Precious mineral and metal resources have hit all time highs in terms of raw material prices. We may be in a banking crisis but the need for raw material isn’t showing any signs of a slow down. Big investors see safety in moving money into precious metals. The price and demand for copper in the UK has seen the organised theft of millions of pounds of cabling and even the Tube has been stopped by audacious thefts. It doesn’t end with copper; oil and coal have huge values. They also have unlikely aesthetic appeal too.Numerous designers have used copper of the past couple of years and it will continue to be a  popular material if only for is beautiful unique colour and shiney properties. But there is also a beauty in raw natural states.

At the London Design Festival Faye Toogoode showed a range of pieces  at Phillips de Pury that examine iridescence using oil as a medium.

Trapped Sphere is a piece that suspends oil in a solid resin block allowing the viewer to examine its beautiful iridescence. Its a work that objectifies this precious material and imprisons it. Its a dangerous material in so many ways; a pollutant and the cause of so many wars. We all know it as a valuable commodity but we rarely see it in its natural state. Captured in the sphere its a reminder of how the world is still so reliant on it.

Element Table made of sheets of  steel with the iridescent patina of oil metal

Lex Pott allows the metal to take on its natural colours. His experiments are shown in the first image on this post “When an element like copper is found in nature it has
a green colour. Iron has an orange / brown  colour when being found inside the earth. Oxidized metal surfaces create colours that provide information about a material. The pallete is a reaction with the base material.
Therefore the coloured surfaces have an organic growth
of colour and not every colour is possible on every surface. Colouring metals requires accurate recipes. This project shows the results of a research on metals and their true colours; a direct relationship between colour, material and information.”

Lex created a series of panels showing this organic growth across different metals in his work True Colours

Lex has gone on to apply the same process in True Colours Shelf

Minimalux Ballpoint  is made of an almost indestructible solid brass. the unplated shell allows the metal to develop its own patina. “The basic ballpoint pen, or ‘Biro’ as it has become known, has been a useful accessory to our daily lives for many years. Its familiar, cheap plastic casing is synonymous with the product but also its disposability”.

Sort of Coal is  a product that acts as a water and air purifyer  but is actually White Charcoal so not coal! White Charcoal has a higher carbon content than Black Charcoal and has no dust or residue.  Made using the same techniques and processes that have been used for centuries. In this ancient Japanese method pieces of wood are baked in hand-built clay kilns, slowly at first and then at extremely high temperatures with restricted oxygen. This allows carbon to be captured in the wood, a process called pyrolysis.

Oddly enough for years I’ve had a large lump of Lancashire coal sitting on a shelf near to me. I found it in the cellar at home; we never had a coal fire so it must have been there for decades. It moved around with me as a reminder of home and because its surprisingly beautiful, with iridescent seams. I just thought it was pretty, now I’d like to think its been purifying the air around me too! (probably not)

Advances in LED’s have allowed lights to slim right down; lighting design is no longer dominated by the shape of a bulb and the bulky electrics. The softer light emitted has taken away the need for a shade. LED’s embedded in the piece allow for more fluid and sculptural forms.Yes there will still be a need for our old bulbs  (see an earlier post Lightbulb on beautiful alternatives) but within new homes and commercial projects lights will become subliminal, glowing in whatever colour to suit our mood and environment.

Japanese company Kaneka’s light installation “Pieces of Light “ demonstrates the next generation of LED the OLED (organic light emitting diode) One of the innovators; they invited artists and designers to use their new generation of LED to create a Japanese Saki Bar. The effect was soft dappled wave of light that gently changed from red to orange and white diodes like petals of cherry blossom.  The piece may have been an art installation and incredibly beautiful but it also demonstated the practical commercial application – if the development in manufacture can bring the price down.

OLED may be a little way off into the future but LEDs are now, with  Flos displaying some amazing examples at Euroluce this year.

Wall Rupture by Thierry Dreyfus for the Soft Architecture Collection is a dramatic demonstration of the versatility of the LED. A huge rock fissure breaks open the wall creating a visual trick, golden volcanic light pouring out.

Ron Gilad’s Wall Piercing Lamp  (seen above in the background) slowly changes colour going through the entire spectrum. His sculptural 2620 Chandelier has been added to his range for Flos this year.

