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DESIGN LESSONS

Adams, Annmarie

The Canadian Architect, 2012-06, Vol.57 (6), p.25

Toronto: IQ Business Media

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  • Título:
    DESIGN LESSONS
  • Autor: Adams, Annmarie
  • Assuntos: Aluminum ; Architects ; Architecture ; Art exhibits ; Design ; Drafting ; Public art ; Slater, Norman (1921-2003) ; Students
  • É parte de: The Canadian Architect, 2012-06, Vol.57 (6), p.25
  • Descrição: An MIT- trained architectural historian and former head of the Study Centre at the Canadian Centre for Architecture, [Guy Legault] and architect Gary Conrath assembled the Slater material they found in a stunning display that would surely please even a perfection ist like their subject. Emphasizing [NORMAN SLATER]'s beloved aluminum, 100 2' ? 4' panels framed in aluminum were suspended from the Centre de Design's open-truss ceiling and walls illustrating 35 Slater projects. The regularity of the hanging panels was punctuated by large works of public art by Slater, most notably the 3, ooo-pound aluminum ingot he designed for the Canadian Pavilion at the Brussels World's Fair in 1958. and colourful, triangular pieces from an original setup of 17 aluminum tripods designed in 1959-60 for pharmaceuticals giant CIBA. My favourite part of the exhibition was a massive "drafting" table with stools (inviting visitors to linger and enjoy) which featured blueprints, sketches, magazines and other evidence of Slater's creative process as well as real examples of his designs for household objects. Since Slater apparently worked out many of his design ideas by trial and error in the basement workshop of his home, the inclusion of an iconic and "messy" drafting table is particularly appropriate. [Mark Poddubiuk]'s statement is interesting, given that one of the main messages of the exhibition concerns boundary-crossing, or what Maurice Cloutier summarizes in the catalogue as "Norman Slater: unclassifiable." Kq uà \\y comfortable among architects, artists, industrial and graphic designers. Slater's output in multiple fields recalls other internationally known [)olym;i(hs such as jean Prouvé (1901-1984). Marcel Breuer (1903190*1) and Charles (1907 1978) and Ray Ea mes (1912-1980). Legault addresses this t he me as ambiguity, reading Slater's multi-scaled output as evidence oí "a somewhat atypical practice in the world of creation." Slater studied architecture at MeGiIl under [John Bland] and Gordon Webber, but he also attended László Moholy-Nagy's Institute of Design in Chicago, then headed by Serge Chermayel'f, to learn about product design; later he headed to I. ( milo r Ts Royal College of Art to study wood, metal and plastics, reI urn ing Io bis hometown of Montreal in 1955.
  • Editor: Toronto: IQ Business Media
  • Idioma: Inglês
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  • Realização: ABCD-USP USP   Logos de Redes Sociais: Freepik

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