The concept of animating the scale models
Hired to produce Island’s 2014 audiovisual platform, Vranken is now receiving much attention for his edgy and creative film clip. We wanted to learn more about his story, his work and the inspiration behind Island’s platform.
We jumped on the chance to interview him!
Where and what did you study?
M.V: Audiovisual Arts with a specialization in animated films, from Sint-Lukas Brussels University.
Who are your clients? Who you are working with? We’re interested to know more in regards to the design section.
M.V: I work for a broad range of clients, including multinational to local businesses, government agencies, advertising companies and production houses. In the area of design, I have had the opportunity to create films for Victor Hunt, Raphael Charles and At Noon.
Do you have a website? We found you on Vimeo.
M.V: I started my own production company, Seeing the Brick Motion Studio, one year ago. My website is still under construction.
Meanwhile my presence on the Internet is a bit scattered, outdated or very temporary. Work comes first I guess…!
Are you doing things on the side?
M.V: I have plans to produce a few projects of my own, but they are still in the early stages of development.
Are you working out of a studio or do you prefer to create from home?
M.V: I rent a studio/office in the center of Brussels that I share with three other people. Generally we have interns and other free-lancers working there too.
It’s a very cool space – I couldn’t wish for anything better
We would be interested to know a little more about you, your work, and anything else you wish to tell us.
M.V: I mostly work on animated film projects and motion graphics for production companies or advertising agencies. For these projects, I work primarily as a motion graphic designer.
Occasionally I get to work as a producer and/or director for live action or more creative animated film projects.
How did you come to work with Raw-Edges?
M.V: I first came into contact with Raw-Edges through Victor Hunt. We met during a video shoot. They knew that I made both animated and live action films, so they decided to contact me for their Islands project.
How long did the video take to complete? Can you tell us a bit more about its’ production process and maybe some inside stories?
M.V: There is a lot to say about the Raw-Edges project. For one, it wasn’t an easy one to complete. We had two shoots – one in London, one in Brussels. The total shooting time was 12 days, while post-production took an extra 10.
We didn’t really have time for pre-production, so I created the storyboard during the shoots. This was a very exhausting process…
How did you develop the film’s concept? Was it with Raw-Edges or did they come to you with a specific idea?
M.V: Raw-Edges came up with the concept of animating the scale models. We had two options for scenography: a whitespace or the use of the studio as the background. Since we weren’t sure if filming could be finished in the short time we had, we opted for the whitespace.
As I said, I developed the screenplay while shooting. The first part of Islands is, for me, about its’ birth and the original concept; the second part shows this idea coming together; the third is meant to be a celebration of the island itself and its’ design; the fourth, well, that’s the end of the film.
Why was Islands half shot in London and half in Brussels?
M.V: The props for the video were developed in London. Since we knew that we would need to build extra props while filming, having the shoot in London appeared to be our best option.
We shot the second half in Brussels because we weren’t able to finish in London! The production took more time than planned. Also, in Belgium I have worked with a “rotating platform” (to add movement to past films) and really wanted to use one for this project. The studio we built in London wasn’t suitable for rotating-platform-shooting, but I could easily rent, and use one in Belgium.
Is it different working with design products? To give them a specific stage? Did you face any difficulties working with a design product?
M.V: No not really – I’m an animator and I like to work with objects.
It can be a bit difficult for designers when filming. They become a little bit nervous and start making mistakes that they normally would not make.
As you said, there is a lot to say about Raw-Edges. Can you tell us more?
M.V: They’re very nice and fun people to work with. I was lucky that they were so flexible and relaxed about the delay in the shoot’s planning. Raw-Edges has a lot of respect for creative people and understands that the making art doesn’t always go as planned…
Can you share any behind-the-scenes details about the process with us?
M.V: The reason why our entire shoot was so drastically delayed is because of the scene where the different objects start falling downwards. We constructed a system using wires, but it took much longer than expected to hang each and every one of the scaled-objects.
Plus, half of the animations were filmed in reverse. We would pull the objects up, instead of letting them float downwards. Then, during editing we would reverse the footage!
Can you think of anything else, maybe inside stories, that we should add?
M.V: Well, we had two goldfish – one in London and one in Brussels. The London one we returned, but the Brussels fish I kept. It’s now next to me, on my desk, at the studio.
Eyal Burstein x Vivienne Westwood
A very British collaboration between the unique Vivienne Westwood and the pottery company 1882 Ltd, gave the opportunity to the talented Tel Aviv born but Berlin based designer Eyal Burstein to launch a modern interpretation of the Homemaker Tableware collection. His creations were exhibited during the Salone Internazionale del mobile for the Milan Design Week from 8th-13th April 2014 at the Vivienne Westwood store in Corso Venezia, Milan.
