These spinning tops by industrial designers Reddish of Israel are each made of a single sterling silver wire.
Called Spin, the hand-tooled tops come in a round or square version.
The information below is from Reddish:
Spin, a new sterling silver spinning top designed by Naama Steinbock & Idan Friedman from Reddish studio.
The design of Spin was inspired by the clean an elegant spinning movement, therefore any extra material or decoration were removed, leaving a minimalist shape. In comparison to other spinning tops, it looks like the object almost does not exist and the only thing left is a silver line that visualizes the dance of a spinning top.
Above: prototypes
Spin comes in two variations, round and square, and they both spin in a wonderful way. They will be soon available at GN8 and a few other selected design shops.
At CR’s Click London conference last week there was great work, a great big row and curry for lunch. Who could ask for more?
Click is our one-day conference on digital creativity – or should that be post-digital creativity? In kicking off the day our chair, Andy Cameron of Wieden + Kennedy London (and previously Fabrica, Romandson and Antirom) wondered whether we hadn’t already entered a post-digital phase where much of the exciting work was not technologically inventive but was about combining existing platforms and technologies in compelling ways – Old Spice (discussed at Click San Francisco) being a case in point.
But this is not to say that investigating new technologies was unimportant in fuelling exciting work, as we were to see later that morning. But first, a lesson in the realities of app publishing by Mills of ustwo (profiled in our July issue).
The McBess Granimator iPad app, one of a series produced in collabortaion with CR by ustwo (more here)
With commendable frankness, Mills explained that app publishing is very far from the gold mine that many have hoped. He estimated that ustwo had invested some £480,000 in staff time in developing its apps in order to receive just £130,000 in revenue. Shifting paid-for apps, he showed, is a real challenge, relying as much on marketing skills as the quality of the product.
But, and it’s a big but, there is method in ustwo’s madness. The apps that are so costly to develop open the door to far more lucrative client work. Our next speaker, Andy Fowler of Brothers and Sisters, showed more great client apps, including the excellent Museum of London Street Museum (which we covered here) and a new project for Sky Sports in which fans can insert their name and photo into a documentary-style piece about football’s latest sensation. Such work, he explained, was particularly compelling as it allowed users to fulfil their dreams.
Next up we had Evan Grant of Seeper (see CR October) showing some of his studio’s stupendous 3D projection mapping and multitouch installations including the Battle of Branchage project – one of the first and still one of the best projection mapping projects
And this multitouch display for the launch of Airside’s book
Then we had Joel Gethin-Lewis of Hellicar & Lewis (profiled in CR’s July 09 issue) and Anita Fontaine of Champagne Valentine, both of whom are represented by Nexus Interactive Arts, a new division of the production company set up to help ad agencies work with media artists.
Amongst the work Gethin-Lewis showed was Divide by Zero, an experimental piece for choreographer Nina Kov
And this spectacular outdoor projection/performance piece for New Zealand Telecom
Grant, Gethin-Lewis and Fontaine all took place in the debate that followed about the issues arising when such media artists work with ad agencies. Inevitably, this gravitated toward the thorny issue of accreditation and some well-documented issues of occasions when ad agencies have seemed to either copy artists’ ideas or take credit for work which wasn’t theirs. Gethin-Lewis called for agencies to “be respectful, involve artists more and pay them a decent rate. Everyone’s standing on each other’s shoulders, so be honest about innovation,” he asked, noting that there is a tendency towards claiming ownership of an idea or innovation when in fact that technique may be the work of many collaborators. Fontaine also asked for “more honesty and a more open, collaborative approach”.
This was a theme that we would return to later but, in the meantime, Happiness Brussels took to the stage to present work such as the Toyota iQ font and the Anthony Burrill Oil and Water Don’t Mix print made using spilled oil reclaimed from beaches on the Gulf of Mexico.
The afternoon was when things really kicked off (perhaps the huge plates of curry consumed at lunch were to blame) with a panel that was supposed to be about the place of design within digital (or vice versa) but ended up returning to the agency – artist relationship. In a heated exchange, Greyworld‘s Andrew Shoben complained bitterly of the way that his studio had been treated on a recent project where, he alleged, they had suffered undue interference and even had the name of the commissioned work changed without their knowledge. Andy Cameron, however, challenged the implication that agencies mistreated those they work with and pointed out that anyone working with an agency – whether artist, film director or anyone else – must expect to take on board the client and agency’s views.
Things calmed down a little after that and we had an excellent session on social media, a session on the problems of judging digital and interactive work for awards and, to round off the day, talks from Måns Tesch on his eponymous new business, Flo Heiss of Dare and Ogilvy Digital Labs‘ director of innovative solutions’ Nicole Yershon on her attempts to introduce new thinking and new technologies into a major agency.
All in all, a great, inspirational and intense, day – our thanks to Andy Cameron and to all our speakers and delegates for making it so.
This year, we have run Click in New York, San Francisco and, of course, London. Watch out for news of venues for 2011.
Un très bel univers graphique sur cet habillage TV pour la chaîne Fox Retro, autour du thème d’un flipper au style “retro-futuriste”. Un travail du nouveau studio Plenty basé à Buenos Aires, avec une direction artistique de Mariano Farias et Javier Pelayo. En vidéo dans la suite.
