Kunst

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Primera Edición

Kunst

MAYO 2016

DISEÑA TUS SUEÑOS AL RITMO DE LA MUSICA

BRUNO PIETERS fASHION DESIGNER

NEW VOLVO SUV

TOMORROWLAND 2016

Kunst DISEÑA TUS SUEÑOS AL RITMO DE LA MUSICA

EDICIÓN

Juan Freay Andres Escamilla

PRODUCCIÓN Juan Freay Andres Escamilla

Es una revista Atractiva para todo publico, pero esta enfocada a los jóvenes talentos del diseño en general y aventureros.

Tratamos temas relacionados con la música y todo lo relacionado con las artes visuales. El diseño en bélgica, gran hogar del famoso evento de música electrónica llamado tomorrowland es en su mayoría el centro de inspiración para muchos diseños e innovaciones en este año.

índice New volvo suv bob van reeth Pages 4-5

Pages 18-19

tomorrowland 2016 bruno pieters Pages 22-23 Pages 8-9

avicii Bernhard Willhelm Pages 24-25 Pages 10-11

the face of the city

new belgium’s Pages 26-27 Asheville taproom BAD Pages 14-145 Pages 28-29

Jenga-like barn in APPLE’S NEW STORE Belgium DESINGS Pages 16-17

Pages 30-31

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Volvo shows shapely new compact SUV, sedan Volvo provides details on new compact SUV and sedan http://www.usatoday.com/story/money/cars/2016/05

Volvo just provided a look at its next family of compact cars and SUVs and there’s plenty to like, including a plug-in hybrid and an electric car.

The rakish new SUV and sedan come from a vehicle family Volvo calls the 40 series. They should go on sale in the U.S. starting in 2018, according to IHS Automotive The new compacts are the final major piece in an ambitious $11-billion strategy Volvo embarked on several years ago, after Chinese automaker Geely bought the Swedish brand from Ford during the recession.

The massive engineering program has included developing two new vehicle architectures, new engines, hybrids and electric vehicles. Volvo’s designers also completely rethought the inside and outside of the brand that was long famous for its boxy looks, safety and practicality.

The compacts use a new smaller architecture.

Volvo calls it the Compact Modular Architecture, as opposed to the Scalable Product Architecture that underpins the XC90 and Volvo’s other larger vehicles. Geely is expected to use the new architecture for a range of upscale models from a new

brand the Chinese automaker will create.

“These vehicles need to be as strong in their own way as the XC90,” IHS Automotive senior analyst Stephanie Brinley said The compact Volvos will reportedly go into production at a Volvo plant in Ghent, Belgium, in 2017. They feature a three-cylinder engine and seven-speed dual-clutch automatic transmission. Like the bigger engine in the XC and S90, it will feature turbo and supercharging to maximize output and fuel efficiency. They’re likely to be called the XC40 (SUV) and S40 (sedan). Volvo will reportedly also build a hatchback. There’s no word of a station wagon, but given Volvo’s history it would be a surprise if the family-friendly brand doesn’t build one.

The compact sedan and SUV’s design is clearly different from the big XC and S90.

The sedan has a fast rear window and short rear deck. They carryover the distinctive “Thor’s Hammer” LED front running lights that have quickly become part of Volvo’s signature look.

The concepts have a broad stance. Their big tires and wheelwells are not likely to make it to production. What appears to be a big greenhouse with expansive windows suggests good visibility.

We would not put that car on show if we did not think that we could put it into production. I really hope that we have the potential not to split the 40-series world into typical segments. The 40.2’s notchback roof gives it a distinctive front three-quarter view, with the shoulder sticking out like a muscle. I really hope we can make it. That is something that we can pull off.

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Fashion

Fashion is about beauty and that the story behind fashion can be equally beautiful

By Nick Chiasson

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Pieters, born in Bruges, Belgium in 1975, trained at the Royal Academy of Fine Arts in Antwerp, graduating with a BA in Fashion Design in 1999. He developed his craft working with designers including Martin Margiela, Thimister and Christian Lacroix in Paris, as well as Antonio Pernas in Madrid.

In July 2001, Pieters presented his first couture collection - the first Belgian graduate to present an Artisanal collection during Paris couture week. In 2002, he debuted his ready-to-wear

collections for both men and women in Paris, and soon made a name for himself: Suzy Menkes, legendary editor for Vogue International, described the discovery of “an intriguing new talent”.

