Avant Skis

Tackle slopes with carbon fiber skis designed for ice and versatility
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Ski magazines typically depict stylish athletes gliding effortlessly down tufts of powder, but those who live on the U.S.’ East Coast (dubbed the Ice Coast) know a different reality. Growing up on the slopes of the Adirondack Mountains in upstate New York, skiers Ben Callaghan and Joel Nashett understand the challenges of conquering less-than-ideal conditions and designed Avant Skis—high-performance skis shaped for what the conditions are, not what we’d like them to be.

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“The big trend now is to have super crazy wide skis, which is great when there is waist deep powder, but for the East and even 90% of the conditions out West, they are kind of overkill sometimes,” Callaghan explained in a recent interview. Designed using their own extensive experience skiing, the Hartford, CT-based label have created three variations of their Aviator model.

The Ace is 181 centimeters of carbon composite, making it much lighter and more responsive than fiberglass models, and its striking reflective strips heighten visibility, where the slightly shorter Bomber (165 centimeters) allows for tighter turns and its thick steel edges are perfect for pushing maneuvers to their limit, hitting rails and rocks. For women, the Wasp is the same length as the Bomber, offering the same sturdy construction and steel edges suitable for ice and rocks.

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All three models sell online for $800 each, but the innovative duo plan to open a full-service shop with a ski factory and R&D center open for tours in the future. Explains Nashett in an interview with New York ski blog Harvey Road, “I think that if people could come to a ski resort to ski and to watch how skis are made, or even get their hands dirty working on their own boards, it would be a must-do item on a travel itinerary.”


World Monuments Fund/Knoll Modernism Prize Goes to Bierman Henket, Wessel de Jonge

Manhattan may be quietly dismantling its modernist icons, but hope springs eternal…in a Dutch sanatorium. The technically and programatically exemplary restoration of the Zonnestraal Sanatorium in North Holland led Bierman Henket Architecten and Wessel de Jonge Architecten to best nominees from 14 countries to win the 2010 World Monuments Fund/Knoll Modernism Prize. Awarded biennially, the prize acknowledges the growing threats facing significant modern buildings and recognizes the architects and designers who help ensure their long-term survival through new design solutions. Principals from the firms, which are both based in the Netherlands, will be presented with the $10,000 award on November 18 at New York’s Museum of Modern Art. In addition to the cash, they’ll each score a mini monument to modernism: a limited-edition Mies van der Rohe-designed Barcelona chair, created by Knoll in honor of the award.

“Zonnestraal is a Modern-Movement gem of concrete and glass, revelatory not only in its own time, but also each time that architects and historians have rediscovered it after years of neglect,” said MoMA’s ever-vigilant modernism monitor Barry Bergdoll, who chaired a jury of architectural scholars that included Kenneth Frampton and Jean-Louis Cohen. “Now that Hubert-Jan Henket‘s and Wessel de Jonge‘s stabilization work on the restoration is complete, it reconfirms Zonnestraal’s standing as one of the most experimental designs in the fervently creative decades of modernism between the two world wars.”

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New Career Opportunities Daily: The best jobs in media.

Rudi De Wet

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Holy awesome hand-type and illustration, solid work from this South African born designer, now working in Australia.

“Rudi was one of the founding members of the Am I Collective, a now well-respected and highly sought-after design and illustration studio in Cape Town. He spent three years there, where an average day consisted primarily of hand typography jobs for the likes of Ogilvy & Mather, Saatchi & Saatchi, Network BBDO and Y & R Paris.”

You’ve probably seen bits of his work popping up all over the place, more here.

Faustino Winery by Foster + Partners

Faustino Winery by Foster + Partners

Architects Foster + Partners have completed a winery clad in Corten steel shingles in the Ribera del Duero region of Spain.

Faustino Winery by Foster + Partners

Called Faustino Winery, the three arms of the concrete structure each house a stage of production; fermentation, ageing in oak barrels and ageing in bottles.

Faustino Winery by Foster + Partners

The parts of the building containing the wine barrels are partly embedded into the ground to provide the best conditions for maturing the wine whilst the fermentation wing is exposed, allowing carbon dioxide to be released.

