Blog Textual

Portable Classic. Ancient Greece to Modern Europe (Venice, May 9–September 13) is an exhibition curated by Salvatore Settis and designed by OMA for Fondazione Prada. Taking place in Ca’ Corner della Regina, the show investigates the reception of classical sculpture from the illuminating perspective of reduced-size copies of masterpieces.

Already popular during antiquity, these “miniaturized” copies are symptomatic of a refined, sophisticated taste, and in the Renaissance they were coveted, collected and imitated, as ancient styles were updated according to contemporary tastes.

In setting up this exhibition OMA has, room by room, adhered to the size and atmosphere of a Renaissance studiolo: not in the sense of a piece of furniture (like the studiolo commissioned by Nicolò Orsini), but in the sense of a study where it was customary to collect precious objects, from manuscripts to small antiquities. Contemporary materials (polycarbonate walls, acrylic vitrines) act as a filter between the sumptuous domestic spaces of Ca’ Corner della Regina and the exhibition objects, diffusing light and heightening the qualities of the artworks on display.

The mission statement of the CLUI is to "increase and diffuse knowledge about how the nation's lands are apportioned, utilized, and perceived."[3]

Programs and projects
The CLUI also executes exhibitions, research projects, and public programs. The Center's programs and projects cover many types of land uses in the US, including those related to agriculture, energy, industry, mining, communication, waste management, water resources, transportation, commerce, housing, recreation, and defense and preparedness.[4]

The organization produces exhibitions about land use phenomenology in the US, and displays them at its exhibit locations and at other museum and non-commercial and educational venues. The CLUI produces publications, online resources, tours, lectures, and other public programs across the country. Activities of the Center are summarized and discussed in its annual newsletter, The Lay of the Land, in print and online.[5]

The CLUI's main office is in Los Angeles where it operates a display space open to the public.[6] It also operates other facilities and interpretive sites throughout the US, including in Wendover, Utah, at a former military facility, where the CLUI operated an artist residency program from 1996-2016; and the Desert Research Station in Hinkley, California.[7][8][9][10]

CLUI is also the lead agency for the establishment of the American Land Museum, a network of exhibition sites in various interpretive zones across the country, which together form a dynamic portrait of the national landscape.[11] According to Coolidge, the "man made landscape is a cultural inscription that can help us better understand who we are and what we are doing."[12]
The CLUI organizes public field trips to sites of interesting and unusual land use. This has been documented in the book, Overlook: Exploring the Internal Fringes of America with the Center for Land Use Interpretation.[13][14]

Troublemakers unearths the history of land art in the tumultuous late 1960s and early 1970s. The film features a cadre of renegade New York artists that sought to transcend the limitations of painting and sculpture by producing earthworks on a monumental scale in the desolate desert spaces of the American southwest. Today these works remain impressive not only for the sheer audacity of their makers but also for their out-sized ambitions to break free from traditional norms. The film casts these artists in a heroic light, which is exactly how they saw themselves. Iconoclasts who changed the landscape of art forever, these revolutionary, antagonistic creatives risked their careers on radical artistic change and experimentation, and took on the establishment to produce art on their own terms. The film includes rare footage and interviews which unveil the enigmatic lives and careers of storied artists Robert Smithson (Spiral Jetty), Walter De Maria (The Lightning Field) and Michael Heizer (Double Negative); a headstrong troika that established the genre. As the film makes clear, in making works that can never be possessed as an object in a gallery, these troublemakers stand in marked contrast to the hyper-speculative contemporary art world of today.

Troublemakers points out that land art was rife with contradiction and conflict, a site where architecture, landscape, sculpture, technology, archaeology and photography would all converge. Against the backdrop of the Vietnam War, Cold War anxieties and other political uncertainties of the nuclear age, land artists often subscribed to a dystopian view of the future that questioned the military-industrial complex, consumerism and the banalities of modern life and culture.

The period was also marked by the release of the first image of the entire earth. Produced by NASA, such images turned the conceptual space of earth into a two-dimensional sphere; an object on which to conceivably draw, design and create. The most compelling land art sites offered viewers a means to imagine and negotiate the scale of the human body with the enormity of our planet. Land artists were exploring a larger canvas to work on while simultaneously seeking to create works that induced awe in the viewer, thus producing a new kind of pilgrimage and a new kind of visceral viewing experience. The film shows how nature performs in these works and alters them over time, sometimes radically reclaiming them, creating an ongoing competitive dialogue between artist and the natural world.

