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    PIN-UP Interviews
    PIN-UP Interviews
    PIN-UP Interviews
    Ebook802 pages9 hours

    PIN-UP Interviews

    By Dylan Fracareta

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    About this ebook

    The PIN-UP Interviewsis a compilation of over 50 of the most fascinating interviews fromPIN-UPmagazine since its first issue was published in October 2006. Serious, yet accessible, featuring the elegant and modern aestheticPIN-UP's readers have come to expect, there is no comparable source available for such a stunning array of contemporary design talent collected in one place. It is indispensable to all lovers of today's brightest architectural and design ideas.

    The PIN-UP Interviewsis the first book produced byPIN-UP, the award-winning, New York-based, biannual architecture and design magazine. Cheekily dubbing itself the "Magazine for Architectural Entertainment,"PIN-UPfeatures interviews with architects, designers, and artists, and presents their work informally-as a fun assembly of ideas, stories, and conversations, all paired with cutting-edge photography and artwork. Both raw and glossy, this "cult design zine" (The New York Times) is a nimble mix of genres and themes, finding inspiration in the high and the low by casting a refreshingly playful eye on rare architectural gems, amazing interiors, smart design, and that fascinating area where those spheres connect with contemporary art.

    Included inThe PIN-UP Interviewsare the architects David Adjaye, Shigeru Ban, Ricardo Bofill, David Chipperfield, Zaha Hadid, Junya Ishigami, Rem Koolhaas, Peter Marino, Richard Meier, and Ettore Sottsass; artists Daniel Arsham, Cyprien Gaillard, Simon Fujiwara, Oscar Tuazon, Francesco Vezzoli, Boris Rebetez, Retna, Robert Wilson, and Andro Wekua; and designers Rafael de Cárdenas, Martino Gamper, Rick Owens, Hedi Slimane, Bethan Laura Wood, and Clemence Seilles.
    LanguageEnglish
    PublisherpowerHouse Books
    Release dateSep 17, 2013
    ISBN9781576876565
    PIN-UP Interviews
    Author

    Dylan Fracareta

    Dylan Fracareta runs an independent design practice focusing on design for art, architecture, fashion, and cultural sectors. He studied graphic design at the Hogeschool voor de Kunsten, Utrecht, The Netherlands and holds an MFA from Yale University. He currently is an adjunct professor for graphic design at the Rhode Island School of Design. Since 2006 Dylan has been the design director of PIN–UP, for which in 2010 he received a D&AD Yellow Pencil Award nomination, and in 2011 was awarded with the Gold Medal for Editorial Design by the Art Director's Club.

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      Book preview

      PIN-UP Interviews - Dylan Fracareta

      LONDON

      DAVID

      ADJAYE

      Interview by Nicholas Boston

      David Adjaye describes what he does as helping to birth an architectural network. So it was no surprise that on the day we spoke, in an airy conference room at the 42-year-old architect’s North London headquarters, the water broke.

      An excitable and demonstrative talker, Adjaye’s depth perception suddenly took a trip and with the sweep of one hand he toppled his water glass, shattering it. No one was more alarmed than Adjaye himself. Sorry, sorry, sorry! he said, with a look of astonishment as if he didn’t know his own strength. He quickly returned to discussing the thing that had excited him in the first place: AMA, which stands for African Metropolitan Architecture. Ten years in the making, it is Adjaye’s fourth book. At 700-plus pages, AMA is an architectural planner’s archive, visually articulating the urban design and layout of all 53 capital cities on the African continent.

      I’m an Akan boy, Adjaye said, referring to the ethnolinguistic group in Ghana to which he belongs. (Adjaye was born to Ghanaian parents in Dar Es Salaam, Tanzania, but raised from a very early age in London.) "In Ashanti culture there are male and female names for the first day of the week, Kofi and Ama. Ama is the feminine figure, and all things creative. So, I love this book being called AMA. I got a little girl!"

      MIAMI

      DANIEL

      ARSHAM

      Interview by Felix Burrichter

      Daniel and I meet in his studio in Miami’s Design District, about 20 minutes’ drive from Miami Beach, just north of the city’s downtown. It’s a small part of Wynwood, an area mostly known as a lower-middle-class neighborhood where an increasing number of artists are choosing to live. The Design District constitutes approximately four blocks of expensive Italian design stores, galleries, and trendy boutiques — It’s the Rodeo Drive of design, with a strange flavor of East Village bohemia drenched in the ever-so-tropical Miami sun. Daniel’s studio — which he and a group of friends converted from a former restaurant — is in the back alley of a small building lot, right next to a run-down, one-story, pink building with a purple glass-cube wall. Daniel greets me on the street, and inside I have to adjust my eyes from the glistening sun to this long, dark space, subdivided into several working areas for different artists. We walk through an arc of tinted mirrors that is a remnant of the restaurant; there is no daylight, and few furnishings, except for a table, a bookshelf, and a cuckoo clock. Daniel offers me a big, comfortable, brown-leather chair to sit in while he reclines on a barstool.

      NEW YORK

      SHIGERU

      BAN

      Interview by Kevin Greenberg

      Vaulted to fame early in his career for his innovative structural use of cardboard and paper, Shigeru Ban is now equally well known for temporary humanitarian-aid housing, as well as for his geeky fascination with moving parts and mechanical elements. At the same time, luxury developers find their appetites increasingly whetted by the low-slung elegance he brings to residential commissions.

      Born in Japan and trained in the U.S., Ban shuttles between offices in New York, Paris, and Tokyo — just as his architecture continually shifts between the temporary and the permanent, the moving and the fixed, the primitive and the polished, as if always trying to escape easy summary or categorization. The same can be said of the man himself: he walks quickly, with a nervous gait, his face a mask, his dark eyes glittering sharply behind a composed, sometimes quizzical expression, often obscured by his trademark mustache. He grows still in conversation and his words become quiet, measured, and precise — rather like the old-fashioned dining room at the Kitano, an elegant Japanese-style hotel on Manhattan’s Park Avenue, where PIN–UP met him.

      NEW YORK

      BARRY

      BERGDOLL

      Interview by Linda Yablonsky

      Since becoming the Philip Johnson Chief Curator of Architecture and Design at MoMA in 2007, Barry Bergdoll has produced several notable architecture shows, including the touring Mies in Berlin (2001, with Terry Riley, whom he succeeded at MoMA), Home Delivery: Fabricating the Modern Dwelling (2008), Bauhaus 1919–1933: Workshops for Modernity (2009), and Rising Currents: Projects for New York’s Waterfront (2010). He is currently planning a big show on Latin American architecture for 2013. Specialized in 19th-century French architecture, Bergdoll formerly chaired the art-history department at Columbia University, where he became known for his expertise in the work of Karl Friedrich Schinkel and Marcel Breuer. When we met in the white cube of his office, 55-year-old Bergdoll was dressed in a relaxed gray suit and striped shirt. Two photographs of Mies van der Rohe buildings (Haus Esters and Haus Perls), borrowed from the department’s archives, were hanging on one wall, while another was devoted to books — as is Bergdoll, who has been a book collector since his childhood in the dairy land outside Philadelphia, the city that first inspired his passion for architecture. In fact, if he had not fallen in love with cities, Bergdoll may well have become a librarian.

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