Faustino Winery by Foster + Partners

A road rises to the roof of the structure where harvested grapes are collected.

Faustino Winery by Foster + Partners

Inside the building a glazed mezzanine stretches deep into the wings and provides views of each area and the different processes occuring within.

Faustino Winery by Foster + Partners

The 12,500 square-metre facility has a production capacity of one million bottles per year.

Faustino Winery by Foster + Partners

Photographs are by Nigel Young, Foster + Partners.

Faustino Winery by Foster + Partners

Read more about the project in our earlier story.

The information below is from Foster + Partners:


Faustino winery opens in Spain, 1 November 2010.

Bodegas Portia
Gumiel de Izan, Ribera del Duero, Spain
2004 –2010

Bodegas Portia is a new winery for the Faustino Group in the Ribera del Duero, one of Spain’s foremost wine-producing regions. The project is Foster + Partners first winery and was an opportunity to look afresh at the building type, using the natural topography of the site to aid the winemaking process and create the optimum working conditions, while reducing the building’s energy demands and its visual impact on the landscape.

The 12,500 square-metre facility has a production capacity of one million bottles per year. The building’s trefoil design expresses the three main stages of production: fermentation in steel vats; ageing in oak barrels; and finally, ageing in bottles. These are controlled by an operations hub at the core. The wings containing the barrels and bottle cellar are partly embedded into the ground to produce the most favourable environmental conditions for ageing the wine, while the fermentation wing is exposed, allowing carbon dioxide to be released. A road rises to the roof of the building, where the harvested grapes are delivered straight into the hopper: the winery is designed to take advantage of the sloping terrain, using gravity to aid movement of the grapes within the building, maximising efficiency and minimising damage to the grapes. The concrete structure is clad in shingles of Corten steel.

The site in the Ribera del Duero, approximately 150 kilometres north of Madrid, has extremely cold winters, as well as hot summers with limited rainfall. The deep overhang of the roof canopy provides shade and the building is designed to regulate the internal temperatures, at the same time as reducing energy demand. By partly embedding the building within the landscape, its visual impact is minimised and the passive environmental benefits are maximised – the roof incorporates photovoltaic cells and the thermal mass of the concrete structure helps to control interior temperatures.

At the heart of the winery a raised public gallery extends into glazed mezzanine areas, which project deep into each wing, allowing visitors to enjoy elevated views of the different processes. Between the wings is a light-filled public reception and administration area, where extensive terraces and pools of water overlook the vineyards. Lined with deep-stained old wine barrel slats, the public areas are designed to evoke the rich tradition of winemaking in the region.

Lord Foster said:

“Bodegas Portia is our first winery, so we had no preconceptions about how it should work. It was an opportunity to start from first principles – to examine the different stages of wine production and to try to create the ideal conditions for them to unfold. The wine was the starting point, as well as the beautiful setting in Ribera del Duero. Using materials that draw on the region’s winemaking traditions, with public spaces open to the landscape, will enhance the visitor experience.”

Client: Bodegas Faustino SL
Appointment: September 2004
Construction: August 2006 – September 2010

Location: 150km north of Madrid on the main traffic route connecting the major cities in Spain, in the Ribera del Duero region, one of Spain’s foremost wine producing area.

Building Type:Winery – for the production of one million bottles of red wine per year.

Concept: Trefoil plan that reflects the principal process stages: fermentation in steel vats; ageing in oak barrels; and storage and refinement in the bottle.

The two volumes housing the ageing processes are buried into the natural slope of the site, in order to enable gravity-based delivering of the grape harvest. Taking advantage of the thermal cooling benefits of the earth, the building is partly embedded in the landscape.

Operational support and visitors facilities are strategically located in the centre of the building, with the public areas on a mezzanine level. There is also a restaurant with views of the landscape.