Bravo to this fall for providing some great museum burglary stories that haven’t just ended with us chiding lax security or reluctantly admiring a thief’s handiwork. Following last month’s “moss man” arrest, the news from the UK is that authorities there have captured the man responsible for last summer’s theft of nearly 300 bird skins from the country’s Natural History Museum (of their collection of somewhere around 750,000). The BBCreports that the suspect is a 22 year-old American man and “the majority of the bird skins” have been recovered. Why would someone take such a large collection of deceased birds? As we told you last year after the robbery, to sell off to collectors or worse, provide exotic feathers to dressmakers or even the makers of expensive fishing lures. So a year later, it’s amazing and very fortunate that it appears, according to this initial report, that most everything is still intact.
Every Monday evening, we turn our attention to Gossip Girl so we can swoon over Chuck Bass and, of course, to see the fabulous clothes, shoes and accessories the ladies wear. And sometimes we pay attention to the actual storyline. Maybe. The latest accessory to catch our attention? The Hammitt Los Angeles Westwood Satchel that Jessica Szohr’s character has carried around.
This leopard-printed bag has Italian suede lining, double shoulder straps and gold-plated embellishments that bring out our sexy chic side. It’s fun and flirty to carry around and fits just about everything you need to have with you (we really mean it when we say everything). And while the price might make a small dent in your bank account, we think it’s well worth it.
‘What does luxury mean today?’, ponders Lanvin designer, Alber Elbaz, chatting about his new collaboration with H&M.
‘Can luxury be exclusive and democratic at the same time? How can we translate the essence of luxury to a wider audience? The world around us is changing rapidly and I find myself asking these questions more and more. A designer’s work is usually tailored to a very small group of people, but the collection for H&M was about trying to translate the dream of luxury to the masses. It was almost like going back to school for me.’
Happily, school’s out come November 23rd when the collection hits stores – an array of his signature colorful, Parisian-glam frocks & accessories oozing playful joie de vivre, not to mention sporty classics & natty tuxedos – for daytime! – for Lanvin lovin’ fashionistos.
Read more about this amazing collaboration by clicking over to our friends at FashionTribes!
Never mind that pesky lawsuit filed back in September, the Art Institute of Chicago would much rather you focus on their positive news, like that nifty French Impressionism iPad app they’ve launched, or this week’s big news, that the organization has learned that it will be receiving more than 15,000 items from the collection of local architecture photography hero, Richard Nickel. The Chicago Tribune‘s Blair Kaminbroke the story, sharing a peek at what’s in the collection, as well as the story behind its donation, from the Richard Nickel Committee. While the museum already had access to a large portion of Nickel’s photos, this huge new supply ups that tenfold, and should make for a busy exhibition once they figure out how and what to display. If you’re unfamiliar with Nickel’s work, which means that you don’t live in Chicago and don’t already have a copy of his posthumous book somewhere in your house, we highly recommend getting a copy of it immediately and also browsing what the museum has available online. You might also enjoy the Lost Buildings animation by Chris Ware and This American Life‘s Ira Glass, which tangentially touches on Nickel’s contributions to capturing Chicago’s architectural gems before they were destroyed.
Un excellent clip non-officiel dirigé par Bo Mirosseni et produit par Donna Young et Tommy Cannon. Il a été réalisé pour le groupe Sleigh Bells, duo composé de Derek E. Miller et Alexis Krauss, sur un titre extrait de leur premier album “Treats”. A découvrir en vidéo dans la suite.
Food Lionhas done it, Starbucks makes a point to mention that they’re doing it every couple of months, the Empire State Buildingis doing it, and it even won over suspected green-hater, Frank Gehry. We’re speaking, of course, about the LEED-ification in architecture, which is to say getting certified as more eco-friendly by the U.S.Green Building Council‘s LEED Green Building Rating System. While far more than just getting additional plants inside your office and stories have been filed how difficult it can be for companies to stick with it once the initial earth-aiding glow wears off, the LEED program has just landed a major milestone this month as they’ve crossed over the one billion square feet-certified mark (pdf). What’s more, the USGBC says they have another six billion square feet in the process of either being built or awaiting certification. Certainly a positive marker to hit for a system put in place just a decade ago.
“The impact of these one billion square feet resonates around the world,” said Peter Templeton, President of the Green Building Certification Institute, the certifying body for LEED projects. “The use of LEED represents a firm commitment to improving our built environment for future generations.”
Fashion fantasies-come-true at Los Angeles Tron pop up
Disney continues to fan Tron fever with the release of several items of higher-end, wearable merchandise for men and women by designers like Rousseau, Hayden-Harnett and Rotenier that will be available all in one place beginning 19 November 2010 at the Tron Pop-Up Shop inside Los Angeles’ Royal/T. The concept allows Tron fans to become as authentically part of it as Tron main character Kevin Flynn did when he entered his employer’s mainframe in the original film. We’ve put together our favorite pieces from the women’s couture collection here.
Among the dozens of retro-futuristic items available are jewelry pieces, like Rotenier’s sterling silver Lightcycle Cufflinks ($345). Tom Tom’s Derez Earrings have blue topaz stone ($155) and match a Grid Escape Ring ($195) and Light Runner Cuff ($265)—both gunmetal plated with mirrored lucite. It also has a Legacy necklace made with antique bronze chain ($395), exclusive to the pop-up store.
Jerome Rousseau’s shiny Quorra Platform Sandal ($795) will perhaps be one of the most coveted items of them all, standing tall at five inches and unavailable outside of the pop up until February of next year.
Those looking for more practical accessories can choose between the various bags and clutches by Hayden-Harnett ($129-$478), with matching cuffs ($98-$110).
The shop closes on 23 December 2010, convenient for those in search of a last-minute gift for the holidays.
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