Using original footage produced with helicopters and rare re-mastered vintage footage from the period, Crump’s cinematic journey takes viewers on a thrill ride through the most significant land art sites in California, Nevada, New Mexico and Utah, an immersive and physically transportive experience that movie goers will not forget

Titled succinctly with the capital letter “K,” this exhibition is to be understood as a story, not unlike a parable, about the “darkest concerns of human life,” as Walter Benjamin once described the theme of Franz Kafka’s literary oeuvre. That oeuvre is dominated by fragments of Kafka’s three great unfinished novels—Der Verschollene or Amerika, Der Prozess, Das Schloss—which alone are worth more than entire libraries of finished novels. These three texts are perpetuated and interpreted in Martin Kippenberger’s large-scale work The Happy End of Franz Kafka’s “Amerika,” in Orson Welles’ film adaptation of The Trial, and in Tangerine Dream’s album inspired by The Castle. Altogether, the three novels by Kafka form the “trilogy of loneliness,” according to his executor Max Brod. Seen in this light, we may also view “K” as a triptych, an exhibition that resembles a tripartite or a triple-layered picture. Its structure is therefore similar to that of a traditional altarpiece, with Amerika occupying the large central panel and The Trial and The Castle the side panels. The three parts can be read together as a remarkable allegory of the vicissitudes of life, or, in the writer’s words: “all these parables really set out to say merely that the incomprehensible is incomprehensible, and we know that already.” Presented entirely separately from one another in the exhibition, both in space and time, the three parts are each accorded their own assigned, atmospherically predestined place. The artistic sculptural installation is set in a glass-walled, floodlit arena-like performance space, the cinematic epic in a theater completely sheltered from daylight, and the symphonic compositions in a walled, fortress-like sound space. Visitors are invited to embark on what amounts to an excursion into the realms of art, film, and music—straight into the heart of vibrant life with all its ups and downs! But please do not rush things. Do not jump to conclusions. First try to see and hear as much as possible.

The Whole Earth Catalog was a cultural touchstone of the 1960s and 1970s. The iconic cover image of the Earth viewed from space made it one of the most recognizable books on bookstore shelves. Between 1968 and 1971, almost two million copies of its various editions were sold, and not just to commune-dwellers and hippies. Millions of mainstream readers turned to the Whole Earth Catalog for practical advice and intellectual stimulation, finding everything from a review of Buckminster Fuller to recommendations for juicers. This book offers selections from eighty texts from the nearly 1,000 items of suggested reading in the Last Whole Earth Catalog.

Il nome di Carlo Scarpa (1906-1978) è intrinsecamente legato alla storia dell'arte, al gusto e alla museografia del XX secolo, tanto che negli anni settanta lo storico dell'arte francese André Chastel scriveva: "Molti di coloro che viaggiano in Italia lo conoscono senza saperlo: è il più grande allestitore di mostre d'arte lì e forse in tutta Europa". Ancora oggi occupa un posto d'onore nel pantheon di quanti - nonostante le forti resistenze e il provincialismo diffusi all'epoca - hanno rivoluzionato i musei nel dopoguerra trasformandoli in avamposti dell'avanguardia. Dopo il successo clamoroso dell'impianto concepito per ospitare l'opera di Paul Klee alla Biennale del 1948 se ne succedono molti altri, in rapida sequenza. Le mostre monografiche di Piet Mondrian e di Marcel Duchamp, le collaborazioni con Lucio Fontana e Arturo Martini e gli interventi su numerosi monumenti storici tracciano il percorso di un architetto originale che ha saputo svecchiare il modo di esporre imponendo un modello che, con libertà quasi insolente e incomparabile poesia, si affranca dalla magniloquenza dei luoghi preesistenti favorendo uno stile spoglio e leggero. La sua carriera abbonda di leggendarie soluzioni trovate "in situ", sempre nell'urgenza e nonostante una grande parsimonia di mezzi, in simbiosi con la maestria degli artigiani che lo circondano.

