Warming explains that the idea behind the design of the MINI Paceman was to combine the signature styling of the classic MINI with new features such as four-wheel drive and horizontal tail lights. "When you look at [the car] you feel and you see MINI, but you realise there is so much new to it," he says.

He also stresses that a lot of the design of the car was done by hand. "People say cars are just [designed] by computers today," he says. "A car is really done by hand. It's designed with sketches, we choose the lines that we like and we also spend a [lot of] time forming the shapes in clay and then from that make the tooling."

The guest in our Dezeen and MINI World Tour Studio is Kieran Long, senior curator of contemporary architecture, design and digital at the V&A museum in London. He believes the work of the current generation of designers lacks the boldness of the post-modern design Italy became famous for in the 1970s and 1980s.

"I sense a sort of tentative nature in the design that you see - even [work by] the younger designers, students and so on," he says. "There's not much boldness either in formal or colour terms, but also philosophical and ideas terms.

"It really struck me visiting the exhibition at the Triennale on Italian design, what a big contrast that is from the grand era of Italian design. You see the boldness of those forms and remind yourself of what Italian design was known for and you see now a sort of pastel-y sort of invisible feeling to design."

Despite this, Long says there are detectable trends that young designers are exploring. "We've had this fixing, repairing, ad hocism thing now for a couple of years," he says. "This year it's really identifiable that young designers work is occupied by new materials, often sustainable materials, new organic materials in the kind of Formafantasma mould. If somebody would just capture that and make a manifesto about it, it would seem like a real movement.

"I think the big problem is that they have no grasp of design history," he continues. "They have no idea of where they sit in relation to anything. It's my observation that most of those designers wish they were taught a formal didactic history of design alongside the freedom that the art school education gives them."

More generally, Long believes that design needs to be less introspective to remain relevant. "I think we've overrated what designers do as the thing that's interesting about design," he says. "What's really interesting is the problem solved, or the relationship made, or the fashion trend started or ended - those cultural currents that design contributes to.

"I think they could learn something from architecture in that sense; when you're an architect, when you write about architecture, you can also write about the city, and the city is everything in it. Design needs to find a category like that. They need to relax and say: 'what I do is not the interesting thing about design, it's what happens after it leaves my office.'"

See all our stories about Milan 2013.

The music featured in this movie is a track called Konika by Italian disco DJ Daniele Baldelli, who played a set at the MINI Paceman Garage. You can listen to more music by Baldelli on Dezeen Music Project.

The post "Young designers have no grasp
of design history" appeared first on Dezeen.

Experimental Jetset developed the graphic identity around the concept of a "responsive W" that forms both a symbol of the Whitney and a framework for accompanying text and images.

"We came up with the idea of the zig-zag line, with the zig-zag being a metaphor for a non-simplistic, more complicated (and thus more interesting) history of art," say the designers.

"We think the line also represents a pulse, a beat - the heartbeat of New York, of the USA. It shows the Whitney as an institute that is breathing (in and out), an institute that is open and closed at the same time."

The designers specified Neue Haas Grotesk - a redrawn version of a 1950s Swiss typeface - for any text positioned alongside the logo, while any images can be positioned underneath.

"We began to explore the possibilities of the W as a frame to put work in, or a stage to place work on," they explain. "The lines [of the W] can be seen as borders, arrows, connections [or] columns."

The new graphic identity replaces the Whitney's thirteen-year-old logo, designed by Abbott Miller of Pentagram, and marks a period of change that will see the museum relocate to a new building by architect Renzo Piano, set to open in 2015.

Other logos designed in recent months include one for the estate of Thunderbirds creator Gerry Anderson and one for Nivea designed by Yves Béhar. See more graphic design on Dezeen.

Photography is by Jens Mortensen.

Read on more information from the Whitney:

As the Whitney approaches the opening of its new building in 2015, museum staff are taking stock of all aspects of programming and operations. While much of this work is happening behind the scenes, one very visible aspect of this focus is the Whitney's graphic identity. While the museum has changed considerably in the thirteen years since it introduced the word mark designed by Abbott Miller of Pentagram, even more extensive institutional changes will come with the move downtown.

