functionality of its products.
Millennial presentation of the exciting designs emerging from the culturally diverse design community.
Presentation of new concepts for picture frames resulting from a design challenge to a college level design class at Parsons School of Design.
design with(out) fire
We may thank Prometheus for the opportunity, but whether we enable ourselves to live joyfully with fire is open to examination.
Votives we light in religious sanctuaries are testament to practices culturally embraced, when we exercise prayer, meditation, and remembrance. We act through familial experience or religious training; the act is meaningful and emotional, but not everyday living.
Flames we ignite outside this reference represent other rituals ranging from birthday cake highlights to routine meal preparation. Unless one often uses gas or flame for cooking, has a very large family with frequent birthdays, or smokes, the need to produce observable flame is lessened.
The exception is the use of candles and lanterns, firepots and fireplaces, either to produce warmth and or an aesthetic experience with fire, including cook-as-you- eat scenarios.
LIGHTS ON design with(out) fire speaks to this condition, to the effort to use design to build positive relationships with fire.
We are entranced by flame, more sensitive to air’s movement, more provocative in dance, both dangerous and attractive-a mysterious resource.
So the question is, because we are so fascinated by the event, why do we not engage more often, or perhaps with more (design) intent? One simple answer is that the larger the fire the more hassle (or fear). And the smaller the fire, the more mundane (or insignificant)
To build a great fire at the hearth, you need to be on top of thermal physics, and have a cleanup plan.
To make a votive exciting, what does one do?
How do we personalize the making and the experience of fire?
What options do we have to create fire that gives us what we want?
You need a design approach.
Examples presented in the exhibition speak to a variety of design purposes, with results that easily suggest there is both reason and will to explore control of fire with purpose and with a positive view.