Tropical Modernism- The Colin Laird Exhibit at the National Museum, Trinidad

“Public Spaces: The Architecture of Colin Laird” opened at the National Museum in Port of Spain, Trinidad on June 28, 2012. The exhibition puts a spotlight on Colin Laird who is recognized for using architectural strategies in the climate of a post-independent Trinidad and Tobago to create urban designs that encouraged participation and inclusion. Laird worked at the front line of a movement that sought to redress colonial architectural styles that asserted superiority and separation. Colin Laird’s designs include the National Library, National Stadium, the Brian Lara Promenade and Queen’s Hall. The exhibition coincides with celebrations of Trinidad and Tobago’s 50th anniversary of Independence. “It is the first exhibition of architecture in the nation,” said Christopher Laird, son of Colin Laird. - Marsha Pearce (Cultural Scholar and Filmmaker)

I went to see this exhibit the day after it's opening with coworkers and I was really amazed to see all the work , sketches and intricate models of so many of Trinidad and Tobago's most prominent buildings.

Definitely a must see!

Colin Laird speaks with co-rd Limited's Sean Leonard about the Boissiere House. See the video here. <<< I Love This 'Ginger Bread House!'

Photos of the event by Marsha Pearce here.

Article on the exhibit in the Trinidad Guardian Newspaper here.
More about Public Spaces here on 'Repeating Islands'

Also, learn more about Marsha Pearce here.

Designer: Marlon Darbeau 'Jazz On The Beach'

Designer Marlon Darbeau gives us a behind the scenes look at designing the set for Mt Irvine 'Jazz On the Beach' 2012.

See more here.

At the Callaloo Company in Trinidad. Making the set.

Jazz On The Beach Mt. Irvine Bay

Photos courtesy marlondarbeau.blogspot.com

Alex Smailes: Does the term 'Caribbean' or 'Island Aesthetic' mean anything to you?

Alex Smailes.
Photo by Ryan Goodman

Alex Smailes is a photographer and a Director at a Brand Engineering Agency
in Trinidad and Tobago — Abovegroup Ogilvy. 

Alex:  At first it's easy to stereotype and answer on gut reactions, such as: Barbados understands style & grace, has historic preservation laws in place, immaculate public services that work and keep organic roadside development at bay. In terms of innovation, for years they have had rain water collection and mandatory solar heating. Many areas are serviced by electrical and fibre optics underground rather than ugly overhead lines. Someone invented a garbage bin that fits into a hole in the ground with a clip lid, so dogs don't strewn rotten food and nappies over the streets each morning. Vagrants are actually part of the solution and provide a fantastic, profitable glass recycling programme. Okay – mostly human functional aspects, but ultimately it adds to the general aesthetic by allowing the environment, urban or countryside, to breathe.  

Smaller islands from old English, Dutch or French equally influence a tranquil harmonious relationship with the human footprint and the surround space people live in. It feels quieter, a sense of calm, colour palettes blend with the surrounding hills or forest. Jamaica with its hundreds of years heritage is proud and celebrate the historical classic buildings they have left. Even Haiti, Port au Prince once the richest, most developed and most strategically important island nations had almost been caught in a time vacuum and (prior to the earthquake) was still one of the most beautiful cities in the Caribbean. If you scraped away the decades of blood, sweat and tears.

Trinidad, my island of residence inspires me everyday. From handmade iron burglar proofing designs that are clearly influenced from art nouveau, deco movements. A hand painted sign at the side of the street, by someone who could not decide what he was trying to sell on such a small sign and wrote- Water nuts. I sometimes presume watermelon, sometimes coconuts depending on supplies, price or mood. For my personal work, it rains for half the year here, much of my photography work is dark, grey, moody, backdrops of unpainted breeze blocks, a recycled galvanize out of necessity not social consciousness, a wooden door now a wall.

Unfortunately, there is a greater force of distaste spreading, on the grand scale it is felt in the urban development plans of various governments, destruction of green spaces, walkways, spaces for humans to interact, eradication of historic buildings. Major design decisions are in the hands of just the wrong people and committees. On a smaller scale, one of the worst destroyers of our daily aesthetic – the deadly combination of photoshop and affordable large format vinyl printing. This will or has already destroyed our daily visual journey I'm afraid.