Era il 1957 quando questa “piccola architettura da tasca”, scritta e plasmata da Gio Ponti in ogni suo dettaglio iconografico e tipografico, venne pubblicata da Vitali e Ghianda. La casa editrice genovese aveva chiesto all’allora sessantacinquenne architetto di ripensare L’architettura è un cristallo, uscito nel 1945. Erano i primi anni del boom economico, si sentiva l’urgenza di portare avanti un’opera di rinnovamento e nel suo campo Ponti era l’uomo giusto per farlo. Profondamente animato da uno spirito moderno incarnato nell’estetica della leggerezza, il maestro era anche un grande comunicatore, dote indispensabile per diffondere l’entusiasmo per il nuovo e contagiare un pubblico vasto. Il prezzo di Amate l’architettura fu tenuto basso e la tiratura si spinse a 3.000 copie, tante per un libro sull’argomento. Il volume fu un successo, tradotto in inglese e giapponese, ma venne penalizzato in seguito dai circuiti della distribuzione, che gli impedirono per decenni di arrivare a una seconda edizione. Anche la ristampa del 2004 a opera di CUSL (Cooperativa Universitaria Studi e Lavoro) non ha saputo restituirgli la giusta visibilità. Tutti elementi che rendono ancora più interessante l’operazione fatta da Rizzoli con questa nuova versione, rispettosa dell’originale e arricchita da un’appendice che ne documenta la gestazione editoriale (lettere, schizzi e disegni d’archivio). A distanza di quasi sessant’anni si può finalmente riassaporare questa sintesi del pensiero pontiano, costellata di aforismi e narrazioni brevi, organizzata in capitoli dai titoli accattivanti anche per un pubblico di non addetti ai lavori. Il libro “è una collezione di idee”, ed “è stato fatto come si dipinge: a riprese, a ritocchi, a particolari”, scrive l’autore nella prefazione. Amate l’architettura è un’autobiografia sviluppata attorno a concetti come il tempo, il colore, l’arte, l’estetica e i materiali, ma anche un diario illustrato impreziosito da carte di diverso colore e grammatura che lo rendono ancora più piacevole al tatto. Del resto, Ponti era un uomo dai mille talenti e non sorprende che il volume in questione sia anche uno splendido oggetto di design.

In her new book of essays, Trick Mirror: Reflections on Self-Delusion, Tolentino writes about how social media shapes identity, public discourse and political engagement, particularly for millennials such as herself. "The Internet has obviously been an incredible ground for social movements being organized," she says. "You saw the Parkland kids did it, Black Lives Matter, #MeToo ..."

But she warns that expressing opinions online can feel misleadingly meaningful. "It's always a starting place, it can never be an ending place," she says.

The Medium is the Massage is a unique study of human communication in the twentieth century, published in Penguin Modern Classics Marshall McLuhan is the man who predicted the all-pervasive rise of modern mass media. Blending text, image and photography, his 1960 classic The Medium is the Massage illustrates how the growth of technology utterly reshapes society, personal lives and sensory perceptions, so that we are effectively transformed by the means we use to communicate. His theories, many of which are illustrated in this astonishing inventory of effects , force us to question how modes of communication have shaped society. This concept, and his ideas such as rolling, up-to-the-minute news broadcasts and the media Global Village have proved decades ahead of their time. How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever. Marshall McLuhan (1911-1980) was a Canadian educator, philosopher and scholar - a professor of English Literature, a literary critic and a communications theorist. McLuhan s work is viewed as one of the cornerstones of the study of media theory.

With this book Paul Virilio inaugurated the new science whose object of study is the "dromocratic" revolution. First to use the concept of speed as a definining concept for contemporary civilization, Virilio unveils his theories of dromodology here for the first time.

Guy Debord’s (1931–1994) best-known work, The Society of the Spectacle (1967), is a polemical and prescient indictment of our image-saturated consumer culture. The book examines the “Spectacle,” Debord’s term for the everyday manifestation of capitalist-driven phenomena; advertising, television, film, and celebrity.

Avalanche was a New York–based art magazine founded and edited by Willoughby Sharp and Liza Béar from 1970 to 1976. The magazine was unique in its emphasis on the perspective of the artist rather than critics, focusing particularly on conceptual art and new forms then emerging in the United States and Europe. The magazine was notable for its rich photographic documentation of work known for its ephemeral nature.