Royal College of Art graduate Hanhsi Chen combines LED technology with the ancient use of shadows to tell the time. A poetic use of light and shadow this small wall lamp is easily integrated into interior decoration.

Artist Dan Flavin made the unloved fluorescent tube into beautiful works of art but with the work of these designers they haven’t left that much space for the artists to explore.
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A wonderful tweeted interview by Max Fraser with Guido Cappellini  included the percentage range a designer could expect in royalties from a work in production.  A royalty payout is roughly between 1.5- 5% on the cost or wholesale price of an item, though I would think the bigger the designer the more flexibility there is in the percentage. So for and item that walks out of the shop at £100 the designer would take 60p – £2 using a mark-up on the cost price of 2.5 times. Its not a lot really is it. An anonymous designer complained that his last royalty cheque was for £600 “it won’t even cover half a months rent”  (he obviously lives in London) But if a design takes off you could be gradually raking in the royalties for years and as you establish your name you won’t be relying on 1 or 2 products; some designers must have launched 10-15 products at Milan this year. But to really build up an income will take years of work and  products with a long shelf life.

So is the way to go abandon designing for others and set up on your own? Seen here is Dave Keune’s Standard Primatives Lamp. He’s an example of a designer who’s set up their own. And its certainlyworked for Tom Dixon creator of Etch 100  (1st image above) a design inspired by the logic of pure mathmatics; but only after years of designing for others. Starting out on your own can take some serious money; Benjamin Hubert tweeted that he’d spent £30,000 of wages from day jobs into creating prototypes before he started to make any money. And its not quite so simple to set up on your own – with so many jobs to do running a business; it always helps to have interns. Hmmm yes interns; another sensitive subject thrown up by #milanuncut. They can either be seen and used as slave labour (the bigger the company the worse the experience so it would seem) or  vital to the growth of a new business that otherwise couldn’t progress. Fresh out of study with so much expectation you can’t help thinking students may expect a little too much out of an internship? But then it is the responsibility of the employer to ensure that in working for free they do gain something from the experience; even if it may only be to realise that a lot of work isn’t as intellectually stimulating as college life has been!

Philippe Malouin used interns to create the Yachiyo metal rug; and he even named it after one of them and credited everyone who worked on the piece. This really was a team effort and with over 3000 man hours to create; it would have been impossible without his interns. I couldn’t resist the urge to work out what this would have cost to make had he been forced to pay the minimum wage of £5.93 . It actually works at a staggering  £17,790!

Yes ok this doesn’t make this a commercially viable piece to put into production (even if you farmed it out to a $1 a day wage in developing nation!) but  I can’t help feeling that they all got a sense of satisfaction in the creative process, even if they don’t feel the need to repeat it.  You can see them making it over on Dezeen. And from that idea and process and experimentation that having  a group of interns can allow a creative cloud can form and out pops another idea, process etc,etc.

Over at Established & Sons a remarkable similar  Cubiod rug appeared in their new collection. They’re not giving away the name of the designers in this range, but I was assured that they did hire some very talented names from the design field.  I can’t say for definite that Philippe designed this but…..any way it does offer another way for a young designer to use existing ideas for a nice design fee rather than royalties.I am making an assumption  that this is a fee rather than a royalty but it would make commercial sense to do it this way. Say they had an initial production run of 5000 at retailing at £80, that would be a £2400 royalty. I think a one off design fee would be a bit less.

Another direction for the designer can be into that hazy would where art and design collides. Marcus Tremonto produced these Hexalights. Is it art? Is it design? Oh I can’t be bothered to work it out anymore! They are glowingly beautiful either way.

Sadly the final tail of  #milanuncut was that too many students don’t even attend the classes that are aimed at giving them the business knowledge to succeed in a very competitive environment.

So for my final cube spot from Milan is Konnex by Florian Gross for Müller Möbelwerkstätten Great for the frustrated designer who has given up on the design career and is left to redesign their home. The pieces can be added to and slot together to form your own unique layout – that way you can still feel like a designer.

Existence by Michele De Lucchi for De Castelli

Lancelot by Philippe Nigro for De Castelli

Corroded by Joost Van Bleiswijk Made from interlocked segments rather than being welded or screwed together they are left to the elements to work their magic on the steel. Pieces shown here are work in progress, shown at his open studio during Dutch Design Week.