In 2005, Pieters was named creative director of the men’s line at Delvaux the oldest fine leather goods house in the world – a role which he held until 2007. During his time there he won the Swiss Textile Award in 2006, followed by the Andam Fashion Award from the Pierre Berge and

Yves Saint Laurent Foundation a year later. His designs – often described as ‘architectural’ – were admired for their intricate tailoring and construction work. Vogue Runway Director Nicole Phelps highlighted “the beauty of the clean, precise lines of Pieters’ tailoring” that revealed a “real devotion to craft”.

In June 2007 Pieters was appointed Creative Director for the avant-garde line Hugo by Hugo Boss, beginning a successful threeyear collaboration.

At the same time, he continued to expand his own label, launching eyewear and homewear.

However, in 2010, he announced both his departure from Hugo Boss and the retirement of his own label in order to take a sabbatical. From 2010 until early 2012 Pieters travelled through India. His experiences in the subcontinent had a radical affect on his outlook on life. He became increasingly concerned for the environment, animal welfare, and children’s causes. In January 2012, he returned to make what Oliver Horton in The New Your Times described as a “revolutionary” new statement in the fashion world with his new company, Honest By - the world’s first 100% transparent

company and pioneer in price transparency. Honest By publishes its entire supply chain for every product it creates and translates this into total price transparency.

In 2014 Pieters established the Future Fashion Designer Scholarship (FFDS) - the first of its kind. The scholarship is designed to support students with the ambition to work in a transparent and sustainable way outside the existing fashion mould. Successful applicants are not only awarded a share of a total annual bursary of 10,000 euros, but benefit also from guidance and mentoring from Pieters and his Honest By team.

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To find the truth, you need to say hi to your haters and bye to conventions. http://www.hintmag.com/

our society’, and that his role as a German-born Bernhard Willhelm designer is to create fashion that graduated from the Royal Aca- expresses certain ideas and chademy of Fine Arts in 1999. Whilst llenges his audience to think. at the Academy, Willhelm began hen he began showing in working as an assistant for seve- Paris in 1999, Bernhard Wiral fashion icons including Dirk llhelm—a German native Bikkembergs and Walter Van Bei- residing in Belgium—broke rendonck of the Antwerp Six as about eight million fashion well as Alexander McQueen. Fo- rules by using colors, volullowing his graduation, Willhelm mes and themes that defied presented his women’s-wear line categorization.

Ingenious at the Paris Fashion Week, and his pop references from toys and career has thrived ever since. Now known for his somewhat rebe- computer games to trash and llious approach to fashion, Will- American footballers suddenhelm refuses to conform to tradi- ly seemed as obvious a course tional colours schemes, preferring to chart as mimimalism in to tread his own path through the the 90s. Now, at 32, he’s still fashion world. Wanting to deviate the fashion world’s darling, from the current trend of prag- confounding and enlightematism in fashion, Willhelm see- ning more than ever with a ks to restore fashion’s connection relentlessly novel, dazzling with time, space, and history. Wiand egalitarian approach to llhelm believes that ‘fashion fulfidesign. In his cheery Paris ls certain roles in certain parts of

studio, he opens up to DARYOUSH HAJ-NAJAFI about his cockeyed world, from dirty underwear to the luxury of limitation. When I’m designing, I don’t see the clothes as crazy. I’ve got to exaggerate to find the essence of an idea. In starting a collection, the most important thing is to bring an idea out quite clearly. Fashion people only react to very strong ideas. One season I was into rubbish, so I based the collection on McDonald’s Happy Meal figures. That’s all I needed. I design to express something. Cutting myself off completely, then being free to do whatever I wanted has always appealed to me. I always had the feeling I was in a prison.

Maybe that’s why I’ve always chased the exotic.

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archit belg

ecture gium

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The Charlotte office of this architecture firm desingned new belgium’s Asheville taproom The interior of New Belgium’s Liquid Center in Asheville. New Belgium.

New Belgium’s tasting room at their new Asheville brewery opened to the public this week, and the Charlotte office of a major architecture firm designed the facility.

Perkins+Will, whose local office is based at the Charlotte Chamber building on South Tryon Street uptown, has a brewery design practice in North Carolina

called Perkins+Will NC to mark their opening Craft. You can follow Aug. 27. them on Twitter @WeHelpUBrew.

The tasting room is open 11 a.m.-8 p.m.