As long as you’re going to make a sculpture, why not make one that competes with a 747, or the Empire State Building, or the Golden Gate Bridge?
—Michael Heizer

Gordon Matta-Clark (1943-1978) is one of the most influential artists of the 1970s, whose work has continued to be a noted influence of both architects and visual artists since. Along with his major building cuts from 1973 to 1978, in which laboriously cut holes into floors of abandoned or disused buildings, including A W-Hole House, Conical Intersect, Day’s End, and Splitting (1974), Matta-Clark extensively explored his interest in metabolic and cooking processes, including his restaurant Food (1971

Critical Path is a book written by US author and inventor R. Buckminster Fuller with the assistance of Kiyoshi Kuromiya. First published in 1981, it is alongside Operating Manual for Spaceship Earth one of Fuller's best-known works. Vast in its scope, it describes Fuller's own vision of the development of human civilization, economic history, and his highly original economic ideology based, amongst other things, on his detailed description of why scarcity of resources need no longer be a decisive factor in global politics.

Robert W. Irwin (born September 12, 1928) is an American installation artist who has explored perception and the conditional in art, often through site-specific, architectural interventions that alter the physical, sensory and temporal experience of space. He began his career as a painter in the 1950s, but in the 1960s shifted to installation work, becoming a pioneer whose work helped to define the aesthetics and conceptual issues of the West Coast Light and Space movement. His early works often employed light and veils of scrim to transform gallery and museum spaces, but since 1975, he has also incorporated landscape projects into his practice. Irwin has conceived over fifty-five site-specific projects, at institutions including the Getty Center (1992–98), Dia:Beacon (1999–2003), and the Chinati Foundation in Marfa, Texas (2001–16). The Museum of Contemporary Art, Los Angeles mounted the first retrospective of his work in 1993; in 2008, the Museum of Contemporary Art San Diego presented another, spanning fifty years in his career. Irwin received a Guggenheim Fellowship in 1976, a MacArthur Fellowship in March, 1984, and was elected as a member of the American Academy of Arts and Letters in 2007. He lives and works in San Diego, California.

Ecotopia: The Notebooks and Reports of William Weston is a utopian novel by Ernest Callenbach, published in 1975. The society described in the book is one of the first ecological utopias and was influential on the counterculture and the green movement in the 1970s and thereafter. The author himself claimed that the society he depicted in the book is not a true utopia (in the sense of a perfect society), but, while guided by societal intentions and values, was imperfect and in-process.

Debunking the myth of a laggard State at odds with a dynamic private sector, this book reveals in case study after case study that in fact the opposite situation is true, with the private sector only finding the courage to invest after the entrepreneurial State has made the high-risk investments. Case studies include examples of the State, role in the 'green revolution', in biotech and pharmaceuticals, as well as several detailed examples from Silicon Valley. In an intensely researched chapter, she reveals that every technology that makes the iPhone so "smart" was government funded: the Internet, GPS, its touch-screen display and the voice-activated Siri. The author also controversially argues that in the history of modern capitalism the State has not only fixed market failures, but has also shaped and created markets, paving the way for new technologies and sectors that the private sector only ventures into once the initial risk has been assumed. And yet by not admitting the State's role we are socializing only the risks, while privatizing the rewards in fewer hands. This, she argues, hurts both future innovation and equity in modern-day capitalism. Named one of the '2013 Books of the Year' by the 'Financial Times' and recommended by 'Forbes' in its 2013 'creative leaders' list, this book is a must-read for those interested in a refreshing and long-awaited take on the public vs. private sector debate.

The planetary trajectory of increased urbanization in the third millennium is transforming the ways in which the we inhabit our territory, our buildings and our homes:

The abandonment of small towns, ‘the countryside’, and rural areas by young people, families and immigrants looking for a ‘better life’ and improved  living conditions in large urban environments has been an overriding social trends of our era.

This trend has redefined our perceptions of space, our relationship to society and to nature and our delicate sense of individual balance, general well-being and our sense of intimacy.

An inappropriate use of natural resources in building, infrastructure and production of personal ‘tools and artifacts’ is depleting our environment of it’s  inherent cyclical nurturing qualities, and is instead filing our environment with short sighted solutions.

The game changing and vital text on what makes a city work, focusing on the street and public space, is a must read.

A direct and fundamentally optimistic indictment of the short-sightedness and intellectual arrogance that has characterized much of urban planning in this century, The Death and Life of Great American Cities has, since its first publication in 1961, become the standard against which all endeavors in that field are measured. In prose of outstanding immediacy, Jane Jacobs writes about what makes streets safe or unsafe; about what constitutes a neighborhood, and what function it serves within the larger organism of the city; about why some neighborhoods remain impoverished while others regenerate themselves. She writes about the salutary role of funeral parlors and tenement windows, the dangers of too much development money and too little diversity. Compassionate, bracingly indignant, and always keenly detailed, Jane Jacobs's monumental work provides an essential framework for assessing the vitality of all cities. 