Out House by Piet Hein Eek This house is at the entrance to Eek’s store in Eindhoven. Rather than Corton steel the metal used here is probably from the disused factory Piet Hein Eek has transformed into his workspace/ restaurant / gallery.

The incandescent bulb is nearing the end of its life. Across the world governments having been passing legislation in favour of more energy conserving alternatives; and here in Europe a ban on selling 100watt bulb has been in place for a year.

We’ve mostly switched to the rather ugly compact tube fluorescent tube (CTF) and the ban on the frosted incandescent so infuriated lighting designer Ingo Maurer he had to come up with the Euro Condom pictured above (not sure if come up was quite the right phrase there!) The opaque condoms fit over clear incandescent bulbs – which are not affected by the guidelines – to give a similar effect to the banned bulbs. Its an amusing poke at European bureaucracy but when you look at the carbon emissions saved by getting rid of the old bulbs never mind the money saved on your electricity bills it makes sense to make the move.

So here are a few lights that have taken a little inspiration from the old bulb but been updated to comply with strict EU guidelines – its quite heartening to think bureaucracy can move design! America take note your Federal bureaucracy is years behind….

I don’t think you could have failed to notice Hulger’s Plumen lightbulb launched this year and billed as the worlds first designer energy saving light bulb. It uses 80% less energy than the traditional incandescent light bulb; and just like its ugly older brother (the compact tube fluorescent) it keeps down electricity bills and lasts around 8 times longer.  Hulger’s work came from the frustrations of the CTF; not only did it look ugly but the kind of light they give off is pretty poor.

“Make the bulb attractive and people will spend a bit more and enjoy a better quality of light and a design they appreciate every day. Glass tubes can be bent is many different shapes so why are there thousands of manufacturers but only three designs? We believe the answer is in the design.” The bulb is available in Europe with plans to launch in the USA early 2011.

Marcus Tremento is an artist who uses light as a  medium to express his work. His highly graphic and illustration based pieces draw inspiration from French Pop comics of the 1960’s his use of simple lines suggest three-dimensional form but in keeping with his source of inspiration he actually uses paper  – of a rather special kind. These lights employ Electroluminescent paper, which consists of an organic material that emit photons (light) when excited by an electric current, sandwiched between two thin layers of plastic. This method of producing light is distinct from standard incandescent lights in that there is no emission of heat. Electroluminescence was first developed in 1960 for use in automotive instrument panel backlighting.

Diamond Light by Eric Therner is a particularly beautiful alternative to the old light bulbs

“I’d like to see them as sculptures, with a function. Diamond Lights play with the concept of the light bulb. Stylewise, the common light bulbs look brilliant. I’m not sure though, if it is the shape, or it’s iconic value that makes it so beautiful.

The fact that it was “a” first, and what it meant to people when it first arrived, has surely played an important role during the years from product to icon. Diamond Lights is not a tribute or an attempt at making a better light bulb than the already existing one. I simply want to offer another choice.”

The result is an environmentally friendly, e-27 halogen lightbulb with a warm 15 watt glow and 2000- lifehours.

Pieke Bergmans Light Bulbs

Pictures at the top of this post the Light Bulbs are a series of crystal lamps, designed by Pieke  in a collaboration with Royal Crystal Leerdam. The lamps are all unique handcrafted crystal pieces, equipped with leds by Solid Lighting Design. They followed on from Pieke’s “Virus” series where she manipulates molten glass over various objects letting them gently ooze in a organic satisfying way.

There’s a bit of a blur in the distinction between art and design. Functional products and merchandise can’t be classed as art can they?  Both go through a creative (and sometimes torturous) process  and then get tangled up in methods of selling and the exchange of money. Art and Design products use the language and methods of each other to do exactly the same thing to sell, to engage with an audience and to confront us with another way of seeing, making and living. And this language and process is even seeping into the high street; stores offer  “a range of carefully curated products” displayed in an almost gallery style by a named artist or designer.  Meanwhile in a bid to connect with a wider audience Art galleries shift from their intimidating surroundings to Fairs and Markets. Within all of this is the need to reflect a changing world, with Art, Design, and down the the business end Retail, all responding to a changing expectation from consumers; they’re wanting an experience, an emotional reaction, not just a passive presentation of products and work. So to provide the unexpected Art goes to the market Design goes to the gallery. You could even argue that retail’s love of the pop-up is like the underground art event. With all this borrowing from each other its difficult to see where art and design differ, collectors have become attracted to both further blurring the Art Design debate.

