Object of Fashion

PRESENTATION
By Demie Tuzara
Fear and Love: Reactions to a Complex World presents
eleven new installations by some of the most
innovative and thought-provoking designers and
architects working today.

#FearandLove

These newly commissioned works explore a spectrum

of issues that define our time, including: networked
sexuality, sentient robots, slow fashion and settled
nomads.

The exhibition asserts that design is deeply connected

not just to commerce and culture but to urgent
underlying issues issues that inspire fear and love. This
is a bold, multidisciplinary and global exhibition that
aims to capture the mood of the present and establish
the Design Museum as the home of design debate.

https://designmuseum.org/exhibitions/fear-and-love
The Curator: Justin McGuirk

Chief curator at the Design Museum.

Co-head of Curating & Writing at Design
Academy Eindhoven.
Author of Radical Cities.

justinmcguirk.com
The Location: The Design Museum
Opened on 26th November 2016.
Exhibited in The Design Museum.
Located in High Street Kensington, London.
The Space: Sam Jacob Studios
The subject of Fear and Love was always more
of a mood than a statement.
Sam Jacob Studios exhibition design was
central to setting the mood of Fear and Love: it
creates a dream-like space that, in the most
elegant way, heightens the sense of uncertainty
that the exhibition explores.
The Pan-European Living Room
OMA/AMO presents The Pan-European
Living Room
In response to the recent Brexit vote, OMA, the architecture
practice founded by Rem Koolhaas, presents The Pan
European Living Room. Furnished with a piece of design from
each of the 28 EU member states, the installation proposes
that our very notion of the domestic interior has been shaped
an ideal of European cooperation and trade.
The centrepiece of the room is a vertical blind in the form of
the OMA-designed barcode flag for the EU.

(https://designmuseum.org/exhibitions/fear-and-love#oma-amo-presents-the-pan-european-living-room)
 Founded in 1975.
International practice operating
within the traditional boundaries
of architecture and urbanism.
AMO a research and design
studio, applies architectural
thinking to domains beyond.
Led by NINE partners Rem
Koolhaas, Ellen van Loon, Reinier
de Graaf, Shohei Shigematsu,
Iyad Alsaka, David Gianotten,
Chris van Duijn, Ippolito Pestellini
Laparelli, Jason Long
Maintains offices in Rotterdamn,
New York, Beijing, Hong Kong,
Doha, Dubai and Perth.
LEAVE OR REMAIN:
Reactions to a Brexit Nation
Brexit was the result of Great Britain withdrawing itself from European
Union following the outcome of a referendum held on June last year.
REVIEW: Design in Anxious Times
The radical gesture in McGuirks brief, however, is the
privileging of emotion. Design is governed by
emotions, so the designers preoccupations and
anxieties will ultimately affect what gets made.

But between optimism (love trumping fear) and

retreat (fear trumping love) there is a third way, which
seems to embrace fear and love in equal measure.
Projects in the exhibition that take this tack are
perhaps the most beguiling, showing humanitys most
curious virtuethe ability to experience two opposing
emotions simultaneously. They also highlight our
tenuous relationship with design as a potential force
for both good and evil.

