Seamless: the digital in design.
Museum of Architecture and Design,
Ljubljana, Slovenia.
19th September – 3rd November 2013.

Brezšivno: digitalno v oblikovanju.
Muzej za arhitekturo in oblikovanje,
Ljubljana, Slovenija.
19. september – 3. november 2013.

Participants/ Sodelujoči.
Louise Adkins
Kirsteen Aubrey
Mark Beecroft
Keith Brown
Fabrizio Cocchiarella (+ Emma Hayward)
David Crow
Vanessa Cuthbert
Joe Duffy
Michael Eden
Jon Hannan (+ Robert George)
Steve Hawley
Toby Heys (+ Robert Saucier & Oliver Blank)
Saoirse Higgins
Jonathan Hitchen
Nigel Hurlstone
Hilary Judd
Alice Kettle (+ Huw Wahl)
Amanda Langdown
Jane McKeating
Joe McCullagh
Monomatic (+ Nick Rothwell)
Sally Morfill
CJ O’Neill
Alex Russell
Ulysses Sengupta
Annie Shaw

Dean, Manchester School of Art, Pro-Vice Chancellor Art & Design.
Professor Crow’s research is focussed on semiotics and the relationship between written and visual language. He has exhibited in the Europe, USA, Korea and Israel.
His first book, Visible Signs, published in 2003 by AVA, is an introduction to semiotics, which was very well received by both students and teachers of Design. This was updated with a second edition in 2010. David has also published Left to Right, an exploration of the shift from Text to Image in Visual Culture. His work can also be found in publications about graphic design that illustrate his interest and expertise in typography and visual language systems. His work is featured in recent publications: The Typographic Experiment by Teal Triggs and No More Rules - Graphic Design and Postmodernism by Rick Poynor. David has also written for design publications such as Eye magazine and Creative Review.

Old King Cole.
The title refers to Sir Henry Cole who in the mid 1800’s was Secretary of the Department of Science and Art and Director of the South Kensington Museum, now the Victoria & Albert Museum. He held both posts in duality for a quarter of a century. He was reportedly a very difficult individual who was often described as a monster by many of his contemporaries.
‘Old King Cole’ as he became known, played a leading role in the Great Exhibition of 1851, a triumphant celebration of contemporary craft and manufacturing. Amongst its thousands of exhibits were many wallpapers, the products of Continental Europe and the United States as well as the UK. These papers became a focus for criticism by designers and educators who were increasingly depressed by the decline of design standards in the industry and the popularity of these debased products. Richard Redgrave Inspector-General for Art (later Principal of the Government’s Schools of Design) wrote an official report on the wallpapers shown at the Exhibition. This in turn led to a the establishing of a gallery nicknamed ‘the chamber of horrors’ at South Kensington Museum where the British public were to be educated in matters of taste.
This work is quite literally seamless as a repeat pattern. However it also suggests that the tensions between craft, design and manufacture evident in the industrial revolution are being replayed in the 21st century in the digital age.




David Crow

Dekan šole Manchester School of Art, prorektor Art & Design.
Raziskava profesorja Crowa se osredotoča na vprašanja semiotike ter odnosa med pisnim in vizualnim jezikom. Doslej je avtor razstavljal v Evropi, ZDA, Koreji in Izraelu. Njegova prva knjiga Visible Signs, ki je uvod v semiotiko, je bila objavljena leta 2003 pri založbi AVA. Delo so dobro sprejeli tako učitelji kot tudi študentje oblikovanja. Leta 2010 ji je sledila druga, posodobljena izdaja. David Crow je izdal tudi knjigo Left to Right, an exploration of the shift from Text to Image in Visual Culture. Njegova dela so citirana v publikacijah o grafičnem oblikovanju, kar odraža njegovo poznavanje tipografije in vizualnih jezikovnih sistemov. Omenimo le nedavne omembe v knjigah The Typographic Experiment Teala Triggsa in v No More Rules − Graphic Design and Postmodernism Ricka Poynorja. Crow objavlja tudi v oblikovalskih revijah, kot sta Eye in Creative Review.

TStari kralj Cole.
Naslov se nanaša na sira Henryja Cola, ki je bil sredi 19. stoletja sekretar na ministrstvu za znanost in umetnost ter direktor Muzeja Južnega Kensingtona (sedanji Victoria & Albert Museum). Cole je zasedal ti dve mesti kar četrt stoletja. Po mnenju njegovih sodobnikov je bil zelo težavna oseba in pogosto so ga opisovali kot pravo pošast.
Stari kralj Cole (Old King Cole), kot so ga poimenovali, je imel vodilno vlogo ob svetovni razstavi leta 1851, ki je bila zmagoslavje sodobne obrti in industrijske proizvodnje. Med tisoči eksponatov je bilo veliko stenskih tapet, ki so bile izdelane v kontinentalni Evropi, v ZDA in tudi v Veliki Britaniji. Te tapete pa so postale osrednja tema kritik oblikovalcev in učiteljev, ki so čutili malodušje zaradi upada oblikovalskih standardov v industriji in priljubljenosti teh cenenih izdelkov. Richard Redgrave, glavni inšpektor za umetnost (kasneje ravnatelj vladnih šol za oblikovanje), je o tapetah na svetovni razstavi napisal uradno poročilo. Posledično je bila v okviru Muzeja Južnega Kensingtona ustanovljena galerija z vzdevkom »Soba groze«, ki naj bi izobraževala okus britanske javnosti.
Kot ponovitev tega vzorca je to delo dobesedno brezšivno. Hkrati pa namiguje, da se napetosti med obrtjo, oblikovanjem in izdelavo, značilne za industrijsko revolucijo, ponavljajo tudi v digitalni dobi 21. stoletja.

d.crow@mmu.ac.uk
artdes.mmu.ac.uk