Perkins+Will handled Monday-Saturday and architecture and design noon-8 p.m. Sunday. for New Belgium’s Li- So, if you need another quid Center, a tasting reason to drive to Asroom. The brewery is heville, you can go to starting public tours of admire the Charlotte their whole Asheville architecture and design while sipping a cold facility this summer, beer. and is planning a party

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Studio Farris Architects Transforms a stable in Belgium

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Studio farris transforms a stable in belgium with stacked timber unit http://www.designboom.com/architecture/studio-farris-architects Studio Farris Architects has integrated an office into a staircase made from stacked timber beams, and installed it inside a renovated barn in West Flanders, Belgium To make the addition appear visually separate from the simple, gabled form of the barn, Antwerp-based Studio Farris developed a tower of wooden beams that resembles a giant version of wooden game Jenga.

The structure incorporates a staircase, mezzanine office, meeting space and bookshelves – tapping into the growing trend for staircases with additional functions.

“Instead of creating an extra floor in the existing volume that would take away the perception of the whole space, an autonomous furniture object was placed into the space, referring to the original farm and rural area,” explained studio founder Giuseppe Farris. “This extra object made out of stacked up wooden beams transforms the space into a very functional office. The wooden beams are piled up in such a way that different spaces arise,” he added. “The stacked beams be-

come the library, bookshelves, storage room, and resting and reading area.” A platform on top of the stacked structure hosts an office with two workspaces, while cupboards and shelves are integrated into the overhangs of various steps.

Beneath the office mezzanine, there is a separate meeting area with floor-to-ceiling glazing that offers occupants views of the agricultural landscape.

Dutch design studio Mieke Meijer created a similar setup for a home in the The Hague by creating a suspended staircase with built-in shelving and a lower tread that doubles as a desk.The project also involved a full renovation of the barn.

As well as repairing the brick facade, the architects added a new interior layer, creating a “box in box” arrangement that improves the building’s energy efficiency. Small windows are located in the flanks of the building and a large skylight has been added to one side of the sloping roof to improve natural lighting.

Studio Farris Architects was founded by Italian architect Giuseppe Farris in 2008.

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Bob

b Van Reeth https://en.wikipedia.org/wiki/ Bob _ Van _ Reeth

Architecture is rediscovering that which has never existed.

B

ob Van Reeth started working as an architect in 1965 with designing buildings in Mechelen and Kalmthout. In 1972, he became a teacher at the Nationaal Hoger Instituut voor Bouwkunst (The National Higher Institute for Architecture) in Antwerp. The same year, he started the group Krokus with Jean-Paul Laenen and Marcel Smets. The group worked on the restoration of the old centre of Mechelen.

In the 1980s, Van Reeth designed a new building for the Onze-Lieve-Vrouwecollege in Antwerp. Later buildings include in 2007 a new wing for the Westvleteren Abbey, and the black-andwhite Huis Van Roosmalen facing the Scheldt in Antwerp.

[1] Close by stands the Zuiderterras, a grand cafĂŠ on the quay.[2] He also leads the company AWG (Architect Work Group) Architecten, which won the architectural concours for the design of a memorial and documentation centre about the Holocaust in Mechlen.

In January 1998, Van Reeth became the first Flemish Master Architect, a function he held until 1 June 2005 when Marcel Smets succeeded him.

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the only one that makes you fe a thousands emotions on minute

eel es.

LANDREW

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Yesterday is History, Today is a Gift, Tomorrow is Mystery.

Enjoy every second!

Tomorrowland, a magic kindom full of music.

Yesterday is History. Today is a Gift. Tomorrow is Mistery» («Ayer es Historia, hoy es un regalo, mañana es un misterio»). Esta frase podría no decirle nada, pero para millones de jóvenes en el mundo, lo dice todo. Es el eslogan de Tomorrowland, un festival de música electrónica, ambientado en los cuentos de hadas, que se celebra anualmente en Boom (Bélgica), y que supone la cita más importante para los amantes de este tipo de música.

Este año, Tomorrowland celebra su décima edición, lo que conllevará un despliegue como

nunca se ha visto, empezando por la ampliación de sus días.

Si hasta el momento el festival duraba tres días, en esta ocasión serán dos fines de semana los que el mundo vibrará con el sonido electrónico, del 18 al 20 y del 25 al 27 de Julio.

Un cuento de hadas hecho realidad Tomorrowland nació el 14 de agosto de 2005, para dedicarle un fin de semana a la música electrónica y la fiesta continua.

Alrededor de 10.000 personas asistieron al inicio de lo que se convertería con el paso de los

años en el evento más esperado del verano.

El festival fue ganando cada vez más relevancia. En 2009 colgó por primera vez el cartel de completo, en 2011 decidieron ampliar el festival a tres días para intentar saciar la demanda. Una solución inútil: las 180.000 entradas se vendieron en menos de un día. Un año después, en 2012, recibía el International Dance Music Award al Mejor Evento Musical; convirtiéndose de manera oficial en el festival global con más transcendencia..