Israeli designer, Eyal Burstein, studied Graphic Design at the London College of Printing and later Interaction Design at the Royal College of Art, graduating in 2006. Based in Berlin, Eyal’s work is a symbiosis of art and design, resulting from long term research and expressed through the objects and spaces that develop from the process. Several of Eyal’s objects are included in the permanent collection of the museum of Modern Art in New york.
The Homemaker collection is the result of the collaboration between the Ridgway Pottery Company and the designer Enid Seeney in 1957. It provided an instant style guide for the period as it depicted a range of contemporaneous furniture and domestic objects. Seeney’s designs were hugely successful in England even if she rarely received any credit for her work as she left the industry before any of her designs were produced.
Eyal Burstein is paying her tribute by modernizing her pattern and adding products designed by his fellow Royal College of Art Contemporaries: Peter Marigold, Max Lamb, Joe Malia, Glithero, Oscar Narud, Raw Edges, and Study O Portable. His interpretation of the Homemaker collection seems to be his personal selection of the design of his time.
Bindella – The New Design Restaurant in Tel Aviv
Opening the Bindella Osteria & Bar in Tel Aviv was a challenge for Pitsou Kedem Architects & Baranowitz-Amit Design Studio who succeeded in associating tradition and modernity in their new creation. One of Zurich’s largest restaurant group, Bindella wanted to preserve their century old family tradition of respect for wine and Italian cooking. Their moto ‘Terra, Vite, Vita’ (Lands, Vineyard, Life) needed to be associated with Tel Aviv’s young and urban clientele.
In the spirit of keeping up with the traditions, only natural materials were used.
To organize the 310 square meters available, they set up three different seating alignments in between columns emphasizing the space’s length and reminding the passer by of Tuscan vineyards. This introduction into Italy’s roots is developed while inside, where the vine motif becomes their inspiration for the overall decoration. Their idea was to build a ‘library of drinks’ (Dafni woodwork) climbing up the wall unevenly just like grape vines and to install a recessed lighting by Marset illuminating the space in between the beams like the Mediterranean sunrays. At the other side of the room, a strong personality comes out of the mashrabiya built by Cut it art, a perforated metallic patio wall paying tribute to the shape and taste of grapes. This interior is furnished with a diverse choice keeping things interesting between the Scandinavian influence of Henrik Sørig Thomsen‘s “Karm” chair he designed for Softline-Allkit and Hee Welling’s curvy ‘About a chair’ he designed for HAY.
Pitsou Kedem Architects founded in 2002 by a graduate of the Architectural Association in London, today employs eight architects. They received multiple Awards in the Israeli ‘Design Award’ Competition and have been chosen Architect Office of the Year in the “Private Construction” category by Israeli Construction and Housing magazine.
Baranowitz-Amit Design Studio created in 2006 is specialized in commercial spaces. Sigal Baranowitz and Gali Amit won several Design Awards for their work on Tel Avivian boutiques. They believe in building new design to share the story of the client, the space and the business being conceived.
Bindella Osteria & Bar, 27 Montefiore Street, Tel Aviv. 03-650 00 71. Photography by Amit Geron. Design by Pitsou Kedem Architects & Baranowitz-Amit Design Studio. Design team architects: Pitsou Kedem, Irene Goldberg, Sigal Baranowitz, Gali Amit.
Value for money
We got especially intrigued by the collection The Salarium, a series of saltshakers based on coins from different countries, a modern day twist on the evolution of currency.
Eli Chissick was born in London, and moved to Tel Aviv as a child in 1979. He studied product design at the Holon Institute of Technology, and graduated with a Bachelors degree in 2003. Today, after been awarded multiple times for his design, including the 2008 Opus Design Award, he lives and works in Tel Aviv.
Salary derives from the Middle English salaire, from the Latin word salarium, a payment made in salt(sal) or for salt, from salarius meaning pertaining to salt.
Materials: Stainless steel. Dimensions: height 35 mm, diameter 60 mm.
Black and Beyond
Born in Germany, Ester Beck came to Israel in 1977 and has since 1987, when she opened her own studio, participated in many ceramic exhibitions, solo shows, and been an active member of the Israel Ceramics Association.
The origin of Beck’s work is based on pottery and on the wisdom of hands and highly coordinated interaction between the hand, head, tools, machinery and material. Beck continues the trend she began in recent years, in which, she disrupts the potter’s work, extending the boundaries of operation and stretching the limits both of the material she shapes and of her artistic abilities.
