Stanley Kubrick: The Exhibition

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The work and legacy of Stanley Kubrick, one of celluloid’s greatest film directors, is celebrated at London’s Design Museum. The Fizz takes a sneak peek…

BY DEE IVA

With its futuristic sets and intelligent technology, epic 1968 sci-fi movie ‘2001: A Space Odyssey’, by legendary US film director Stanley Kubrick, has always been a firm Fizz fave. Rotating stairwells, pre-iPad tablets and spaceports with distinctive ‘Djinn’ chairs by Olivier Mourgue are just a few details which have become iconic design moments on the silver screen, while the HAL 9000 computer (arguably the movie’s biggest star) is a precursor to Alexa and Siri.

Now ’Stanley Kubrick: The Exhibition’, proving a hot ticket at London’s Design Museum, goes behind the scenes to show how Kubrick created his masterpiece along with other classic movies including ‘A Clockwork Orange’, ‘Barry Lyndon’ and ‘The Shining’. Running until 15 September, the must-see exhibition dedicates a room to each film displaying handwritten notes, early scripts, costumes, props and models. Rejected designs by US graphic designer Saul Bass for promotional posters for 1980 horror flick ‘The Shining’ are on show, as is a recreation of Howard Johnson’s Earthlight Room from ‘A Space Odyssey’. The droog (gang mate) costume from 1971’s dystopian crime film ‘A Clockwork Orange’ still has a certain frisson today from its associations with ‘a little of the old ultraviolence’.

ABOVE: The gravity-defying rotating stairwell from Kubrick’s ‘2001: A Space Odyssey’
ABOVE RIGHT: Artificial intelligence in the form of the HAL 9000 computer from ‘2001: A Space Odyssey’
BELOW FROM LEFT: English actor Malcolm McDowell as chief droog Alex in ‘A Clockwork Orange‘; A droog costume in the exhibition

Kubrick liked to exercise total control over each of his projects, which almost always drove him to recreate places and spaces on a sound studio rather than go on location. Many of ‘The Shining’’s Rocky Mountains-set scenes in The Overlook Hotel were shot at the UK’s Elstree Studios as were the infamous Dawn of Man ape scenes from ‘A Space Odyssey’. An ingenious projection method was devised to create the illusion that the ape footage was shot outside, just one example of Kubrick’s many experimental processes explored here.

BELOW: The entry to the Design Museum exhibition features a montage of scenes from Kubrick’s films demonstrating his signature ‘one-point perspective’ technique

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ABOVE: Stanley Kubrick directs Jack Nicholson on the set of cult classic ‘The Shining’

Kubrick’s ground-breaking design collaborations, including his work with acclaimed German-British talent Ken Adam on set designs for 1964 black comedy/political satire ‘Dr. Strangelove’, are also celebrated in the exhibition. Since Stanley Kubrick’s death in 1999 few film directors have made as big a mark as the great auteur. We highly recommend heading over to the Design Museum to discover why.
designmuseum.org

‘Stanley Kubrick: The Exhibition’ is on now until 15 September 2019 at the Design Museum, 224-238 Kensington High Street, London W8. Book in advance online to avoid disappointment as select dates are selling out fast.

Pictures: Warner Bros Entertainment Inc; Ed Reeve


Aesop – London and Melbourne

With a new beauty parlour at each end of the London to Melbourne route, Aesop has just ticked all our boxes...

BY AMY BRADFORD AND SOPHIE DAVIES

Bloomsbury is the setting for another London outpost of Australian skin care brand Aesop, in an elegant store by local design studio JamesPlumb. The duo took inspiration from the location on Lamb’s Conduit Street – the site of a 16th-century conduit to convey water to city dwellers from nearby springs – when creating the interior, which includes two water features. The first is a stream running through a wall of copper shelving; the second a sculptural installation in which water drops from a copper ‘quill’ pipe into a vessel below. The space also features a garden room and outdoor area, reclaimed Staffordshire quarry tiles on the floor and a moody colour scheme influenced by the paintings of Bloomsbury Group heroine Dora Carrington.