Last week Frieze Art fair popped up  in London and generated tens of millions of pounds of Art sales in a tent in Regents Park. You could not only see the work of  the artists  but also meet and even get temporary tattoo by one of them. Here’s David Shrigley tattooing I love O’s onto a willing participant.

At the same time as Frieze Super Design, now in its 4th year offered a smaller design alternative ; a show that brings together galleries and their limited edition pieces by some of the most innovative designers.  Super Design borrows the style and presentation of the art show to allow us to critique the work in the manner of a work of art . But its not art and its not really pretending to be art.  That’s not to denigrate the work on show here.  It simply has a function that art does not need to play. Art has no practical function; it grabs us on another level and draws on a range of  emotional reactions, amongst them the ability to shock. One of my favourite “reactions” from Frieze last week was another visitors exclamation “Ughhh! What is going through these people minds!?!”  Now to me the little animations we were peeping through holes to view were not that shocking at all; but it just shows how we all have our own thoughts on what art is.What Super Design does show is how designers have been experimenting, pushing the boundaries of what is functional, and playing with our curiosity  by appealing on a playful, aesthetic and emotional level.

On a playful level here is the work of  Marcus Tremonto,  he showed a number of his electroluminescent film lights, but here is his more mischievous work he did with Kidrobot’s Munny character.

The show owes more to theory behind Critical Design offered by London based design duo Dunne & Raby.  Designers have been pushed into creating products that conform to functional requirements and the means of mass production. Critical Design challenges this conformity and encourages experimentation on every level. As Dunne says “One of its roles is to question the limited range of emotional and psychological experiences offered through designed products. If you decouple design from the mass market, what do you get? A change of attitude and approach. So the role of Critical Design is to make us think and to raise awareness , expose assumptions, provoke action, spark debate – a way of looking at design and re imagining its possibilities beyond the narrow definition presented through the media and in shops.”

Grey Derivations by  Maarten Baas for Mitterrand+Cramer Design is a response to the edition process in relation to the production process. The man hours spent creating each piece and nuanced changes from the method of production made the notion of each being an edition nonsense. Apart from the desk light which can be created using a mould the other5  pieces in the series are unique. This approach has given Baas the freedom to create work in a spontaneous intuitive way  in his studio in the Dutch countryside.  The desk shown here would never be allowed to go into mass production, it wouldn’t be allowed in a shop. Once the desk is closed the two red front legs become horns poking out of the lid -you can just imaging the “health and safety” issues! Using design as a means of self expression doesn’t mean that work has to be handcrafted and exclusive. After all it was Baas who sold the cheapest design product of the Milan fair with his 99cent Iphone app.

Studio Makkink & Bey showed their De Amersfoot Chair. An advocate of Critical Design here are Jurgen Bey’s thought on the idea. “Critical Design is an area where I feel comfortable because I think it’s important to make your voice heard through design. Its not about being against things but about staying critical, particularly in the case of sustainable design. It’s about finding the right balance with progress. To change someones views you need to make them more curious . Its what I like about being a designer. You’re allowed to question things. Its not an exact science and there’s a big area where you can move quite freely and come to your answers. If you rethink things, the answers are about what you can do and how you can do it. You have your questions and ask what if….?’ Then you follow where this takes you.”

Dimitri Vangrunderbeek’s Lacquered Steel Cabinet (pictured below). Figures have been cut out of the steel and stride across the surface of the work casting shadows as light hits the piece. You get the sense of the figures moving as you walk past the piece.

Gareth Neal’s Urban Picnic transforms the ubiquitous bench. We’re familiar with the design but the only hand treatment we usually see on it is hand carved graffiti not intricate marquetry. The piece was a response to the question of “The Great British Weekend” and was originally displayed as a pop-up urban picnic in the east end of London

Skull rug by Timothy Liles- Having previously worked for Converse as a footwear designer Timothy has turned his hand to product design. Here he has combined the pop icon with a tradition of technique. This is a thick, double-sided, wool rug  made by the extremely skilled workers at Country Braid House in Tilton NH. They’re more used to making traditional rugs but they’ve applied the same technique to totally different subject matter creating a modern heirloom  countrybraidhouse.com

Edging back toward the macabre Stefan Strumbelhas taken the traditional cuckoo clock of his homeland, the Black Forest in Germany, and applied objects of popular culture soaked in bright and acidic colours.  Strumble has moved from being a graffiti artist into 3 dimensional work.