Thankfully I'm surrounded everyday by very talented and driven people willing to learn, push themselves and absorb from the global community when needed. They figure out how to produce work that is locally relevant, yet to international standards. I truly believe we can keep chipping away and producing great work that stands out and is noticed.

It's up to the older generation of trained creatives to share knowledge and experience, if the younger ones listen, we may be able to keep the aesthetic killers at bay for a while.


Alex worked on his first book, Trinidad and Tobago, for the first two years after returning to this country. Published by Macmillan, it was designed by Gareth and represented the first joint project between the two. Along with third partner Sam (who is now based in London), Abovegroup was formed shortly afterwards.

*Photos of Alex's book courtesy Abovegroup Ogilvy

Island Identity...On Caribbean or Island Aesthetic with Katinka Bukh

Katinka Bukh is the Director for katbukh design ltd.

She was formerly a Creative Director for Abovegroup, Trinidad.
Business Relations and Strategy Care part of position.
Abovegroup is now partnered up with Ogilvy and now called AbovegroupOgilvy.

Does the term 'Caribbean' or 'Island Aesthetic' mean anything to you 

and if so what?

As a Danish Creative Director having worked in Trinidad for a year

I found that ..

Its a small world containing a lot of worlds.

I had almost no knowledge about the Caribbean. But somehow I felt that since I'm from a small place myself - an island in fact :) - it was not to different, from a human perspective.

From a design perspective it was very different. Mostly because the confusion about what a local expression should look like. And what good design is.

Essentially there are two things I feel drive the creative process towards finding that answer in the region - its curiosity and diversity.

You can't create good design without being curious. Almost nosy in fact. You have to know everything about anything- everywhere. That makes a good designer. Cause inspirations comes from all places.

There is a sense, I feel, that there is .. a shame in looking towards other countries in the quest of finding a visual Caribbean identity. I don't agree. We all have to look in and outwards to find great answers to great questions. And we all leave our mark.

So everything coming out of the Caribbean is already Caribbean, being it good or bad.

And it leads me to the energy which springs out of the diversity that exist here. There is such a strong presence in a island cause it is by nature isolated. So here we are - close together with a distant dream of other places beyond the horizon. We are all coming from somewhere else, even it's generations ago. Its a strong history to share. I think being a young nation matters a lot. But it matters in a good way. There is no set way of doing things. There is a lot of pioneering.

New ways to be discovered. And a will to do it.

As a European having worked in three countries I dont know anymore if I'm a 'danish designer'. Where does inspiration come from? I know what my cultures aesthetic past is - for better and for worse, but does that make me that? For me its not so important anymore, because I feel as a part of the globalisation having worked in 3 countries with people from all over the world.

But when I'm in Denmark I can see it is important because its the visual clothes we wear. How we make things look tells a story about who we are. To each other and the rest of the world.

I cant wait to see more art, fashion, design, branding etc coming out of the cracks and corners of the Caribbean.

And I feel happy and privileged being a small part of that world.

Katinka Bukh

Island Identity... Does the term Caribbean or Island Aesthetic mean anything to you?

I'm starting a mini series asking questions about 'Caribbean or Island Aesthetic.'

So between colour palettes, design work and beautiful pictures, expect to get some discussion about this from some of the designers, writers, artists, creative directors, directors and other friends of mine.

Some of these interview answers will be presented in written post and later a few will be video recorded. I hope you find the answers to these as interesting as I do and you share your views!

Island Identity 1.

Richard Mark Rawlins is a Graphic Designer/Photographer/Artist/Creative Director, working in advertising in Trinidad for the last twenty years. Rawlins is the publisher of the online magazine Draconian Switch (www.artzpub.com) . Draconian Switch is currently in the GLOBAL AFRICA PROJECT at the Museum of Arts and Design.

Richard Mark Rawlins
photo by Rodell Warner

Does the term Caribbean or Island Aesthetic mean anything to you and if so what?

