PDP- Stor(Y)age


glitch is a short-lived fault in a system. It is often used to describe a transient fault that corrects itself, and is therefore difficult to troubleshoot. The term is particularly common in the computing and electronics industries, and in circuit bending, as well as among players of video games, although it is applied to all types of systems including human organizations and nature.


Glitach is a style of electronic music that emerged in the late 1990s. It has been described as a genre that adheres to an "aesthetic of failure," where the deliberate use of glitch-based audio media, and other sonic artifacts, is a central concern.

Sources of glitch sound material are usually malfunctioning or abused audio recording devices or digital electronics, such as CD skipping, electric hum, digital or analog distortion, bit rate reduction, hardware noise, software bugs, crashes, vinyl record hiss or scratches and system errors.In a Computer Music Journal article published in 2000, composer and writer Kim Cascone classifies glitch as a subgenre of electronica, and used the term post-digital to describe the glitch aesthetic.]

In a technical sense a glitch is the unexpected result of a malfunction. It was first recorded in English in 1962 during the American space program by John Glenn when describing problems they were having, Glenn explained, "Literally, a glitch is a spike or change in voltage in an electrical current."


Glitch is used to describe these kinds of bugs as they occur in software, video games, images, videos, audio, and other forms of data. The term glitch came to be associated with music in the mid 90s to describe a genre of experimental/noise/electronica . Shortly after, as VJs and other visual artist began to embrace the glitch as an aesthetic of the digital age, glitch art came to refer to a whole assembly of visual arts

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Architects Stanton Williams have completed a new campus for art and design college Central Saint Martins

Two new four-storey buildings provide studio blocks between the two 180 metre-long sheds, one of which now houses workshops.

Four-storey-high concrete walls frame the main entrance to the college, which leads into an internal street with overhead bridges and an arched, clear plastic roof.To the north of King’s Cross and St Pancras International railway stations, 67-acres of derelict land are being transformed in what is one of Europe’s largest urban regeneration projects.

The result will be a vibrant mixed-use quarter, at the physical and creative heart of which will be the new University of the Arts London campus, home of Central Saint Martins College of Arts and Design.

The result is a state-of-the-art facility that not only functions as a practical solution to the college’s needs but also aims to stimulate creativity, dialogue and student collaboration.

A stage for transformation, a framework of flexible spaces that can be orchestrated and transformed over time by staff and students where new interactions and interventions, chance and experimentation can create that slip-steam between disciplines, enhancing the student experience. The coming together of all the schools of Central Saint Martins will open up that potential.

The Granary Building itself has been restored as the main ‘front’ of the college, facing a new public square that steps down to the Regent’s Canal. The building was designed in 1851 to receive grain from the wheat fields of Lincolnshire, unloaded here from railway wagons onto canal boats for onward transport to the capital’s bakeries.

It comprises a solid, six-storey cubic mass, with an unadorned, 50-metre wide brick elevation, extended to 100-metres by office additions flanking the building. To the north, located one to each side of the Granary Building, are two parallel 180 metres long Transit Sheds.


Stanton Williams is an English architectural design practice based in Islington, London.

The studio was founded by Alan Stanton and Paul Williams in 1985 and now has a team of over 90 people with five directors and thirteen associates. Stanton Williams has completed over 350 architectural, urban design, masterplanning, exhibition and interior design projects, winning more than 100 awards. In 2012 their Sainsbury Laboratory in Cambridge was awarded the Stirling Prize.


Recently completed projects include: The new campus for the University of the Arts London at King’s Cross; the Sainsbury Laboratory Cambridge University; the Britten Pears Archive in Aldeburgh; Hackney Marshes Centre; Eton Manor London 2012 Olympic, Paralympic and Legacy venue; and King’s Cross Square.

Current projects include: The transformation of the Musée des Beaux-Arts de Nantes; an art centre for Lincoln College, Oxford; transformation of the Cambridge Judge Business School; a research building for Great Ormond Street Hospital; the Royal Opera House ‘Open Up’ project; a student residential building at King’s Cross and a number of high-end residential projects in Central London.

Other notable projects include: Compton Verney House Art Gallery; Wellcome Trust Millennium Seed Bank Building; extension of the Belgrade Theatre in Coventry; Bourneville Place and Four Brindleyplace in Birmingham; Tower Hill, Tower of London; Bourne Hill Offices in Salisbury; Whitby Abbey visitor centre, and the Victoria and Albert Museum Ceramics Gallery. 