Gross Area: 12,500 sqm
Net Area: 11,300 sqm
Site Area: 400 acres

Building Height: 14.5 m (partially embedded into the sloping landscape)

Number of storeys: Two operational levels + grape reception roofdeck (external)

Structure: Concrete structure with pre-cast elements where the structure is exposed and in situ cast concrete where the structure is buried underground, i.e. retaining walls. The boundary link between above and below-grade servicing structures is given visual expression through a continuous linear skylight.

Materials: Materials of building echo the materials used in wine production – steel, oak and glass.

Cladding: Corten Steel shingle cladding to all principal vertical elevations.

Sustainability: The partly buried structure, as well as the concrete framing of the building, maximises its thermal mass to maintain a constant internal environment and the optimal thermal conditions required for the ageing of wine. The wing where the tanks are housed is naturally ventilated to allow CO2 to escape during the fermentation process.

Widescale integration of photovoltaics is anticipated into the design of the roof, spreading over the three wings to maximise the surface for capturing energy.

Production Capacity: One million bottles of red wine per year.
Storage Capacity: 6,000 barrels of 225 litres, and 750,000 bottles.

Client: Faustino SL
Architect: Foster + Partners
Design Team: Norman Foster, David Nelson, Gerard Evenden, Pedro Haberbosch, Nadine Pieper Bosch, Ana Agag Longo, Juan Gabriel La Malfa, Luca Latini, Chris Lepine, Emanuele Mattutini, Josep Mercader, Jaime Valle
Structural Engineer: Arup
Mechanical and Electrical Engineer: Arup
Quantity Surveyor: DLE
Lighting Consultant: Claude Engle
Project Manager: Prointec
Local Architect: Prointec
Main Contractor: FCC


See also:

.

Faustino Winery by
Foster + Partners
Bodegas Protos winery by Rogers Stirk Harbour + PartnersBazaltbor Badacsony by
Plant

The First Ever US Service Design Network Conference: Oliver King’s Keynote

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Guest post from Tiffany Chu, Continuum.

Amidst springtime temperatures, views of the Charles River, and a rogue fire drill, the first-ever US conference on service design kicked off last weekend in Cambridge, Massachusetts. We were excited to attend the Service Design Network Conference 2010 at Microsoft’s New England Research Development Center (aptly nicknamed the ‘NERD‘ Center) and to bring you a report of what’s happening at the boundaries of this emerging realm of design.

Trained as an industrial designer and now one of the cofounders and director of Engine in the UK, Oliver King was the first to take the stage and presented an encompassing overview of ‘What is Service Design?’ Laying a robust foundation for the rest of the day’s conversations to build upon, King articulated what this new kind of design is: “Service is the act of helping someone to do something. The important word here is ‘act.’ It’s all about an activity, which is dynamic. Services are designed by the people who provide and receive them.”

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Buckminster Fuller Institute has got balls

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Not sure how Buckminster Fuller would feel about the lascivious tag-line, but the Buckminster Fuller Institute is holding a series of special Monday sales of Bucky Balls using the phrase “Did you know that playing with your balls can help change the world?”

[On the Mondays of November 1st, 8th and 15th] 100% profits from Buckyballs online sales are being donated to The Buckminster Fuller Challenge! It’s an annual $100,000 prize awarded to solve humanity’s most pressing problems. Buy a set to lend a hand, give to the Buckminster Fuller Institute directly (the non-profit that runs the challenge) or, if today isn’t Monday, enter your email for a reminder next Monday.

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Skoda gets mean

Skoda reinvents its previous Cake ad in a new TV commercial that aims to promote the Fabia’s new, ‘meaner’ side…

The ad, for the high-performance Fabia vRS, mocks the feel-good atmosphere of the Skoda Cake ad, which saw a Fabia car constructed out of cake. The new ad again sees a car being made, but this time things are much tougher: burly men headbutt, bite and punch the car into shape, and the engine is a nest of snakes. The soundtrack is a heavy metal version of My Favourite Things (Julie Andrews sang on Cake), and in contrast to the ‘Made of Lovely Stuff’ tagline of the Cake ad, this spot ends with ‘Made of Meaner Stuff’.