From prior knowledge and years of tradition, Beck underlays the potter’s action and deconstructs the relationship between the body, the device and the material. She stands in front of a moist lump of clay weighting between 80 to 100 kilograms and examines it. Beck prepared it with the meticulousness of a craftswoman melding gentle layers of white, gray, and brown matter into the black ceramics. The choice of color and type of material usually brings to mind a geographical location, some sort of new correspondence with imagined landscapes.
With no other means but her hands and basic aids, Beck stretches the material, explores it and pushes it to its limits, creating an abstract poetic construct. She chooses to reduce the use of technological tools and accessories to zero. Instead of mediating her work through technology, she chooses direct contact.
Beck’s work doesn’t clearly belong to one of the fields of arts, crafts, or design. They refer to the various fields of design, expressive sculptures and longstanding traditions.
Esther Beck’s Solo Exhibition ”Black and Beyond” is taking place at Periscope Gallery, 176 Ben Yehuda street, Tel Aviv. Closing date 03.05.14
Text by Shlomit Baumann. Curator Sari Paran.
A Visit to Hu.Be’s Studio
Studio Hu.Be, which stands for Human Behaviour, opened last year by three young Israeli designers. Nadav Gan, Avi Ben Simon and Shahar Yaacoby, met at the Industrial Design Academy of Holon Institute of Technology and upon graduation, they decided to take their experience to the next level.
Intrigued by their work from the academy, specifically their project on recycled copper, we were curious to see what they are working on now, so we visited them at their studio in Yaffo.
The studio concentrates on different projects, with a foundation focused on material and technology while enhancing the design aspects. Their projects try to raise questions concerning new perceptions of raw materials and production methods. Questioning the familiar context of these concepts serves us as a starting point for innovation and interest.
While researching materials and production methods, they found a new way to reuse copper, as well as mix it and recolour it. While experimenting with it, they also discovered the versatility and flexibility of the product.
After learning this, they developed a process in which machines grind plastic coated communication cables to extract copper. They are then able to use the plastic coating as a raw material. With the extracted raw materials, using technologies and tools, they can mould the plastic into self supporting structures, usable in various products. In fact, they used this raw material to create an armchair.
The project is a process of a few years, which today for the first time is applied in a small production line. The forma bowl is the first product to be produced in this material.
IDEAS WORTH SPREADING
“Change to live and live for change. This is the essence of the theme of our next event: perpetual (r)evolution. The world we live in is constantly evolving, causing us to continually reinvent ourselves and the ways we interact with what’s around us, keeping ourselves fresh, engaged and dynamic.”
Israeli Designer, Omer Polak, expressed many of his thoughts and concerns relating to his current project, during his speaking opportunity with TED, only a few days ago. TED is a nonprofit organization, founded in 1984, devoted to Ideas Worth Spreading, from three worlds: Technology, Entertainment, and Design. These conferences bring the world’s most fascinating thinkers and doers together, who are challenged to give the talk of their lives, in 18 minutes or less.
Omer Polak graduated from Bezalel Academy of Arts and Design, Jerusalem 2013 and took the opportunity to study abroad, as part of an exchange program, in Design Academy Eindhoven, Netherlands. After his studies, Omer Polak began his project at the Weizman Institute of Science, operating with the technology, Scent-2-you LTD.
Omer Polak’s project originally began as a personal interest in odors and their relation to the world. He wanted to experience the world through sense of smells as well as the lack of them. As Omer Polak explained, in his TED talk, we, in the Western world, use synthetic scents to attract a potential partner, while Korubu tribes, living in wild, use natural smells to detect a match. Eventually his interest developed into a research project, investigating the world and daily life of an individual who suffers from anosmia, the inability to perceive odor, and the desire to make a change.
Omer, first, practiced identifying his own smell through designated masks, using synthetic smells he had recorded in primitive way and scattering them around artificially. After thorough research and experimentation, he was able to create instruments that hold the ability to learn certain odors and in return send notifications when certain smells are identified.
In collaboration with the Weizmann Institute of Science, Omer had access to the technology of “scent-2-you”. This technology uses bio-feedback, as a learning technique, which pairs scents, sounds and images with two additional objects that implicate the potential uses embedded in scents.
To hear Omer Polak’s Talk, visit TED - it’s coming up soon…
Odor learning device
Designer Omer Polak
Self olfactory experience
Self portrait with white odor mask
Shape, material and purpose by Nir Meiri
With a 30 minute drive from Tel Aviv, nearby a village called Vitkin, Israeli designer Nir Meiri awaits us outside of, what seems like his studio, an enormous industrial hangar.
Having known Nir now for a few years and have exhibited his work at the gallery, he has always been very precocious about his work; the materials he used and the story behind each object he creates. His wall of inspiration is meticulously and selectively composed of patchwork of images from various objects, interiors, materials and structures, giving us a taste of Nir Meiri’s working mind.