His work looks at the German concept of Heimat, roughly translated as homeland  “There is no English word for Heimat,” Strumbel explains. “Some people link Heimat to a place, for others it is a feeling.”  Strumble has replaced motifs associated with his homeland with items of popular culture that have no geographical link.

Skulls by Beware the Moon This is a quality wallpaper; each roll is handmade with a “no expense spared” attitude from the makers to keep the print as close to the original art work as possible.  And they’ve chosen a quality gent to high light this.. Insouciant, sartorially superior ,eyebrow quizzical, pondering the taste of his fag – sorry cigarette. Or possibly he’s standing opposite a wall hung with one of the more risqué papers in the range “She” featuring a naked lady. I’d say he’s pondering the latter.  Beware the Moon have a refreshingly witty approach to wallpaper design and production , hopefully some new designs are coming soon

I’ve mentioned Studio Job’s Industry in in earlier post on Marquetry but they’re always worth another look. In the beautiful work seen here they’ve interwoven skeletons and skull/gas masks onto the surface of their wardrobe.

Idyll by Johan Lindsten His chairs shown in both Stockholm and at Designersblock in Milan “These stitches and dreams are for most people forgotten and thrown away to an eternal lost never to been appreciated. This furniture’s destiny is to elevate and promote these neglected pieces of art, bring back a long lost sentimental value and mix it with contemporary aesthetic”

Stitch by Pepe Heykoop is a range of items salvaged from skips or secondhand shops and given a new hand stitched fabric skin. The skin is then stuffed with soft fibres. I’m sure traditional upholsterers would dispair at the obvious lumps and bumps and the visible stitching; but that would be missing the point. They have been brought back to life and given a character by this treatment. The lamp is particularly animated and looks like he could jump about, reminding me of Pixar’s Luxo Jr 

  Under Construction #2 by Anila Rubiku for Plusdesign(pictured above & below)  is a beautifully stitched lamp constructed from paper with an LED light. Anila’s works offers a contemporary perspective to the traditional craft of embroidery with her chioce of subject matter and use of material. Using scenes from contemporary life, drawn and hand stitched onto the paper houses Anila’s work illuminates an everyday domesticity that we would all recognise.  

Urban Embroidery by Melissa French for Puff & Flock (detail picture below) This is another example of taking embroidery and applying the technique to an alternative material. Melissa has used an old bench and applied her own design (with the help of a drill) to plot the pattern across the surface.

Saved Handkerchief by Studio Makkink & Bey for Droog This limited edition range produced by Droog for Salone del Mobile 2010 was a response to the ongoing economic crisis. Droog purchased various items from companies that had gone into liquidation and invited designers to create something desirable from the unwanted. Studio Makkink & Bey were given 900 handkerchiefs to play with. They created an embroidery kit; with news reports from different newspapers printed over 30 days in March and screenprinted onto the handkerchief. They also provided a skein of embroidery thread and a needle. I have to say i,t requires a bit of skill from the purchasers (or should I say collector) but its an interesting challenge. I nabbed one, and you can spot a slightly confused looking me over on the Droog blog. You can also have a look at all the other products designers came up with in the range. 

Stool bySuperfolkThis Irish design studio produce products that are a tribute to Ireland’s traditional skills. The stools have been made using locally sourced Oak and Ash from sustainable forests. They can be linked together with  a series of cross stitches running through the holes drilling into the seat. If you don’t want to link them together the cord can be stored by doing a quick running stitch round the seat. 

Marcel Wanders Monster chair for Moooi.

Launched at Salone this year the  monster’s face is a little more subtle on the finished product than from the image here; well just a little. And despite his appearance and name he is probably the softest of the group I have here, being made from soft quilted leather. Considering who he had in mind for the chair soft and comfy is entirely appropriate.  If you’d like to wander through Marcel’s mind and find out the inspiration behind this chair you must have a read of his press release over on Dezeen. It is brilliantly funny.   