“We always said we’d never make a sequel to Cake, but when the vRS brief came along we thought we’d make an opposite,” says creative director Chris Bovill. “Cake made our Mums smile, this should make them want to hide behind a cushion.”

Credits:
Agency: Fallon
Creative directors: Chris Bovill, John Allison
Production company: Somesuch
Director: Nick Gordon

Edition29_ARCHITECTURE

Dezeen promotion: downloadable magazine Edition29_ARCHITECTURE has been included in a list of the fourteen best iPad apps as recommended by Apple’s vice president of product marketing Michael Tchao.

The magazine is published several times a month, mixing photographs and text with audio commentaries and video.

Edition29_ARCHITECTURE are also giving away an Apple iPad on Twitter. More details »

Purchase Edition29 ARCHITECTURE magazine from the iTunes store »

Here’s some more information from Edition29_ARCHITECTURE:


“Best iPad Apps as recommended by the iPad head at Apple”, is the headlines that blared from the seminal gadget site ‘Pocket-Lint’ and later flashing through Yahoo News and other assorted online blogs. Edition29 Architecture for the iPad has been winning fans among its users and now after months of user feedback, the mother ship has responded favorably, choosing it as one of handful of apps recommended by the head of iPad Marketing and co-creator of the original Apple Newton.

Edition29_ARCHITECTURE is a visually stunning collectable magazine that focuses on showcasing the new generation of modernist architects and their creations through cinematic photographic storytelling. With over 100 pages of full screen photographs, audio commentaries, video, text and pages that are in motion. A must buy for readers of Wallpaper, Dwell and any collector of Phaidon or Taschen books.

Each issue has bookmark capabilities, set soundtrack capabilities that allow you to listen to a narration, sound or music while leafing through the magazine. All the content pages will be part of the download, while connected iPads will have access to community and GPS features, with additional online supplemental materials that make this a vibrant living download to collect.

www.edition29.com

The clear Jack O’Lantern supremacy of OSU design students

The funniest pumpkin-related thing I read this Halloween was this Conan O’Brien tweet:

As my 5 year-old son and I carved the pumpkin today, I swear I heard him say, “That’s what happens to snitches.”

And the most design-y pumpkin-related thing I saw was the Jack O’Lanterns carved by Ohio State University design majors wielding Dremels and X-Acto knives in their Design 251 class. Just insane.

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The students were “working with what would be considered gray scale – black, white and grays – but in this case, they have to ‘think in pumpkin,'” [assistant design professor Tony] Reynaldo said. Therefore, the color palate was vibrant orange, orange, yellow and red.

“They have to really think in reverse because when you light a pumpkin, you’re backlighting it just like a computer monitor,” Reynaldo said. “So you have to think about where those transparent spaces are going to be in terms of a light source.”

To show white, students created a hole in the pumpkin to display pure candlelight. To show black, they left the pumpkin’s skin unscathed. To create grays, students etched into the pumpkin.

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Bloom laptop designed with e-recycling in mind

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Back in July I posted a video of the laborious process of e-recycling, and posited that most product designers probably don’t consider how the things they design are eventually going to be taken apart for recycling. But a group of Stanford grad students, recognized by Autodesk, are doing that very thing.

Autodesk’s Inventor of the Month award for October goes to the Stanford group’s Bloom laptop, which is designed to be disassembled for recycling in just two minutes, and using no tools!

“We used Autodesk Inventor software often during the ideation phase to experiment with the design,” said Aaron Engel-Hall, a Stanford student and team member. “We created 3D shapes to represent the hardware we had to design around, and the parametric design of Inventor software let me put in different parameters so that all the model dimensions would update immediately. I was also able to experiment with various thicknesses for the case enclosure, making it as thin as possible while maintaining structural integrity.”

…Beyond recyclability, Bloom delivers other benefits for consumers. The team used the easy-to-disassemble modularity of Bloom to develop a keyboard and track pad that detach and allow for improved ergonomics. The ease of disassembly also makes it easier to repair and upgrade components over the lifetime of the product, so that buying a computer is no longer a singular investment, but a longer-term relationship between the consumer and the service provider.

Check it out:

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