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¿who is avicii?

You can take it to the top, and you’re never gonna stop in it to win it.

Emergió en la industria musical en 2008, cuando tenía 18 años, al hacer un remix de la canción del videojuego “Commodore 64”, Lazy Jones. Esto le produjo su primera venta con Strike Recordings, bajo el título de “Lazy Lace”. En abril de 2008, Avicii publicó su primera producción propia, “Manman”, por el sello discográfico de Pete Tong, Bedroom Bedlam, después de ganar el concurso de Pete Tong “Fast Trax”. Avicii recibió el 70% de los votos y después del lanzamiento contactó con numerosas etiquetas discográficas, promotores y agencias de reservas de todo el mundo. Incluso Laidback Luke mencionó Avicii en su página web Myspace diciendo: “Avicii, al ganar esta competición, ha dejado a muchos concursantes detrás de su polvo. Así que una felicitación grande para estos brillantes DJs por ganar el concurso y mucha suerte con sus futuras carreras”.

En 2010, Avicii publicó otra venta junto con el DJ sueco de nombre John Dahlbäck, titulado “Don’t Hold Back”, bajo el alias Jovicii. También trabajó con otros productores reconocidos en la escena electrónica como

Kurt Cobain, los holandeses Nicky Romero y Shermano logy o los franceses Norman Doray y Sebastien Drums, entre otros.

Aunque su trabajo se centra en canciones electrónicas, EMI puso a la venta una versión con vocales de su canción Bromance, con el título “Seek Bromance”.

En octubre de 2010, Avicii firmó un contrato con la discográfica europea A&R con EMI Music Publishing. Con lugar Londres y Nueva York, EMI es la cuarta empresa musical más grande y es productora de otras empresas, esto la hace ocupar ese cuarto puesto y la hace miembro de la RIAA (Recording Industry Association of America).

En 2010, Avicii se embarcó en su primera gira mundial, empezando por Norte América y Europa del este.

En 2010, Avicii logró colocarse en el puesto 39 en la lista de los 100 mejores DJs de la revista “DJmag”. El 2011 le sonríe a Avicii, el joven productor se consolida como el sexto mejor DJ del mundo. Ya en el 2012 logra escalar tres lugares para posicionarse en el tercer puesto según la revista DJ Mag, siendo

el Dj más joven dentro del TOP 10. En 2013, logró conservar la tercera ubicación en la encuesta.

Su single Bromance (grabado y puesto a la venta bajo el seudónimo Tim Berg) consiguió entrar en el top 20 de Bélgica, Países Bajos y su nativa Suecia.

Una versión vocal llamada “Seek Bromance” con Amanda Wilson, fue puesta a la venta poco después, alcanzando el UK Singles Chart y alcanzando el puesto nº 1 internacional en Beatport. Posteriormente ha lanzado varios singles como “Fade Into Darkness”, (contiene los samples de Perpetuum Mobile), “My Feelings for You”, “Street Dancer”, y “Tweet It” entre otras. Su reconocimiento mundial llegaría en el 2011, cuando realizó un sampleo de la canción de música gospeloriginal de 1962, “Something’s Got a Hold on Me” de Etta James, en su éxito “Levels”, el cual logró ingresar en las listas musicales más importantes del mundo y obtuvo numerosas certificaciones. En ese mismo año fundaría su propia discográfica LE7ELS. En 2013 consigue su primer número uno en el Reino Unido

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The fac By: Vjnudin Flax

More and more cities are using individual proprietary sources. Such is the case of the city of Tilburg, Netherlands, now the source TilburgsAns created by typographer and illustrator Ivo Sander Neijnens Van Leeuwen. This source, however, is based on letters and pictograms.

“With this typeface we want to explore how the type creates a social network in a city and how a font travels around the world,” said Neijnens. The project began in the summer of 2013 as a personal challenge to design a typeface that represents his hometown. “I did not want to design a corporate typeface for the city or the marketing department; the starting point was the design of a source for the inhabitants. A source that does not represent the outside of the city, but the inside “. To really connect the power Tilburg, Neijnens decided it was necessary to add icons to the source of specific locations, people, events and dialectal words. So from September 2014 he worked with Van Leeuwen, who drew 50 icons. Together they realized the idea about a year and a half. I asked Neijnens, which is about to open an exhibition about the source, to tell us more.

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What has been the public response to the face and iconography?

At first, people were surprised by the idea, but did not realize the impact a source of this type can have. So it was difficult for us to get

the necessary financial support.

