Side table by Michal Maciej Bartosik, after Mies van der Rohe, at Klaus by Nienkämper

多伦多的年度内部设计展览上周在新的位置——位于市中心的地铁会议中心——直接在CN塔的阴影下举行。
今年的另一个变化是，在多伦多国际设计节，贸易展览形成了城市的第一个全歌唱设计周的后骨。
好吧，当我们说全唱的时候，多伦多不是米兰，巴黎，或者科隆，当谈到新设计的时候，卫星节目数量有限，相对来说是孤立的——多伦多有一个小型的已建立的产品设计师，他们以设计的名义在任何地方种植一个事件。
但是，在制作过程中，还有大量有趣的造物主、艺术家和可观数量的创意。
它在数量上可能缺少的东西当然是为了激情和野心而弥补的。
本周的活动包括安大略省文化座位上的设计特定展览——重点是在皇家安大略博物馆举办的出色的展览、剪贴/粘贴，该博物馆是由当地创意机构的母亲品牌所诅咒的，它探讨了加拿大设计中的长期使用文化。
虽然设计中的再循环无疑是一个全球性的预先占领，但展览展示了整个历史上它的引人注目的例子——与伟大的当代作品一起，是由50年代设计的Russel扳手制造的，用在他的家工厂制造日渐减少需求的木制电池盒的材料和技术制造的，
FredMoffat在1945年设计的标志性的K42水壶，他的身体是由McLaughlin别克的前照灯制成的。
K42的形式成为行业标准，并生产了30年的水壶。
在一次关于“没有石油的世界”的专题讨论会上，前主编杰西·阿什洛克主持。
《建筑与设计世界》杂志将拯救世界，寻找设计主导的答案，以减少能源资源。
演讲者包括强大的地方布鲁斯·茂--“让我们从方程式中获得焦虑和负罪感，并设计美丽和智能的对策来满足我们的世界的需求，因为我们可以”；
蒙特利尔加拿大建筑中心主任MirkoZarini在20世纪70年代考察了对石油危机的反应，并暴露了建筑师和设计师的亚文化，锻造了未来主义的解决方案，现在我们考虑自己；
来自洛杉矶的弗里茨·哈格，他在一个人的任务中去挖掘美国的后福前草坪并重新引入野生的，印度这座城市既可食用又可食用园艺；Artecnica的Tord Boonje和Enrico Bressan谈到了他们使当地的全球和全球地方的使命可以帮助解决问题的小方法；以及波士顿建筑公司的希拉·肯尼迪(Sheila Kennedy)，他展示了他们节能探索的结果，包括破土动工的节能窗帘。恰当地说，“打捞物品和负责任地收集材料”，即当地设计二重奏德雷斯勒兄弟的咒语，可能已经被应用于目前加拿大设计的大部分领域。再利用、木材和加拿大是世界各地的主要主题。在当地机构Make主办的Radiant Dark资产和价值展览(一家支持和零售加拿大新设计的画廊)上，有一盏由新闻纸制成的Lufic的布伦特·科德纳(Brent Cordner)的标准灯；覆盖着凯丽·克罗根(Kerry Croghan)松树和灰熊的纺织品的垫子(反映了加拿大的户外环境，似乎是20世纪70年代睡袋衬里的指纹)；以及安内克·范(Anneke Van)的豪华蓬头士叉。庞美尔，由黄金锻造，想必是为了迎合目前的趋势，即魁北克的薯片、凝乳和肉汁的慰安盘(魁北克的薯片、凝乳和肉汁)。在ROM上，广受欢迎的本地设计独树一帜的Castor展示了他们最新的作品，一组由灭火器制成的吊灯，这些灯饰经过切割和喷洒，成功地克服了大量回收设计的低劣品质；而帮派头目德雷斯勒兄弟(Brothers Dressler)则把自己的邮票贴在了狩猎和收集的旧学校椅子上(增加了木制支架)，以供他们在IDS中展示，并使用回收瓶在Radiant Dark制作了一盏吊灯。一小群人反对重金属回收和木制品设计的趋势，这是一个庆祝铸铁“固有诚实、质量和寿命”的物品展览，并探索了喷砂和泡沫铸造的各种技术。作品由马特邪教组织的乔纳森·萨宾、布伦特·科德纳、罗布·索斯科特、德里克·麦克劳德和迪特尔·詹森等人创作。在IDS展上，工作室北区一如既往地培育了新的本土设计：亮点来自塔希尔·马哈茂德(Tahir Mahmood)-他用自己古老的车床制作的Sotsassian支架和迫击炮注入了色彩-从他的祖国巴基斯坦转向了科学与之子(Science And Sons)，他们展示了爱国的加拿大枫木电台(Maplewood Radio Canada)；凯文·卡斯特(Kevin Karst)用他的兰花堆叠凳子。在多伦多艺术实验室格拉德斯通酒店举办的年度活动中，有11间客房(不谢谢)