Italy, The New Domestic Landscape  is the show that changed the world of Design, and this is the book that brought that change to the world. Italy, The New Domestic Landscape is an overview of the radical changes that shaped our world.

Since the mid-1970s, Laib (German, b. 1950) has been producing sculptures and installations marked by a serene presence and a reductive beauty. These works are often made from one or a combination of two materials accumulated from natural elements, which have been selected for their purity and symbolic meanings—such as milk, marble, pollen, rice, and beeswax. Forging a singular path for more than 30 years, Laib amplifies the intrinsic materiality, colors, and processes of nature. Laib states that “pollen is the potential beginning of the life of the plant. It is as simple, as beautiful and as complex as this. And of course it has so many meanings. I think everybody who lives knows that pollen is important.”

In this book, Bauman examines how we have moved away from a 'heavy' and 'solid', hardware-focused modernity to a 'light' and 'liquid', software-based modernity. This passage, he argues, has brought profound change to all aspects of the human condition. The new remoteness and un-reachability of global systemic structure coupled with the unstructured and under-defined, fluid state of the immediate setting of life-politics and human togetherness, call for the rethinking of the concepts and cognitive frames used to narrate human individual experience and their joint history.

A Pattern Language: Towns, Buildings, Construction is a 1977 book on architecture, urban design, and community livability. It was authored by Christopher Alexander, Sara Ishikawa and Murray Silverstein of the Center for Environmental Structure of Berkeley, California, with writing credits also to Max Jacobson, Ingrid Fiksdahl-King and Shlomo Angel. Decades after its publication, it is still one of the best-selling books on architecture.[1]

The Restoration Economy describes a huge, fast-growing new growth frontier for entrepreneurs, investors, & organizational leaders, not to mention graduates looking for the most personally fulfilling and financially rewarding career path.

POWER challenges participants to think about how infrastructure relates to life across a series of intersecting concerns, including democratic governance and climate justice.

When climate change is the focus of both fiction and nonfiction, dystopia tends to rule. A notable exception is the prize-winning work of Kim Stanley Robinson, one of the planet’s most lauded living novelists of science fiction—and one who builds sweeping visions of profoundly altered, but functioning, civilizations on (and off) a deeply disrupted planet.

Together with Designers Janine Wunder, Keiji Takeuchi, Brandon Gien, Hans Tan and other illustrious member of the international design community, Tim Power of TP/A was invited to serve as jury member of the Singapore Design Awards, 2019 hosted by the Design Business Chamber of Singapore.

An Article and Interview with Tim Power in Bravacasa Indonesia focusing on the unique approach of TP/A, in a discussion covering Design, Interiors, Architecture and Environmental and Urban issues.
This Article is part of a new series of Designer and Architect profiles, and follows articles on International figures including Barber Osgerby and Sou Fujimoto.

California Plants is an essential resource for outdoor enthusiasts. This definitive guide features more than 500 species, along with detailed descriptions, fascinating natural history stories, and handy tree and wildflower color identification charts.

Arch. Tim Power was invited as a special guest for an event organised by Compasses during Milano Design Week 2018.

The Hidden City is a project drawing from the narrative tradition of Palermo and focusing on one of the singular aspects of Manifesta 12, the contamination of cultures and languages. The Hidden City assimilates Manifesta’s main theme from this particular point of view.

This book, published for the occasion of Manifesta 12 and the collateral event 'The Hidden City', exposes the forgotten stories, events and details that shape and surround Palazzo Abatellis, designed by Carlo Scarpa in 1954.  Texts and quotes by 12 Architects and Artists, including ( Simon Starling, Kersten Geers, Tim Power ) shed light on the layers of the buildings history

Beyond the life sustaining qualities that trees and plants supply the planet via the cyclical process of photosynthesis, trees have a secret life of their own. This book shares these secrets with the readers and offers insight into their complex social relationships, means of communications  and interconnected existence.

Forget everything you think you know about global warming. It’s not about carbon – it’s about capitalism. The good news is that we can seize this crisis to transform our failed economic system and build something radically better.

Now or never, we need to be radical. We need to rise up. And we need to rebel.

In this video, recorded in his New York-studio, the iconic artist shares his life-long love of drawing and thoughts on his artistic expression, which he describes as “artificial realism.”

On 26 June 2018, Tim Power was invited to attend a conference titled "L'industria del design tra digitale e internazionalizzazione".

