burnlab- Detroit
- United States
- Rank: 145
burnlab is currently Vitalic
Full Name:
Born:
January 15, 1972Job:
Senior Designer, O2Website
burnlabStatus:
EmployedBiography:
Michael Doyle studied under members of the Propeller collective at the College for Creative Studies in the early 1990s, where he first began to challenge the lines between creative disciplines. With equal footings in design and fine arts, he has applied this passion through his involvement in performance and installation art, while working across a range of design disciplines, including interactive exhibits, environmental installations, graphic design and information architecture. He has worked in Detroit, New York City, Los Angeles and Singapore over the past decade.
As one of the first to embrace and articulate the concept of "experience design", Doyle recently solidified a long-term relationship with the innovative design and communications agency o2 Creative Solutions, where he continues to explore the possibilities of experience-based communication, and the merger of art and technology with a team of like-minded artists and creative professionals.
He has also designed albums for artists such as Solvent and Matthew Dear for the highly acclaimed Ghostly International record label, and has managed to find the time to found the DJ collectives Dorkwave and Dethlab, effectively dismantling the walls between Detroit's famously splintered music scenes. Dethlab and Dorkwave have DJ'd with the likes of T. Raumschmiere, Ectomorph, Solvent, Vitalic, Carlos D., Adult., Chemlab, and Jimmy Edgar.
As much a theorist as a maker, Doyle has lectured on visual communication and experiential design at colleges around the country, was the featured speaker at a Core77 design symposium in New York and won first prize for a future communication booth design competition sponsored by Archinect and Vitra in 2002.
Highly active in the community, Doyle served as Graphics Chair for the 2003 Industrial Designers Society of America national conference, and on the board of directors for the Contemporary Art Institute of Detroit, where he co-curated the controversial and highly acclaimed Other Auto Show. As an internationally regarded cultural commentator, he is director of Burnlab.net, a web-zine dedicated to emerging trends in art, design, music and culture with an editorial team of over twenty contributors from around the world, comprised of leaders in fields ranging from generative art to electronic music to automotive design. He also contributes editorial content for online design journals Archinect.com, core77.com and computerlove.net.
March 11, 2006 Last login on:
July 22, 2008
Blog Item
March 6th, 2008
Maximum Joy
Mazda Taiki Concept interior
Dutch architecture critic Michiel van Raaij examines Mazda's bold new design language.
In the past year the Japanese carmaker Mazda has been working consistently on a new form language, and this week unveiled their most extreme ‘sculpture’ yet: the Mazda Furai. A car designed to take the 24h Le Mans challenge.
The design features ‘crossed folds’ everywhere. Normal steel plates feature only single folds, but here multiple folds are applied that cross each other diagonally. That is completely new. Unprecedented.
He goes on to talk about "maximalism" in design, and - without saying so outright - asks that we re-examine our definitions of "beauty". (At least that's what I took from it.)
Maximalism is our future. Maximalism is the end of good taste. Maximalism moves the border of good taste a little further and thereby makes room for emergent futures.
“Architects are obsessed with good taste”, Crimson writes in their book ‘Too blessed to be depressed’. I think that is true. But I also think that taste moves in a certain direction, in the direction of form, of maximum form. Zaha Hadid is just the beginning.
(Or, in the direction of "maximum joy", as we learn to shed the shame of Eden and rediscover the uninhibited virtues of wonder and possibility. Mazda does an excellent job demonstrating a new kind of beauty, unburdened by the type of shame which is at the root of outmoded definitions of taste.)
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