Tray Tables, 2007, by Todd Falkowsky, co-founder of Motherbrand who curated the Cut/Paste Creative Reuse in Canadian Design at the ROM

The Royal Ontariao Museum and its Libeskind extension, opened in 2007, which hosted the Cut/Paste exhibition curated by Motherbrand

Chairs at Cut/Paste Creative Reuse in Canadian Design at the ROM

Ruspan Lounge Chair by Russel Spanner, designed in the 1950s, was made from wooden battery boxes – a designer’s repsonse to the problem of a factory failing post-war when its product was becoming obsolete

Tank Lighting by Castor – the latest piece from the local design duo is made from fire-extinguishers - at Cut/Paste Creative Reuse in Canadian Design at the ROM and also Ministry of the Interior, Ossington Avenue

Toboggan Coffee Table, 2008, by Todd Falkowsky, co-founder of Motherbrand who curated the Cut/Paste exhibition at the ROM

Pound – a pestle and mortar by Brent Cordner of Luflic – at the Heavy Metal Exhibition at Paul Petro Contemporary Art

Cast Iron Table by Derek Mcleod Design – at the Heavy Metal Exhibition

Relief, by Rob Southcott – at the Heavy Metal Exhibition

Heavy Light, by Dieter Janssen, at the Heavy Metal Exhibition

Array, by Jonathan Sabine of Mat Cult, at the Heavy Metal Exhibition

Works by Artist/Designer Al Groen, at Ministry of the Interior, Ossington Avenue

Works by Artist/Designer Al Groen, at Ministry of the Interior, Ossington Avenue

Community Vessels, by Erin McCutcheon, at Radiant Dark Assets and Values Exhibition curated by MADE

Newsworth standard lamp, made from newsprint and elastic mesh by Brent Cordner for Luflic, at Radiant Dark Assets and Values Exhibition curated by MADE

Ceramic Tile Quilt, by Jennifer Graham, at Radiant Dark Assets and Values Exhibition curated by MADE

Textiles, inspired by Canada’s great outdoors (and reportedly 1970s sleeping bag linings), by Kerry Croghan at Radiant Dark Assets and Values Exhibition curated by MADE

Silhouette Cutlery Series (poutine fork, icecream spoon, knife) in stainless steel and 14 carat gold, by Anneke Van Bommel, at Radiant Dark Assets and Values Exhibition curated by MADE

Atelier 668, home to Alex Jowett, where local design and craft is on display and for sale

Table by Michael Greenwood, at Atelier 668

New wallpapers from British-born, Toronto-based artist-designer Julie Jenkinson at Inabstracto, Queen Street West

Oblique Time (‘Abstract time, Exactly’) by Tristan Zimmermann of Science and Sons – a moving sculpture that tells the time

Fracture – a modular table by Tychotic Design at Prototype, Studio North, IDS

Trays made of Corian by Emil Design Studio, at Prototype, Studio North, IDS

Radio Canada – a maple wood and aluminium radio designed for ‘home and native waves’, by Science and Sons at Prototype, Studio North, IDS

Chandelier by Tsunami Glassworks, at Studio North, IDS

But-tee lamps, by Tahir Mahmood, at Studio North, IDS

Pestle and mortars, by Tahir Mahmood, made of dalbergia sissoo wood, using an ancient technique of lathe-turning with resin colour application, at Studio North, IDS

From the limited line of ‘salvaged school chairs’ by the Brothers Dressler, at Studio North, IDS

What Lies Beneath, Rob Southcott’s take on a coffee table at Studio North, IDS

Orchid stacking stool made from bent ply white ash by Kevin Karst for Prototype, at Studio North, IDS

An installation by Bruno Billio (resident artist at the Gladstone Hotel) and Orest Tataryn (a light sculptor) at the Gladstone Hotel’s Come up to My Room exhibition, in which artists and designers collaborate to transform rooms