Industrial Facility
 
 

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Project

K9 Post Office Kiosk

 

Client

Design Museum London

 

Production

2009 (not in production)

 

As part of the exhibition ‘Super Contemporary’ Industrial Facility made extensive research into the feasibility of a Post Office Kiosk that shares the same dimensions as a Telephone Box, to alleviate some of the pressures that current Post Offices are struggling with. The result was a kiosk that provides a range of services including buying stamps; TV Licenses and Tax Discs. The project was not about replacing post offices but about supporting a network which is under great pressure.

The design is primarily made of wood and glass. The roof is a rotatable solar powered panel, with the interior involving a flat LCD screen with a sheet of glass in front of it. On the screen a ‘real’ member of staff is present and can see the customer (and vice versa), using what is called Telepresence technology - real time, centralized video conferencing. We have merged this with the technology of video mapping, so that a letter held up to the screen can be registered in terms of size and confirmation of address.

Exhibitions

Super Contemporary, Design Museum London, 2009

Travelling, Taipei Fine Arts Museum, Taiwan, 2011

 

Downloads

K9 Post Office Kiosk

 

Further Reading

Design Museum London, Super Contemporary

 
 
 

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Project 

Issey Miyake Kiosk

 

Client

Issey Miyake Parfums, France

 

Production

2009 -

 

The kiosk project for Issey Miyake Parfums sets perfumery inside a more solid, receptive and also mutable environment. The display is an exercise in balance, where permanence is offset by lightness and movement. The design used the historical context of market stalls to provide a simplistic approach to the function of selling, rather than the ephemeral and aesthetic that are often the staring point for this type of project. Each functional element of stock, wrapping, transaction and display are visible and inform the whole design. The result is that the interaction between beauty consultant and customer is now on the same level - rather than from behind a counter. The design was first launched at Galleries Lafayette in 2009, and from its success has now been rolled out globally.

 
 
 

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Project

Issey Miyake Display

 

Client

Issey Miyake Parfums, France

 

Production

2009 -

 

The kiosk project for Issey Miyake Parfums was accompanied by a design program for the method of displaying products. The feeling generated was of a curated collection of items. Box displays, perfume stands, test placements, and trays were combined to create a fresh and informal presentation. The designs were first launched at Galleries Lafayette in 2009, and from its success have now been rolled out globally.

 
 
 

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Project

Some Recent Projects

 

Client

Design Museum London, UK

 

Production

2008

 

Curated by Gemma Curtin this was Industrial Facility's first exhibition within the UK. It covered the studios designs and their position in the landscape of life, exploring how it has pushed the boundaries of materials and methods. Two simultaneous exhibitions were presented. 'Some Recent Projects' focused on recent works. 'Under a Fiver' presented almost 100 objects from around the world, collected and edited from the past 15 years, that influenced the studio's thinking, and brought into question the very nature of what we consume. Exhibition graphic design and signage were executed by Graphic Thought Facility. A bookshelf at the entrance to the exhibitions doubled as a practical means of storing and dispensing the gallery guide, while also acting as a surface for the title graphic for both shows.

Exhibitions

Now! Design Vivre, Paris

 

Further Reading

Graphic Thought Facility

 
 
 

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Project

The Artist and Engineer

 

Client

Intramuros, France

 

Production

2003

 

This exhibition put the two radically different approaches of Ron Arad and Sam Hecht together under the title The Artist and Engineer. It resulted in a two-tiered exercise: Ron Arad’s spatial calligraphy alongside Sam Hecht’s more intimate writing. The supple shapes of Ron Arad’s furniture put ideas and design foremost, whilst Sam Hecht’s rigorous and critical approach is applied to the standard formalism associated with mass consumerism, his preferred field of creativity.

Philippe Boisselier’s exhibition design, in collaboration with the designers, placed the work of each opposite one another – a podium for Ron Arad, and a window display for Sam Hecht – furniture and objects presented on the same level that showed the blurred lines between activities linked to research and creation. The designers met again when Ron Arad, professor at the Royal College of Art, asked Sam Hecht to form a teaching platform in 2009.

 

Exhibitions

Now! Design Vivre, Paris