http://www.metropolismag.com/December-2016/Design-in-Anxious-
Times/
 Austria (Chair No. 14 by Michael Thonet, 1859, Manufactured by Thonet);
Belgium (Surface sideboard by Vincent van Duysen, 2015, Manufactured by B&B
Italia);
Bulgaria (Petolachka logo poster by Stefan Kanchev, c.1960, Courtesy of Magdalina
Stancheva / Poststudio);
Croatia (Traditional cut glass bow, Manufactured by Kristal Samobor);
Cyprus (Happy Together pendant lamp Designed and manufactured by Michael
Anastassiades, 2015);
Czech Republic (Club and Viola glassware sets, Courtesy of Nathan Leveridge /
Glassware Bohemia);
Denmark (GE290 sofa by Hans Wegner, 1953, Manufactured by Getama)
Estonia (Traditional cushion with muhu pattern (yellow), Manufactured by Etnoland);
Finland (Tulip dining table by Eero Saarinen, 1957, Manufactured by Knoll);
France (Mexique coffee table by Charlotte Perriand, 1952, Manufactured by
Cassina);
Germany (Wall clock by Dieter Rams, 1981, Manufactured by Braun);
Greece (Traditional flokati rug (white), Manufactured by Rama Carpets, Courtesy of
John Lewis);
Hungary (B32 Cesca chair by Marcel Breuer, 1928, Manufactured by Thonet);
Ireland (E1027 side table by Eileen Gray, 1927, Manufactured by Aram);
Italy (Arco lamp by Achille & Pier Giacomo Castiglioni, 1962, Manufactured by Flos);
Latvia (Throw blanket with traditional auseklis pattern, Manufactured by Zazzle);
Lithuania (Traditional patterned cushion (white) Designed and manufactured by
Kristina ilinyt, 2016);
Luxembourg (Old Luxembourg dinnerware range, Manufactured by Villeroy & Boch);
Malta (Handmade glass decanter, Manufactured by Mdina Glass, Courtesy of Paul
Bishop & Christina Glover / Specialist Glass Fairs Ltd);
The Netherlands (Z table lamp by Louis Kalff, 1955, Manufactured by Philips, Courtesy
of Jan Paulusson);
Poland (366 Easy armchair by Jzef Chierowski, 1962, Manufactured by 366 Concept);
Portugal (Cabbage bowl by Raphael Bordallo Pinheiro, c.1900, Manufactured by
Bordallo Pinheiro / Vista Alegre);
Romania (Enamel coffee pot, Manufactured by ERO);
Slovakia (K5100 5 Series television, Manufactured by Samsung, Courtesy of John
Lewis); Slovenia (ETA 85 telephone by Davorin Savnik, 1979, Manufactured by Iskra);
Spain (News rug (red) by Mart Guix, 2008, Manufactured by Nanimarquina);
Sweden (Billy bookcase by Gillis Lundgren, 1979, Manufactured by Ikea);
United Kingdom (Peony Place wallpaper by Nina Campbell, 2006, Manufactured by
Osborne & Little)
The Vertical Sun Blinds
The Image of Europe
The Image of Europe is at once a
celebration of the European Union's
accomplishments and an exploration into the
EU's enormous untapped potential. It marks a
new stage in the Europe's evolution a denial
of understatement in favor of inspiration and
engagement. From now on the EU will be
bold, explicit, popular...
The EU Barcode (as part of The Image of Europe)

An alternative symbol for the EU. A

chromatic line up of all colours of all
European countries, running from west
to east.
The EU Barcode was created as a
celebration of the European Unions
accomplishments in unifying all 28
countries in the continent of Europe.
 The colours that
represent the British
flag on The EU
Barcode Vertical
Blinds can be seen
on the floor.

We see a hint of the

tragedy behind the
blind an image of
Rotterdamn in May
1940 (in the midst of
the second World
War, that resulted in
the formation of the
European Union).
 The image behind the
blinds depicts the reality
of what would happen
(again) if the binds (EU
representation) are
drawn back a sense of
foreshadowing of the
future by using the past.

We are exposed the

harsh reality of the
consequences of
drawing back the blinds
a metaphor to the
literal act of Great Britain
withdrawing itself from
the EU.
 The Rotterdam Blitz
was the aerial
bombardment of
Rotterdam which is a
city in The
Netherlands by the
German air force on
14th May 1940 during
the German invasion
of the Netherlands in
World War II.

The destruction of
many cities.

The result of the

formation of the
European Union.
Fear is the name given to our
uncertainty: to our ignorance
of the threat and of what is to
be done. - Zygmunt Bauman
#FearandLove
References
https://designmuseum.org/exhibitions/fear-and-love
https://designmuseum.org/exhibitions/fear-and-love#oma-amo-presents-the-
pan-european-living-room
http://oma.eu/projects/the-pan-european-living-room
http://oma.eu/projects/the-image-of-europe
http://www.samjacob.com/index.php/project/fear--love--design-museum/
http://www.metropolismag.com/December-2016/Design-in-Anxious-Times/
http://justinmcguirk.com/
http://twitter.com/justinmcguirk
https://www.designacademy.nl/Study/Master/General/DesignCuratingandWritin
g.aspx
https://en.wikipedia.org/wiki/Rotterdam_Blitz