Two years ago, Museum staff began a thoughtful internal dialogue regarding the Whitney's graphic identity and selected the design studio Experimental Jetset to develop an approach which embraces the spirit of the Museum while serving as a visual ambassador for our new building. The result is a distinctive and inventive graphic system that literally responds to art — a fundamental attribute of the Whitney since its founding in 1930. This dynamic identity, which the designers refer to as the "responsive 'W'" also illustrates the Museum's ever-changing nature. In the upcoming years it will provide an important point of continuity for members, visitors, and the public during the transition to the new space.

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by Experimental Jetset appeared first on Dezeen.

The Tudela-Culip (Club Med) resort at Cap de Creus in Cadaqués had been a holiday destination for 900 tourists every summer, but in 1998 the coastal site was given protected status as a Natural Park and the resort was forced to close its doors five years later.

Working alongside over 50 specialist consultants, EMF and Ardèvol were able to deconstruct most of the buildings of the Tudela-Culip and restore the natural landscape amidst a series of architectural interventions.

The most prominent addition to the site is the Cubes Viewpoint, a pair of Corten steel structures facing out to sea, while slabs of stone and more Corten steel were used to create seating areas and landmarks elsewhere around the park.

Pathways are divided into a three-tier hierarchy. The main access road is laid in asphalt, secondary pathways are formed from concrete, and informal routes are defined by ankle-height metal railings.

Small Corten panels scattered around the site feature cutaways that highlight how some of the natural rock formations resemble animals.

The five-year-long project was completed in 2010, but recently received the Rosa Barba European Landscape Prize at the 7 European Biennial of Landscape Architecture.

See more landscape architecture on Dezeen, including a colourful Copenhagen park by BIG and a staggered concrete square in Zaragoza, Spain.

Photography is by Martí Franch, Pau Ardèvol and Esteve Bosc.

Read on for more details from the design team:

Tudela-Culip (Club Med) Restoration Project in the Natural Parc 'Cap de Creus'

This project is a showcase for landscape driven nature restoration projects. It turns a demolition order, a purely and strictly habitat reclamation, into a creative landscape restoration development. Through necessarily inexpensive actions, the design skilfully construes and orchestrates the deconstruction as a combination of destruction and construction to celebrate the site’s peculiarities, both natural and cultural. It proposes ways to choreograph on-site visitors into a narrative that stimulates the culture in nature in an innovative approach to finally question whether erasing and voiding is just as valid as filling in and adding.

Location: Cap de Creus cape, Cadaqués, Catalunya, Spain
Area: 90 ha
Period of design: 2005-2007
Implementation period: 2009-2010

Landscape architects: EMF landscape architects - Martí Franch
Collaborators EMF: M. Batalla, M. Bianchi, A. Lopez, G. Batllori, L. Majer, C. Gomes M. Solé, L. Ochoa, J.L Campoy
Architects: J/T Ardèvol S.L. - Ton Ardèvol
Collaborators Ardèvols: Raul Lopez, Cristina Carmona.

Commissioned by: Ministerio de Medio Ambiente, Medio Rural y Marino. Generalitat de Catalunya. Gestora de runes de la construcció S.A. Parc Natural del Cap de Creus.

Construction companies:
Tragsa (deconstruction)
Control Demeter and Massachs Excavacions S.L.U. (deconstruction, waste management, Restoration and re-urbanization)
Jardinería Sant Narcís (invasive exotic flora extraction)
Serralleria Ferran Collel (viewpoints, totems, terciary path, animal rock identification)

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Cap de Creus by EMF and Ardèvol appeared first on Dezeen.

Okamoto designed the Liquid Tape Cutter as a tool for decorating walls and objects with lengths of sticky tape.