One decade after the death of Sol LeWitt (Hartford, 1928 – New York, 2007), Between the Lines aims to offer a new perspective on the American artist’s practice, exploring its confines—though always adhering to the underlying norms and principles of his ideas—and singling-out the most interesting moments of the method of investigation and the processes that may arise.

Books about architecture used to be rather straightforward and were not that numerous. Historical writing had few, if any illustrations and presupposed a considerable knowledge of the subject. Monographs were usually reserved for the mature or dead practitioner and would have a short text followed by a few photographs and enough drawings to understand the ‘parti’ and the construction principles of each project. These volumes were rarely more than 200 pages long and they satisfied a modernist precept of what architecture was, privileging the built artefact over any discourse about the geographical or cultural context in which it was produced.

Arch. Tim Power was invited as a special guest for an event organised by Compasses during Milano Design Week 2018.

American architect and designer, he works between California and Milan. His multidisciplinary approach has lead him to range from landscape urbanism, architecture, interior and small-scale product design up to contemporary art.

Founded in 1945, Oluce is the oldest Italian design company in the illumination sector still in operation today. The design qualities of the lamps make them icons that communicate across the generations to become an integral part of the homes they furnish.

For the launch of his new website TP/A, the American architect, based in Milan, Tim Power introduces Hole.

Ettore Sottsass (14 September 1917 – 31 December 2007) was an Italian architect and designer during the 20th century.

Walter De Maria’s six-decade career made lasting and profound contributions to contemporary art. A vanguard force within four major twentieth-century art movements—Minimalism, Land art, Conceptualism, and Installation art—De Maria drew upon both mathematical absolutes and elements of the sublime in his large-scale sculptures and installations.

In partnering with local governments to create infrastructure, Alphabet says it is only trying to help. Local governments shouldn’t believe it.

Tim Power, director of TP/A, worked with Superstudio  for 2 years on the late 1980's.
His experience with Superstudio ( 1986-1987 ) and Ettore Sottsass ( 1990-1994 ) , two undeniable figureheads of the lady century, continue to inform the work produced by TP/A.

Other than Casa Gilardi, Arch. Power had also visited La Casa Azul (The Blue House), which was the house of the famous Mexican artists Diego Rivera and Frida Kahlo.
La Casa Azul, which is transformed into the Frida Kahlo museum now, was the birthplace of Kahlo. The couple have spent 25 years (1929-1954) living in the house until Kahlo's death in 1954.

More information about La Casa Azul please visit here.

This summer, Arch. Power had the honour to visit the extraordinary Casa Gilardi designed by the prestigious Mexican architect Luis Barragán in Mexico City.
Designed and built in the 70s, Casa Gilardi was the last project that the architect has done before his death in 1988.
Famous for the usage of bold colours, the architect didn’t disappoint anyone in his very last masterpiece.
The vibrate use of shape colours, like the lemon yellow painted in the hallway, the cerulean blue walls in contrast with the bright scarlet red column in the pool area, and the bubblegum pink wall in the courtyard just infused the house with an evergreen soul.
More information about Luis Barragán please visit here.
The following is a fantastic video directed by César Pesquera for NOWNESS with an in-depth understanding of Casa Gilardi.

All Things Come To Those Who Wait
1(dated) A patient seeker will be satisfied in due time; patience is a virtue.
Usage notes
•This version of the proverb is now somewhat dated, the more common form today being good things come to those who wait(with good instead of all).
Good things come to those who wait is an English phrase extolling the virtue of patience. The related phrase “all things come to those who wait” was used by Violet Fane in 1892. It has been used as the basis for several pieces of popular culture:
•”Good things come to those who wait”, a 1984 song by the Freestylist Nayobe
•Good things come to those who wait (Guinness), a UK advertising campaign for Guinness stout in the 1990s and 2000s
•Good things come to those who wait (Heinz), a US advertising campaign for Heinz ketchup in the 1980s

For the second straight year, Tim Power is leading a course in Hotel Design during the summer session at NABNA_Domus Academy.
The course will enable participants to understand the combination of aesthetics, functional and operational aspects to design successful hotelsStudents will experience a deep analysis of the contemporary hotel typologies, the latest hotel design trends and information regarding materials, furniture, and lighting. The course offers a deep exploration of the extensive and complex field of Interior Design within the hospitality industry and the way it is changing and evolving.

