Vince Carter's - Daytona Beach, Florida

After dining at one of her favorite restaurants, Darden Restaurants' Seasons 52, Michelle Carter-Scott, mother and business manager for Orlando Magic NBA star Vince Carter, knew she had found the design team for her son's namesake restaurant: Orlando architecture firm Cuhaci & Peterson and interior design firm Schmidt Design Studio. The design brief: a unique restaurant that Daytona Beach, Florida, had never seen before. Says principal interior designer Anna Schmidt: "I remember her saying, 'We want Vegas, baby!'"

But don't think Vince Carter's is packed with memorabilia a la Hard Rock Café. "Vince wanted his outstanding basketball career to only be represented by subtle touches," she says. The Highlight Zone, which is the high-end sports bar, dons a few pieces of basketball art; in the entry, there is a retail space that features some mementos of Carter; and custom painting of the star hangs on a high wall in the main dining room.

Elsewhere, throughout the 11,000-square-foot space, the designers used rich and contrasting dark wood stains, warm colors (raspberry, gold, metal hues), touches of metal (steel copper, and pewter), lots of textures, and clean lines. And there is motion and curves to the design—in the massive hanging features with undulating metal strips to curved details in the carpet pattern. "Our goal was to create a rich, high-class, yet comfortable and approachable atmosphere," Schmidt says. "While the color palette was different than you might expect, all the aspects came together to create a beautiful aesthetic. It really draws you into the space."

Schmidt's favorite room: the VIP dining room. Elliptical in shape, it features an oval ceiling cut out with staggered furrdowns, which guests can see on to the exterior 30-foot high windows, she explains. And the room has a warm glow, thanks to gold and pewter hues, custom blown glass pendants that hang from the ellipse, and a 25-foot custom glove glass chandelier that spirals from the ceiling.

"The restaurant features four inside dining and drinking environments, as well as three exterior patio areas. Each offers a unique guest experience for both traditional and private dining," Schmidt says.

MoMA gives Modern a Makeover

The modern design section of the Museum of Modern Art (MoMA) recently received a facelift. Running from December 23, 2009 to July of 2010, the museum’s third floor Philip Johnson Architecture and Design Galleries showcases “Shaping Modernity: Design 1880–1980.” The exhibit houses a selection of visionary objects, graphics, architectural fragments, and textiles from the Museum’s collection that reveal the attempts of successive generations to shape their experience of living in the modern world. Curator Juliet Kinchin and curatorial assistant Aidan O’Connor organized some 300 works into the following five sections:


The International New Art 1890–1914

The International New Art flourished in urban centers around the world taking on many localized forms and names (among them Art Nouveau, Jugendstil, Arte Modernista, Sezession, and Glasgow Style). The pieces in this installation were used in the office of the MoMA’s founding director, Alfred H. Barr, Jr. Other examples in the exhibition include a side chair by Charles Rennie Mackintosh, a side table by Mackay Hugh Baillie Scott, and a plaster cast of Antoni Gaudí’s original finial sculpture for the Church of the Sagrada Familia in Barcelona.

New Typography 1927–37

In the 1920s and 1930s, the movement known as the New Typography brought graphics and information design to the forefront of artistic avant-gardes in Europe. Rejecting traditional arrangement of type in symmetrical columns, modernist designers organized the printed page or poster as a blank field in which blocks of type and illustration (frequently photomontage) could be arranged in harmonious, strikingly asymmetrical compositions. Included in the exhibition are 14 works by Jan Tschichold, Ladislav Sutnar, Johannes Molzahn, Theo H. Ballmer, Herbert Bayer, Frantisek Kalivoda, Zdenek Rossmann, Joost Schmidt, and Aleksandr Rodchenko.

Mind, Body, Machine 1925–40
The tone of this section is set by a giant railroad-car spring and a boat propeller first shown in MoMA’s landmark Machine Art exhibition in 1934, which celebrated such items of anonymous industrial design as symbols of social improvement and technological progress. The theme is further explored in utilitarian objects such as a streamlined meat-slicer (given in memory of the Yippie leader Abbie Hoffman), and the Vipp trash can, designed for a Danish hair salon.

What Was Good Design? MoMA’s Message 1944–56

This section,which opened in May of 2009, presents over 100 selections from the museum’s collection—ranging from domestic furnishings and appliances to textiles, sporting goods, and graphics—to illuminate the primary values of Good Design as promoted by MoMA within an international debate conducted by museums, design councils, and department stores.

Continuity and Critique 1960–80
The clean and elegant forms of classic modernism continued to appear in the domestic appliances of Dieter Rams for Braun, and the Vignelli Associates’ stacking plastic dinnerware. For many however, the emphasis on pop music, youth, and counterculture opened up new possibilities in materials, colors, and forms, as well as more humorous, expendable design.

The BMW Art Car was conceived in 1975, the year that French auctioneer and racecar driver Herve Poulain first entered 24 Hours of Le Mans. Searching for a link between art and motorsport, Poulain asked his friend, noted artist Alexander Calder, to commission a rolling canvas on the BMW 3.0 CSL that he would race. In the years that followed, this unique combination of motorsport and BMW design fascinated the famous artists of our time. Frank Stella, Roy Lichtenstein and Andy Warhol have all turned BMW racing cars into Art Cars.

Since 1975, outstanding artists from all over the world have been designing the BMW automobiles of their era. The BMW Art Car Collection include works by well-known artists such as Frank Stella, Roy Lichtenstein, Andy Warhol, A.R. Penck, David Hockney and Jenny Holzer. The Art Cars reflect the developments in art history with regard to fine art, design and technology and are displayed worldwide in major museums such as the Paris Louvre, the Royal Academy in London, the New York Whitney Museum of Modern Art, Venice's Palazzo Grassi, Sydney's Powerhouse Museum and the Guggenheim Museums of New York and Bilbao. In the future, too, Art Cars will document the fascinating link between art and technology in international exhibitions.

Chronological list of all BMW Art Cars.

Alexander Calder (USA) 1975 BMW 3.0 CSL

Frank Stella (USA) 1976 BMW 3.0 CSL

Roy Lichtenstein (USA) 1977 BMW 320i Group 5 Race Version

Andy Warhol (USA) 1979 BMW M1 Group 4 Race Version

Ernst Fuchs (Austria) 1982 BMW 635 CSi

Robert Rauschenberg (USA) 1986 BMW 635 CSi

Michael Jagamara Nelson (Australia) 1989 BMW 635 CSi

Ken Done (Australia) 1989 BMW M3 Group A Race Version

Matazo Kayama (Japan) 1990 BMW 535i

César Manrique (Spain) 1990 BMW 730i

A.R. Penck (Germany) 1991 BMW Z1

Esther Mahlangu (South Africa) 1991 BMW 525i

Sandro Chia (Italy) 1992 BMW 3 Series Racing Prototype

David Hockney (Great Britain) 1995 BMW 850CSi

Jenny Holzer (USA) 1999 BMW V12 LMR

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Jon Tarleton- Another GREAT HG Artist

WOW! Love this new work!!!!

Where do you guys keep finding these great artists?