Designer Rick Owensrecently presented a collection of his “glunge” (glamorous grunge) minimalist furniture pieces at Salon94 at Art Basel Switzerland. First designed by Owens as a personal project back in 2006, the chairs are made of exotic materials such as antlers and petrified wood. Calling them the “antithesis” of his flowing clothes, the pieces adorn his Paris home when not on display. To see the full range of his past works, visit Salon 94.

Owens studied Chinese at Otis College of Art and Design, in Los Angeles, for two years before dropping out and taking pattern-making and draping courses at Los Angeles Trade-Technical College, leading to work in the garment industry doing knock-offs of designer clothing.

His own label, begun in 1994, found a following, selling exclusively to Charles Gallay, a pioneering Los Angeles retailer who kept Owens in business for several years.

In 2001, Rick Owens joined forces with the Eo Bocci Associati group to internationally develop the Owenscorp company and his production moved to Italy. That same year, Kate Moss posed in one of his leather jackets for an editorial shot by Corinne Day. Later that year Annie Leibovitz photographed Owens and Kembra Pfahler, the designer’s controversial muse, wearing his designs for the Vogue US September issue. He showed his first runway collection in September 2002 during New York Fashion Week. The show was sponsored by American Vogue and Anna Wintour lists him as one of her three “Most Fabulous Recent Discoveries”. Owens' look has been described as "glamour-meets-grunge".



Over the years Rick Owens has established his signature look, which consists of a monochromatic silhouette made from distressed leather and draped jersey, accented with dramatic touches such as oversize lapels or voluminous sleeves. The look is always cool and nonchalant although there is a hint of grandeur in his clothing, which has garnered him fans all over the world.

It was a day before the designer’s spring/summer 2012 women’s wear fashion show and the studio was completely calm. There was no tension or drama, making it a stark contrast to the usual chaotic scenes you witness during Fashion Week. Owens was busy with model castings and fittings, but found some time to sit in front of the camera and chat to JOYCE about taking risks, his distinctive style and why he would rather design crystal toilets than ball gowns.

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There are a few other designers like Rick Owens, whose work is so instantly recognizable by cut and bias alone. Born in California, Rick Owens launched his eponymous label in 1994. His draped, dark, and perfectly cut aesthetic is the antithesis of the sunshine-saturated, bleached-teeth image of LA, and in many ways has been integral to his success. Owens relocated to Paris in 2003, where his goth meets grunge aesthetic—affectionately known as “glunge”—continues to grow from season and season. Today, Owens is a much loved and respected fixture on the international fashion scene. His vision stretches beyond fashion to include furniture, jewelry, and fur. As well as four fashion collections a year, Owens also designs Lilies, a successful diffusion line that offers a more playful take on the designer’s signature style, a bespoke line of furniture that incorporates everything from antlers to stone and wood, and his own fur collection entitled Palais Royal.

The Bauhaus was first founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus during the first years of its existence did not have an architecture department. Nonetheless, it was founded with the idea of creating a "total" work of art in which all arts, including architecture, would eventually be brought together. The Bauhaus style later became one of the most influential currents in modern design, Modernist architecture and art, design and architectural education.The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography.


Dresses entirely made of paper and conceived by Alexandra Zaharova and Plotnikov Ilya for a Russian ad agency, Doberman, have gorgeous pleats worthy of mention. Its geometric folds are definitely reminiscent of Bauhaus’s theater costumes, and even Kasimir Malevich!

Even though the Bauhaus school existed only for 14 years and closed 79 years ago, its influence is still felt today. Not only do you see Bauhaus influences in streets, interiors and furniture design, but also in the classroom where its teaching strategies are still commonly used. In fashion too, many designers are still inspired by the Bauhaus movement.

For those of you who have no clue what Bauhaus is: Bauhaus was a school in Germany that combined crafts and the fine arts, and was famous for its approach to design that it publicized and taught. One of the main objectives of the Bauhaus was to unify art, craft, and technology. The use of graphical shapes, different materials and colours are just some of the elements of designs inspired by Bauhaus.



Brutalist architecture is a movement in architecture that flourished from the 1950s to the mid-1970s, descended from the modernist architectural movement of the early 20th century. Brutalism became popular with governmental and institutional clients, with numerous examples in Britain, France, Germany, Japan, the United States, Canada, Brazil, the Philippines, and Australia. Examples are typically massive in character (even when not large), fortress-like, with a predominance of exposed concrete construction, or in the case of the "brick brutalists" ruggedly detailed brickwork and concrete together. There is often an emphasis on graphically expressing in the external elevations and in the whole-site plan the main functions and people-flows of the buildings. Brutalism became popular for educational buildings (especially university buildings), but was relatively rare for corporate projects. Brutalism became favoured for many government projects, high-rise housing, and shopping centres to create an architectural image that communicated strength, functionality, and frank expression of materiality.