I think it's a matter of perception, exposure and age.

Island Aesthetic

Age:

At 44 I am a post independence child. That means that I was part of a new movement heading towards a nationhood building.

The smallness and expectation of "ISLAND" culture never entered into my psyche at all. Black power was another nation shaping thing in a sense that set to put the "islandness" of things in another place once and for all.

I had aunts and uncles in UWI involved in the movement, that was about 'black pride'. That shaped me.

Pride in self and seeing yourself as beautiful was foremost.

Exposure:

A decade of living in a north america opened my mind to a bigger world of possibilities, but not a wanting for replacement of what I had. If anything it left me with an even bigger sense of pride and place and appreciation for what I had an where I came from.

All my national pride moments came from a place of "countryman " pride vs island pride.

While I understand the clichéd...a small island nation that went before a Ms. Universe, or a Miss Worldor a Hasely Crawford or an Ato Boldon or Dwight Yorke or Brian Lara, the bigger understanding was always nationhood and people power.

Perception:

I don't work in an environment or rather I am not around many "foriegners" or expats. 

My country is seen through my eyes as just that "my country". I really don't ascribe an aesthethic to it other than a love of "BREEZE" blocks. In recent times I've heard the "island" culture discussion coming from my own people, and I guess I would have to link it to their relationships to the large amount of Europeans that are now working  alongside them.

I think the fraternization has created a psuedo-aesthetic actually. One in which the local re-inteprates their landscape through foriegn eyes. So much so that they themselves see their country as an island and adopt terms like the 'locals' , when they themselves are the locals.

Final analysis:

The discussion should really be around Banana Republicanism and the Carnivalesque adsurdity of our Political systems rather than about our Caribbean or Island Aesthetic.

Draconian Switch is an Art and Design e-magazine published in Trinidad and Tobago by Richard Rawlins with the collaboration of a group of artists, designers, and writers. The Magazine’s primary goal is to feature the work of CONTEMPORARY artist currently working in Trinidad and Tobago or with GLOBAL Caribbean connections.

Comitted To Caribbean Beauty- 'Immortelle Beauty' A Product of International Cosmetic Quality, Created for the Caribbean Woman...

 

In January 2011 I worked on the Identity, Branding and package Design for 'Immortelle Beauty' 

'Immortelle Beauty is  a newly formed Caribbean Cosmetic company. Immortelle Beauty strives to create elegant, safe, cost-effective, and efficacious products which appeal to all West Indian women. These products will be the bridge which connects the advanced European, Asian and North American cosmetic technologies with the Caribbean consumer. Quality products made with the Caribbean woman in mind....' Kathryn Nurse, the creator and founder of Immortelle Beauty is a Trinidadian Woman  to watch out for! Working with her to create her brand was an absolute joy as she was a fantastic client who like me did not see her self as limited to living on an island. Her aspirations, goals, wants, taste and expectations were tremendous. The aim was BEAUTIFUL and nothing less. Abovegroup Ogilvy started work on this project in 2010 with an intensive brand analysis by the strategy team and then conceptualising the design began.    The colour palette and textures of Immortelle Beauty’s Brand was inspired by the ocean, beaches, plants; sugarcane plant, avocados, plum.   The aim was to create a brand that could easily rival any international brand but clearly was special and echoed tailored hints of the Caribbean.    To read more about creating the brand for Immorettle Beauty go here What do you think when you think about Local Brands?

An Island Identity

My name is Tanya Marie Williams and I have always been obsessed with design, advertising, books, products, style and beautiful things.

I'm a graphic designer on an island, working for a brand engineering firm, creating and developing brands. I work with and know some amazingly gifted and intellectual artists, designers, architects, strategists, photographers, writers and fantastic inspiring people!

Some of these great people were born and raised on the island. Others were born here but grew up and went to school abroad then came back home with degrees and different experiences. Some people aren't at all from the island but the melting pot of amazingness adds to my 'wordly-island view'

I'd love for you to share your views and comments with me while I continue to craft  

my idea of an 'island aesthetic.'