A Book with Ron Arad
Ron Arad, Paved with good intentions
Published by Friedman Benda, New York and the Gallery Mourmans, Belgium
Graphic Design by Buchegger, Denoth, Feichtner
ISBN: 978-0-9723108-3-3
The name and contents of the book allude to the identically named installation "Paved with good intentions", which took place at the Collins Building in the Design District Miami in 2005. The installation consisted of 69 tables of polished stainless steel distributed over the floor and walls. Because of the surfaces of the tables, reflecting like mirrors, visitors felt like in a labyrinth and an optical irritation at the same time, making it difficult for them do distinguish between reality and reflection, and between positive and negative surfaces, respectively.
Just as this formal experiment of space the book imparts to the viewer the feeling of being right there in the installation proper. Therefore, the book is not only intended to show the tables of the designer, but to simulate the exhibition. The mystification of reflection and reality put into effect by the installation is echoed in the book. If the table pictured in the book has a shining and specular surface, then the background is matt, and vice versa. This interplay of black, white and chrome-plated planes as well as the fact that these are reflected in the shining surfaces
reflects the mystification effectuated in the installation.
Published by Friedman Benda, New York and the Gallery Mourmans, Belgium
Graphic Design by Buchegger, Denoth, Feichtner
ISBN: 978-0-9723108-3-3
The name and contents of the book allude to the identically named installation "Paved with good intentions", which took place at the Collins Building in the Design District Miami in 2005. The installation consisted of 69 tables of polished stainless steel distributed over the floor and walls. Because of the surfaces of the tables, reflecting like mirrors, visitors felt like in a labyrinth and an optical irritation at the same time, making it difficult for them do distinguish between reality and reflection, and between positive and negative surfaces, respectively.
Just as this formal experiment of space the book imparts to the viewer the feeling of being right there in the installation proper. Therefore, the book is not only intended to show the tables of the designer, but to simulate the exhibition. The mystification of reflection and reality put into effect by the installation is echoed in the book. If the table pictured in the book has a shining and specular surface, then the background is matt, and vice versa. This interplay of black, white and chrome-plated planes as well as the fact that these are reflected in the shining surfaces
reflects the mystification effectuated in the installation.