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Foster + Partners‘ Craft + Manufacture: Industrial Design exhibition is currently on display at The Aram Gallery in London. It is the firm’s first exhibition dedicated to the industrial design work they have created over the past fifty years. It shows how “the science, art, and craft of making things” has been the foundation of the firm, and how the “collaborative nature of the design team pioneered by Norman Foster” has been translated into their architectural practice.
The exhibition looks at the industrial design team’s contributions to their architectural projects, including seating at the Cathay Pacific Lounge at the Hong Kong Airport, and furniture designed for the Maggie’s Cancer Center in Manchester.
The exhibition contains a variety of projects including designs for chairs, tables, shelving units, and even wind turbines, to name a few. Through these objects, viewers are able to understand how the practice believes in the seamless transition between structure and form at a range of scales.
“I have always had a very close relationship with the making of things – I find it impossible to separate the process of design from the process of making,” Norman Foster, Chairman and Founder of Foster + Partners, said in a press release. “The diversity of the practice’s work is a logical outcome of the way we have evolved through our core activity of designing buildings. For me, the constant theme that flows through our work is the fusion of the humanistic and poetic dimensions of an object, and the technical precision of industry – more succinctly craft and manufacture.”
The exhibition will run until July 2.
Learn more, here.
As part of ArchDaily’s coverage of the 2016 Venice Biennale, we are presenting a series of articles written by the curators of the exhibitions and installations on show.
Spain is one of the countries where the practice of architecture has been most affected by the economic crisis. There are few places on earth where such large numbers of buildings were built in such a short period of time. The lack of reflection over whether these projects were necessary or valid resulted in the subsequent abandonment of many buildings when their completion or maintenance was discovered not to be economically viable. Their appearance throughout Spanish territories has generated a collection of unfinished buildings where the factor of time was eliminated from the formula for making architecture.
Using photography as a filter to portray this reality, the Pavilion’s central space represents the optimistic view of those who have fought back against this recent past, understanding these inherited constructions as an opportunity.
The “Unfinished” exhibition, presented in the Spanish pavilion at the Biennale, seeks to direct attention to processes more than results in an attempt to discover design strategies generated by an optimistic view of the constructed environment.
The exhibition gathers examples of architecture produced during the past few years, born out of renunciation and economy of mens, designed to evolve and adapt to future necessities and trusting in the beauty conferred by the passage of time. These projects have understood the lessons of the recent past and consider architecture to be something unfinished, in a constant state of evolution and truly in the service of humanity. The current moment of uncertainty in our profession makes its consideration here especially relevant.
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Sig Nordal 