ABOVE: Thin pipes convey water between oxidised copper shelves at Aesop Lamb's Conduit Street
ABOVE RIGHT: Reclaimed tiles and plants create a garden feel
RIGHT: Bespoke copper taps and sinks contrast with a dark palette; water drips from a sculptural pipe 'quill' into a shiny reservoir below

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ABOVE FROM TOP: A bold feature wall of 1,550 cardboard sheets creates a curvy cocoon at Melbourne's Aesop Flinders Lane

Meanwhile in Melbourne, Aesop's in-house Design Department has reintroduced its iconic Flinders Lane store on one of the city's hippest strips. Designed in 2007 by Rodney Eggleston and Anne-Laure Cavigneaux of Melbourne's March Studio, the cardboard-clad space was originally created in just five days as a temporary installation. Rebooted after inevitable wear and tear, it now features a tactile, sinuous wall of reclaimed industrial cardboard on one side, reminiscent of a cave or Uluru's rocky outcrop. Intended to evolve with age, it's contrasted with a darker palette in the rest of the shop, with a restrained balance of concrete, lacquered oak and blackened steel. Continuing its habit of collaborating with local design studios, Aesop recently opened boutiques in Berlin, TorontoFrankfurtParisNottingham, Fukuoka, Hamburg and Los Angeles, as well as a new store on East London's Broadway Market. Inspired? Check out our earlier stories on Aesop's Richmond and Berlin Mitte branches.
aesop.com

Aesop Lamb's Conduit Street, 50 Lamb’s Conduit Street, London WC1, UK
Aesop Flinders Lane, Shop 1C, 268 Flinders Lane, Melbourne 3000, Australia

'Contact' – The Eliasson effect

What do you get when you cross Olafur Eliasson with Frank Gehry? An art show worthy of a starchitect…

BY SOPHIE DAVIES

He’s created waterfalls in New York, a riverbed in Copenhagen, a sun-kissed weather project in London, and a multi-sensory pavilion in Venice. Now Olafur Eliasson has come to Paris, where his stunning high-impact art encounter, ‘Contact’, is lighting up the Fondation Louis Vuitton.

You’ve heard of the ‘Gehry effect’. Now imagine that crossed with the ‘Eliasson effect’. Canadian-American architect Frank Gehry was behind the striking new Louis Vuitton arts centre unveiled in Paris in October, topped with ethereal glass sails. Its first contemporary show, by Danish-Icelandic artist Eliasson, brings an other-worldly immersion in light and space to the gallery. Just as Gehry’s buildings (think the Guggenheim Bilbao) have boosted city’s economies, Eliasson’s shows are worth travelling for, putting venues on the map.

‘Contact’ explores ‘the relations between self, space and the universe’ by generating a cosmos within the Fondation. Like a road trip with physicist Brian Cox, the exhibition is an interactive odyssey that ‘envelops visitors in a choreography of moving light and shadows, seemingly transporting them into the darkness of outer space.’ Close encounters of the Eliasson kind...

ABOVE: 'Touch' allows you to get up close and personal with a meteorite
BELOW: Starry starry night: inside the 'Double infinity' tunnel

ABOVE: 'Map for unthought thoughts' turns you into a giant shadow puppet

Starting at 'Touch', you can feel a meteorite. So far, so extraterrestrial. ‘Parallax planet’ inverts your field of view. ‘Map for unthought thoughts’ throws your shadow into monochrome orbit. The 'Double infinity' tunnel disorientates. Dark and sloping spatial work ‘Contact' allows you to gaze at a light phenomenon, reminiscent of a mesmerising eclipse. Sculptural vortex ‘Bridge from the future’ gyrates, evoking the energy of a black hole and the exhibition's circular structure. Connecting water and optical devices, ‘Big Bang Fountain’ emits periodic liquid flashes, wrapping up the journey.

ABOVE FROM TOP: 'Contact', a mesmerising light field within Eliasson's show; The gyrating 'Bridge from the future'; Frozen in time: water splashes in the stroboscopic 'Big Bang Fountain'

Outside, tracking equipment on the roof – 'World illuminator' – charts the sun’s movements, directing sunlight back onto 'Dust particle', a multifaceted, geometric sculpture suspended inside the building. Small spheres along the way also explore the mechanisms of perception, drawing the exterior in.

ABOVE: Hall of mirrors: the dizzying walkway of 'Inside the horizon' 

Playing with daylight, yellow light, shadows and reflections, ‘Inside the horizon’, in the Grotto zone beyond the show, is a separate, site-specific commission by Eliasson, with a sound composition by Finnish percussionist Samuli Kosminen. It offers constantly changing perspectives of Gehry's architecture for the Fondation building, with visitors connecting the soundscapes as they progress along the passageway.

‘My exhibition addresses that which lies at the edge of our senses and knowledge, of our imagination and our expectations,’ said Eliasson. ‘It is about the horizon that divides, for each of us, the known from the unknown.’
olafureliasson.net  fondationlouisvuitton.fr

‘Olafur Eliasson: Contact’ runs until 23 February 2015. Fondation Louis Vuitton, 8, Avenue du Mahatma Gandhi, Bois du Boulogne, Paris. Photos: Iwan Baan