 Fury! Chair by Roel-Jan Elsinga Made from a wood and metal frame and covered in felt he’s alot softer than his spikes make him appear. He also has a secret life as Roel-Jan explains hes “a fearless little chair, that barks but doesn’t bite. Fury! is a lively and visually noisy little fellow.
But he means well. At night he walks around your space, blowing off steam, cursing a bit.
But the cheeky little f**ker has a heart of gold and is actually really really sweet, and he loves being petted…”

Jon Burgerman’s Doodle Chair for Deadgood. Jon has put his distinctive doodle scrawls to many things, this time he has been commissioned by Deadgood to produce a totally doodled version of their Form chair.  With his dynamic  use of colour, and a unique graphic energy, Burgerman’s doodles  have been screen printed and encapsulated within a resin impregnated craft core, overlaid with melamine and subsequently pressed at high temperatures to create a highly durable surfacing material. So just in case someone should ever think of trying to wipe them off (which would be crazy) they won’t come off. Which is good if the owner suddenly found they were living with an obsessive compulsive.

If you’d like a mural to accompany the chairs Jon can also do this for you. For more of Jon’s work pop over to his website

 HuskMitNavnis an artist from Denmark working mainly with street art, painting and illustration. His characters are often political, sometimes controversial but always express his humorous take on life.  His limited edition illustrations on Englebrech’s classic Chairik chair feature some slightly worried looking individuals, well a I guess you’d be worried if someone was about to sit on your face….     

Even that old veteran mouse has got in on the act. In a joint venture between Cappelliniand Walt Disney, Cappellini have produced a range of furniture for adults not for kids. The designs are based around the iconic ears of Mickey, on the stools they act as a back rest. On Patrick Norguet’s Rive Droite chair they’ve been worked into a repeat pattern; taken away from the rest of the range you’d could quite easily miss them as Mickey’s ears.

This post has nothing to do with post holiday blues and the dullness of those long dark winter days - no really. This is an appreciation of Blue and how designers have used this incredible colour in its various shades and hues. Blue has long been associated with quality work. Far back into the Middle Ages the cost of  Ultramarine led to its use sparingly for the finest works, and so our association of Blue with quality began. 

Whether a luminous iridescent or a flat matt pigment designers have chosen a variety of shades to launch and promote new products in the past year. Starting from the lighter brighter blue from a spring morning (its January - I’m feeling hopeful!) down to a deeper day-into-night shade  

At the beginning of the year in Stockholm Ineke Hans chose to exhibit her Fly Chair  in a beautiful matt sky blue. Produced by Arco  its simple oak frame has been matt lacquered, allowing the form of the chair to been seen in varying shades.

At the same show Ligne & Roset displayed Confluences by Philippe Nigro seen here in a range of tonal blues.   Launched at IMM Cologne the interlocking yin yang design not only allows different arrangements but also posture settings for the different users.   

Quilt by Ronan & Erwan Bouroullec was launched by Established & Son at Salone del Mobile Milan. Using a shade of blue that expresses the moment that day turns to night . Appropriately enough, the day I got to see this the chair had been taken over by a lady in her twilight years who just wouldn’t move. For anyone.

At Design Miami/Basel 2009 designer Tomáš Gabzdil Libertiny of Studio Libertiny  The Bic Blue Cabinet. As the name suggests  Tomáš has used the ink from the ubiquitous Bic pen to colour his cabinet  not for him the finest most expensive natural pigment! That said though he hasn’t just coloured in an MDF cabinet and whacked on a bit of varnish. For 26,000 you get a handmade American Walnut cabinet, coated with Bic ink and hand-finished with French Polish; layer upon layer applied as you would to antique furniture. The combination of ink and polish give the cabinet an iridescence; a reminder of why this colour has been inspiring and intriguing artists for centuries. The finishing touches of gold plated hinges and Libertiny logo are hidden inside, there is no handle, it is a push to open system.

At the London Design Festival Benjamin Hubert chose blue for Splay his Coat stand for De La Espada. Seen here with all the other products this prolific new designer has launched in the last year.

And if you wanted to completely immerse yourself in blue, you could have visited the magical art installation Seizure by Roger Hiorns. Created by pumping 75,000 litres of copper sulphate into an abandoned council flat at letting the evaporating liquid form incredible blue crystals. It must have been quite some moment cracking open the seal to see if it had actually worked. Thankfully it had. Sadly the block and its crystal contents will be demolished – but then they said that last year… http://www.artangel.org.uk/