In the video, Okamoto first applies the tape from the top of the wall downwards, using the metal cutter to make a convex curve at the bottom.

He then sticks the remaining concave curve at the bottom of the wall and travels upwards.

Okamoto designed the tool for his own use at his studio, Kyouei Design, based in Shizuoka, Japan.

We previously featured a structure woven from kilometres of adhesive tape and an abandoned apartment where a wall, furniture and ornaments are covered by a layer of tape.

We also published stripy wallpaper designed to look like strips of coloured tape and rolls of patterned tape made for covering old and unwanted furniture.

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for Kyouei Design appeared first on Dezeen.

Unlike normal 3D printers that require a flat and horizontal base, Mataerial prints with plastic that sticks to horizontal, vertical, smooth or irregular surfaces, without the need for additional support structures.

Petr Novikov and Saša Jokić from Barcelona's Institute for Advanced Architecture of Catalonia created the machine during their internship at Joris Laarman Lab, where students are given a platform to experiment with new digital fabrication methods.

The process, which the designers call "anti-gravity object modelling", is a form of extrusion that instantly creates chunky three-dimensional rods, rather than slowly building up two-dimensional layers like a standard 3D printer.

"One of the key innovations of anti-gravity object modelling is the use of thermosetting polymers instead of thermoplastics that are used in existing 3D printers," explained the designers.

A chemical reaction between the two components of the thermosetting polymer causes the material to solidify as it comes out of the nozzle, making it possible to print hanging curves.

The speed of extrusion is dependent on factors such as the desired thickness of the material, but in this example the printer produced one metre in approximately three minutes. The movie's frame rate was increased up to three times to show the process more quickly.

We recently featured a similar idea on a much smaller scale – a pen that can "print" 3D doodles in mid-air. See all 3D printing on Dezeen or check out Print Shift, our one-off magazine about additivie manufacturing.

Last year Novikov was part of a team of students from the IAAC who built a robotic 3D printer that creates architectural structures from sand or soil.

Joris Laarman's 2006 Bone chaise and mould design was acquired by the V&A museum in London last year – see all design by Joris Laarman.

Here's some more information from the design team:

Mataerial is the result of the collaborative research between Petr Novikov, Saša Jokić from the Institute for Advanced Architecture of Catalonia (IAAC) and Joris Laarman Lab. IAAC tutors representing Open Thesis Fabrication Program provided their advice and professional expertise. During the course of the research we developed a brand new digital fabrication method and a working prototype that can open a door to a number of practical applications. The method that we call Anti-gravity Object Modeling has a patent-pending status.

Mataerial – a brand new method of additive manufacturing. This method allows for creating 3D objects on any given working surface independently of its inclination and smoothness, and without a need of additional support structures. Conventional methods of additive manufacturing have been affected both by gravity and printing environment: creation of 3D objects on irregular or non-horizontal surfaces has so far been treated as impossible. By using innovative extrusion technology we are now able to neutralise the effect of gravity during the course of the printing process. This method gives us a flexibility to create truly natural objects by making 3D curves instead of 2D layers. Unlike 2D layers that are ignorant to the structure of the object, the 3D curves can follow exact stress lines of a custom shape. Finally, our new out of the box printing method can help manufacture structures of almost any size and shape.

One of the key innovations of anti-gravity object modelling is the use of thermosetting polymers instead of thermoplastics that are used in existing 3D printers. The material is cured because of a chemical reaction between two source components with such proportion of extrusion and movement speeds that it comes solid out of the nozzle; this feature makes it possible to print hanging curves without support material.

The desired shape is created by user in CAD software and then transformed into 3d curves describing the shape which are then converted into movement paths for the robotic arm. The thickness of the printed curve can be scaled down to less than a millimeter and can be adjusted during the printing process, by changing the speed of the movement. Colors can be injected in the nozzle in CMYK mode that allows changing of the curve color throughout the printing process.

In our vision, Mataerial can be applied in different fields, from furniture and architecture manufacturing to desktop and space 3d printing.

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