Nir’s objects are functional, nevertheless, very attached to a conceptual vision of nature, where often raw and wild materials are shaped into clean-cut forms. The designs are clean and harmonious while providing innovative ideas and enough freedom to the material expression.
His upcoming exhibition will be in London is at the “19 Greek street” gallery. The concept of the show will be “forces of nature”.
It will be open from the 13.2.14, Nir will be showing a new version of 19 pots called – 19 clay pots – and the Desert Storm (sand lamp) table lamps.
A ‘concrete’ designer
Itai Bar-On is a graduate of the Industrial Design Department of the Shenkar College of Engineering Art and Design. We have worked with him in the past, from the gallery, to the design show, Fresh Paint 2013.
From the beginning, Itai was born into a generations long family business of construction, where each member had their own place. To incorporate his family roots into his graduation project, Itai presented his personal interpretation of the construction world, exploring the limits of concrete by placing the common material in a new context while stretching the acceptable boundaries of the matter.
Last week, we went to visit Itai in his studio, and for the first time, we saw a new collection made from something other than concrete, as the new design required a material much thinner and lighter.
He introduced us ‘Giza’, a pendant lighting collection based on a system of aluminum panels and a tapered wooden block. The varying angles and sizes of the block determine the volume of the light fixture as well as its different function and nature. The lightweight aluminum connects to the block leaving a thin slit of light breaking through.
Photographer: Yael Engelhart _ Photos location: Pitsou Kedem Architects private house construction.
Designer Itay Bar-On
The Concrete tiles are hand-crafted with a unique technique, which provides conspicuousness to varied qualities of the cement.
The Bullet collection is a first collaboration between Studio Itai Bar-On and Tel-Aviv based designer Oded Webman.
Design Week Jerusalem 2013-2014
The thought and development processes that are left behind on the work room floor are often even more so, interesting, than that of the finished products which pass through the publics eye. The design and development processes and the production methods remain hidden and invisible to the consumer, allowing us only to see the products in their final form. These processes contain a whole world of materials, images, and even the true messages that remain unrealized.
The Center of Design welcomes its 4th Design Week, at the Jerusalem Development Authority, offering an opportunity to peer behind the scenes of the design world and to understand the considerations driving the design process.
Design Week is based upon exhibitions, workshops, events, and meetings involving various design processes, this year taking place at Hansen House (the former “Lepers’ House”), which has been undergoing restoration and renovation towards becoming a new centre of design, media and technology.
The architectural treasure, Hansen Hospital, which is situated in one of Jerusalem’s most affluent neighbourhoods, was once an establishment to serve people suffering from Hansen’s (leprosy) while now, it stands as a museum hosting unique and special artistic events. Established in 1887 by the city’s protestant community as the jesus Hilfe Asyl ( Jesus Help Asylum), it was designed by Conrad Schick, a German missionary and self-taught architect.
Unfortunately, the snow storm arrived during the initial opening dates of the event, forcing Design Week to launch two weeks later. Although it was inconvenient, we didn’t miss it, and in addition, had the pleasure to see the snow in this beautiful city.
FoodFabLab – Curator and Initiator: Ayala Moses
The worlds of food and design have many points of interface: Both chefs and designers are required to use creativity, originality, a sense of esthetics and to consider how the public will receive their work. In recent weeks, teams of chefs and designers have been meeting together at workshops and kitchens which became a kind of experiment and research laboratories; there they re-examined production processes, raw materials, textures and flavors.
FoodFabLab#2 – Arayot Yam
Eran Shvartzbard – Chef (Dan Gourmet), Tal Gur – Designer, Michal Cederbaum – Designer, Noam Dover – Designer
Designers Tal Gur and Noam Dover.
FoodFabLab#3 – Blow dough
Participants: Erez Komarovsky – Chef and Baker, , Omer Polak – Designer, Michal Evyatar – Designer.
Off the shelf – Curators: Danny Hochberg, Sonia Olitesky
A collection of items from local industries is presented under one roof, where we can examine the process of development from the concept phase up to their final configuration on the shelves of the stores. The collection samples a range of products differing from one another in function, and it raises questions about design for Israeli industry.
Dana Ben Shalom graduated from the Bezalel Master of Industrial Design 2013 – Parting Ritual
Left : Manipulation. Design by deception – Initiative, Curation & Design: Studio Grotesca
Right : Quarantine, Forty Days of Seclusion. Curator: Neta Gal-Azmon; Assistant curator: Hagar Bril.
Yonathan Hopp graduated from the Bezalel Master of Industrial Design – Role Model
Yael Sabab Farkash graduated from the Bezalel Master of Industrial Design- Genetics of Objects