Brutalist buildings are usually formed with repeated modular elements forming masses representing specific functional zones, distinctly articulated and grouped together into a unified whole. Concrete is used for its raw and unpretentious honesty, contrasting dramatically with the highly refined and ornamented buildings constructed in the elite Beaux-Arts style. Surfaces of cast concrete are made to reveal the basic nature of its construction, revealing the texture of the wooden planks used for the in-situ casting forms. Brutalist building materials also include brick, glass, steel, rough-hewn stone, and gabions. Conversely, not all buildings exhibiting an exposed concrete exterior can be considered Brutalist, and may belong to one of a range of architectural styles including Constructivism, International Style, Expressionism, Postmodernism, and Deconstructivism.


Richard Tuttle: I Don’t Know . The Weave of Textile Language

Richard Dean Tuttle (born 12 July 1941) is an American postminimalist artist known for his small, subtle, intimate works. His art makes use of scale and line. His works span a range of media, from sculpture, painting, drawing, printmaking, and artist’s books to installation and furniture.[

The vast space of Tate Modern’s Turbine Hall welcomes the largest work ever created by American sculptor Richard Tuttle.

Entitled I Don’t Know . The Weave of Textile Language, this newly commissioned sculpture combines vast sways of fabrics designed by the artist from both man-made and natural fibres in bold and brilliant colours. The commission is part of a wider survey of the artist taking place in London this autumn, comprising an exhibition at the Whitechapel Gallery surveying five decades of Tuttle’s career and a new publication rooted in the artist’s own collection of historic and contemporary textiles.



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Greek origin designer inspired from “the natural forms you see in the Greek Landscape” , she managed to createoutstanding golden coil dresses, unconsciously resembling the rave fires that plagued Greece recently.

Her stunning collection “Synesthesia” “inspired by the cross-sensational phenomenon of feeling sound, smelling motion, and hearing colour” evokes a highly perceptual and sensory sensation. It’s the vision of three-dimensional fashion that appeals to all senses. 

is a Dutch fashion designer. She studied Fashion Design at Artez Institute of the Arts Arnhem and interned at Alexander McQueen in London, and Claudy Jongstra in Amsterdam. Van Herpen immediately caught the eye with notable shows. In 2007, she started her own label. Since July 2011, she is a guest member of the prestigious Parisian Chambre Syndicale de la Haute Couture, which is part of the Fédération française de la couture. She participates in many international exhibitions and creates two collections a year.

Van Herpen’s fashion designs always express an interest in other art forms, and in a general curiosity of the world beyond fashion. Her collaborations during the research and making process are exemplary for this, as are her innovative experiments with materials, techniques and technologies.

Taken this into consideration, it is not surprising that ‘sculptural’ is a term much used to describe her work, and, indeed, the designs can function very well on their own as sculptures, as several exhibitions on her work have proven. Yet, the designs remain clothes they are not wearable sculptures, because there is another essential aspect to be taken into consideration: Van Herpen’s love for the body in movement.


‘I’m fascinated by the fact that secret lines are hidden in fully transparent and fluid materials. At the moment this material freezes (when the crystal arises) this comes to life. It’s then that the symmetry and structure underneath become visible’, explains Iris.

Apart from the frozen water items Iris showed several strong handmade designs. Every detail of those outfits was perfection and must have taken hours to make. Yet those are the designs which define Iris as an artist.


...Whether molding a feminine, dark re-imagining of Poe’s raven, or belying the stiff under-structure of a formal Victorian trench coat, the artist’s work continuously forced the feather to new heights of invention, with stunning results.

Other natural materials as well, including wood, bone, and horn, have all been muse to the deeply romantic and insatiably dark vision of McQueen, creating many a masterpiece that effortlessly combines perfect, clean tailoring and organic form.



PARADOR is a collaborative project by Paris-based architect David Tajchman and  filmmaker Benjamin Seroussi that fuses each of their signature styles and specialties. Starring dancer Olivier Mathieu and model Katya Pushkina, the short film's theme touches on the "complex rules of attraction and repulsion that end up creating energy, shape evolution, and anti-gravity," as mentioned on Tajchman's website.

Seroussi's experience in fashion film and music videos is obvious in PARADOR, which uses strong angles and slow-paced panning techniques seen in high-end fashion ads on TV. Mathieu and Pushkina, in all their conventionally attractive physical features, are decoratively armored in tetrahedral structures as they dance and pose around each other like two birds engaged in a courtship display. The futuristic structures they wear — which Tajchman and the design team created — hint at Tajchman's work methods of using digital tools and handcrafted models.


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