Our principle is that the font must be available for free. After many, many presentations, meetings and paperwork finally got three grants from local and regional funds. But there was still a big financial gap.

That’s why we started an adoption plan in December 2015. People can adopt a letter, number or punctuation mark accent of € 200 each. It is also possible to adopt a

numbered space (Unicode 0020) for only 10 euros. The response was overwhelming. So far they have adopted more than 120 glyphs and 150 seats.

The answer to the same font is also great. The sources were released on 10 April and have already been used on business cards, on posters, on websites, in brochures and newsletters (see: www.tilburgsans.

ceof the city nl/nl/actueel). And we were invited to make a presentation on the font in the counter top of a remarkable bridge itself is an icon in the font.

How do you feel the source TilburgsAns represents the city?

Tilburg is a city sans serif; people are simple. But it is also a living city; There are many educational institutes (including a university, a greenhouse, a / arts / School dance theater, which attract young creative), as well as festivals and stadiums. Thus, the humor, the swing and the experiment are three characteristic features of this city.

What is the greatest satisfaction of having designed this?

The greatest satisfaction we get is the enthusiasm of the designers, writers, shops, bars and cultural organizations. TilburgsAns to create a warm welcome, as if the city was longing for her. By adopting the font and use in publications by the inhabitants themselves are creating the image of the city. It is a new type of marketing-après la lettre city. Typographically pronounced this city is a fusion of writing and printing type. But in the end, the final connection between the font and the city is made by adding icons.

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BAD

BELGIUM ART DESING

Just because we do BAD things, doesn’t mean we are bad people.

BAD is a brand new event where you will discover the creativity of contemporary art and design. It’s a quirky exhibition that takes you into eentotaalbeleving of Belgian art and design, and a distinctive site in Ghent.

BAD brings artists and designers together and gives visitors more than ever direct access to the artist or designer and artwork or designs. BAD is the hotspot from February 2016 for all art lovers and design addicts in short, for anyone interested in contemporary trends - whether it is about art, interior design, fashion, food or technology.

BAD is young and under the spell of quality. This is consistently put in the choice of artists and designers. However, the focus is not only on price, the more (added) value. BAD strongly believes in the power of Belgian art, designs and products: they have an immeasurable invloedop our mindset, personal challenges and our social and cultural life. Art and design to stimulate creative thinking and improve our quality of life.

BAD looks for Belgian aromas and flavors and organizes dinners entastings in the overall perception atmosphere of the fair. In this context, you experience also workshops, debates, literary meetings, film and photo screenings around Art and Design.

Discover, enjoy and be tempted ....

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Apple Unveils First Major Store Redesign In 15 Years Flagship stores are going to look quite different soon.

w

By: Maya Kosoff

hen Apple launched its first retail stores 15 years ago, the company pioneered a sleek, minimalist design that traditional retailers would copy in coming years.

Traditional, clunky customerservice desks were replaced with Apple’s Genius Bar. But this year, after iPhone sales dropped for the first time since 2003, Apple is unveiling a brand-new retail-store strategy.

The effort begins at the flagship San Francisco store in Union Square this weekend.

Already, the new design has made its way into Apple stores in Brussels, Belgium; Memphis, Tennessee; and Guilderland, New York.

Its new stores are meant to look more like a town square and less like a retail store, a community-inspired,

experiential place you (supposedly) won’t want to leave (even after dropping a considerable chunk of change on a bunch of new Apple hardware).

Apple’s Union Square rebrand is intended to be a template for how your local Apple Store will look in the future. Central to the store is a tree-lined “Genius Grove.”

Gone are the days of the noisy Genius Bar—the Genius Grove’s trees are wrapped with ample leather seating.

There’s also “The Avenue,” with interactive displays with themes like Apple Music or iOS apps. The “board room” will be a fake conference room where app developers and local experts can give advice to start-up founders and small businesses. Instead of packaging products in

boxes and hanging them on display, Apple’s new stores will hang phone cases like they’re part of the store’s design, sans packaging. Customers can take a case off the wall and put it on their phones, and if they want to buy one, they can grab it from the drawer behind the display. In short, it’s a store that’s trying hard not to look like a store. Or as Apple retail boss Angela Ahrendts said: “This is not just a store. We want people to say ‘Hey, meet me at Apple.’”

Ahrendts, who was hired from Burberry two years ago, led Apple’s retail re-boot, along with Apple design head Jony Ive. Currently, Apple has 480 stories in 18 countries, and the tech giant’s retail spaces generate more revenue per square foot than any other U.S. retailer.

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Design is not just what it looks like and feels like.

Design is how it works.

- Steve Jobs