Donald Clarence Judd (June 3, 1928 – February 12, 1994) was an American artist associated with minimalism (a term he nonetheless stridently disavowed). In his work, Judd sought autonomy and clarity for the constructed object and the space created by it, ultimately achieving a rigorously democratic presentation without compositional hierarchy. It created an outpouring of seemingly effervescent works that defied the term "minimalism". Nevertheless, he is generally considered the leading international exponent of "minimalism," and its most important theoretician through such seminal writings as "Specific Objects" (1964).

Tim Power has been an active blogger at the David Report since it’s inception in 2006.
David Report is an influential blog and online magazine that since 2006 explores the intersection of design, culture and business. Our readers share our interest and curiosity in everything from art, architecture, culture, design and fashion to food, innovation, music, sustainability and travel.
Our in-depth reports offer cutting-edge critical thought. The reports are trying to make a difference by challenging the conventional mindset.
You can experience our knowledge live. Check out our services.

A conversation with Jerszy Seymour, Stephen Burks and Yoichi Nakamuta

In a lecture entitled 'Halfway to Infinity', Tim Power presents the work of TP/A, passing thought the connections of scale between Design, Architecture, Landscape and Territorial projects.

In a lecture entitled 'Halfway to Infinity' Tim Power presents the work of TP/A, passing though the connections of scale between Design, Architecture, Landscape and Territorial projects.

With this sub-title, ‘Bodies in Space’, one may indeed expect the lead in picture to segue into a dissertation on ‘New Situationalism’, of a renewed interest in Body Art and Happenings, of Flash Mobs, or of any number of other contemporary movements aiming at ‘Taking Back the Streets’, with or without an evident or planned political agenda.

Design Boost envisions a holistic approach as a condition for sustainable design. To fulfil this vision the belief is in upgrading design competence and boosting competitiveness by knowledge sharing. Our four inter-related platforms: BoostEvent, BoostMedia, BoostResource and BoostConcept can be further explored in our periodical table of design knowledge.

Tim Power presented recent Tim Power Architects studio work and research in a multimedia presentation entitled ‘From the Spoon to the City … to the Landscape to Food’ at the UDesign conference on Design and Architecture in Monterrey Mexico this week.

On January 20th, 2011 Tim Power lectured to a Course of Masters students at the renowned French industrial Design School ‘ENSCI – Les Ateliers’ in Paris France.
Founded in 1982, Les Ateliers-Paris Design Institute (École Nationale Supérieure de Création Industrielle) is the only French national Institute exclusively devoted to industrial design. A public commercial and industrial establishment supervised by the Ministry of Culture and the Ministry of Industry, it broadened its activities to include two other degree programmes in 1985 and 1993: first the Atelier National d’Art Textile (ANAT), then a specialist Master’s degree in “Design and contemporary technology”, the denomination of which has recently been modified. Today the School covers not only the fields of industrial and product design but also multiple contemporary design applications: digital, spatial, communication, service design…

… Over the span of the past half-decade or so, Tim Power Architects has consciously enlarged the focus of their research and production from physically small scale projects to include interventions on a grander scale.  Projects which relate to territory, land and city scapes, buildings, urban environments and the social scale have increasingly taken a larger part in the studios research and professional output.  This shift of focus came at the heals of a simple realization: that the design revolution of the 90’s-10’s was largely focused on consumer goods and services, and while this is not inherently a negative phenomena, we are aware that the civic sector, public space and territorial concerns have in many parts of the world become greatly impoverished at the same time that private space has become enriched.

Invited guest lecturer Tim Power presented the works of TP/A in the Symposium ’30 years of Teaching and Research in International Architecture’ at CalState University in Florence. The lecture focused on ‘Connectivity’, presenting the works of TP/A in a scalar progression from small projects (industrial, furniture and lighting design) to medium (interiors, domestic and commercial works) to large (architecture and land/urban scape projects) and in relationship to their cultural and natural context, connecting the works of TP/A to a broader historic context of cultural identity in international architectural research and production.

This Conversation between Tim Power and Ivana Riggi, conducted in Italian on the 16th of April 2011, discusses various aspects of the practice of TP/A, covering a selection of the studios projects as well as some background of Tim Power.  The succinct but wide ranging interview covers a cross-section of the works of TP/A, from Design, to Interiors to Architecture, discussing the interrelated nature of these different fields of professional practice and research. Questions focus not only on the numerous commercial successes of TP/A, but also include reflections of past professional experiences, future strategies, the opportunities for a foreign Architect in Italy, and the challenges and relevance of working in the public sector.

Last night Rem Koolhaas, founder of the Office for Metropolitan Architecture, opened the series of events scheduled for the Workshop on ‘Management in Architecture’ at the University of the Bocconi in Milan. The Workshop, aimed at increasing the level of coordination between Project Management and Architecture in large architectural projects, is looking to amplify this field currently lacking in Italy as compared to levels of integration at the global level.

Ideally our cities become exciting, sexy, and profitable places to live, play, and work – that’s the most important part. When people have no investment in the places they play or work or live, they act accordingly. – David Byrne “…I plucked this David Byrne quote from the recent Momentum issue. If you are not familiar with Momentum, a magazine about urban cycling, check it out.  It improves with every issue and is a good barometer of positive change in our cities.

Our research often leads us to question place, continuity and change … This little video does so as well.

Lightly, Carefully, Gracefully...2012

The WorkPlace Environment, where the majority of adults pass more than half of our wakening lives, is undergoing a new wave of notable transformations.  Notable not due to a massive sea change, but primarily, for where these changes are happening.  These new transformative shifts in the workplace environment are currently centered in the Silicon Valley, on the peninsula South of the city of San Francisco.

Public Space is as varied as the Public Body.
Public Space can be spontaneous, eclectic, naturalistic, formal, ordered.
Public Space can be monumental …
On occasion, Public Space can be Metaphysical.

We will be known forever by the tracks we leave...2013

On March 14th, 2014, Tim Power spoke on Design, Interiors, Architecture, and Territory. Tim was invited by Singaplural, the official event organizer, and the Singapore Furniture Industries Council. Following the hour long lecture (other invited lecturers where David Carlson and Claudio Colucci), the three international guests fielded an array of questions on Design in an informal round table discussion.

Traditional cultures understood the fragile nature of our Earth without technology, but modern culture was able to do so only with distance, scale and technology.

Together with Designers Michael Young of Michael Young Ltd, Naoto Fuskasawa of Naoto Fukasawa Design, Priscilla Tsu-Jyen Shunmugam, Hans Tan and other illustrious member of the international design community, Tim Power of TP/A was invited to serve as jury member of the Singapore Design Awards, 2016 hosted by the Design Business Chamber of Singapore

Alamak! in the Triennale

Sottsass...Auguri

In 2014, Tim Power was invited to stay the night in Vienna, in the Thyssen-Bornemisza Art Contemporary (TBA21-Augarten). LEBEN pivots around a selection of works— some drawn from TBA21’s collection of contemporary art and others commissioned and conceived especially for the exhibition—that invite specific forms of interaction, induce moods and affects, and generate « oriented » behaviors.

With his project ‘Maria del Camino’, Architect Bruce Tomb furthers his research and personal love affair with all things American. In Bruce’s own words, ‘Maria del Camino is a love poem to the automobile and her demise. This is a project acknowledging our relationship to the car as a tool: a social activator, altering the environment and our sense of freedom and adventure’.

The Shakers' dedication to hard work and perfection has resulted in a unique range of architecture, furniture and handicraft styles. They designed their furniture with care, believing that making something well was in itself, "an act of prayer." Before the late 19th century, they rarely fashioned items with elaborate details or extra decoration, but only made things for their intended uses. The ladder-back chair was a popular piece of furniture. Shaker craftsmen made most things out of pine or other inexpensive woods and hence their furniture was light in color and weight.

The work of TP/A … our work … concurrent to our research and design, explores the ability of Architecture, Objects, Services, Landscape Design, etc. to ‘create place’, or defined in better terms, to help us locate ourselves in the places we are creating and to make them exciting venues of continuity and discovery. For us, it is not enough simply to survive in our houses, shops, offices, and cities, but rather to thrive in them.

Seasonal Greetings from TP/A.

With admirable resolve and a sincere desire to change the planet for the better, from the onset of their existence the Japanese company Muji has taken a steady and incremental approach to doing so. Far be it from us to synthesize the Muji Philosophy … if we could, it would be something like this … ‘Muji’s natural and simple design philosophy proposes responsible and beautiful answers to the basic underlying questions of today’s world’.

A new Book by Moby, know best as a musician, exposes his sensibility to territory and the transient relationships between us and the places we inhabit.

Blue and Orange and Grey
to Purple movie
Watercolour and pencil on paper
51,4 x 61 cm
Photographer: Jean Vong