Hasta La Ideas

Venetian designer Luca Nichetto will present this series of brass bowls for Swedish brand Skultuna at Stockholm Furniture Fair next week.

Called Timeline, the dishes are scored with grooves that will darken over time as the brass oxidises but isn’t cleaned away from the depressions.

Stockholm Furniture Fair takes place 8-12 February.

More about Luca Nichetto on Dezeen »

The information below is from Nichetto:

Timeline embodies the articulation of time. In the Timeline collection of brass bowls, the very passage of time itself becomes a decorative element: a pattern of circles incised in the surface of the objects undergoes an increasing process of oxidation with each passing day, thereby generating a contrast of light and dark.

The idea behind these small multi-use bowls came from Luca Nichetto’s childhood in Venice. When he has little, he would watch his grandmother polish the traditional brass door knockers on her front door. After being cleaned, these objects, which took a variety of forms and were typical of Venetian homes, always remained darker in the grooves and incised areas where the cleaner’s hand or brush could not remove the oxidation.

Design: Luca Nichetto
Client: Skultuna
Exhibition: Stockholm Furniture Fair (Stand AG:34B);
Designgalleriet (Odengatan 21), Stockholm

See also:

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Paper dishes by Philippe Malouin	Plastic dishes by Studio Sjoerd Jonkers	Bread dishes by Studio Formafantasma

Dezeenwire: AMO, the research studio of architects OMA, launch a report today outlining how the world’s energy needs could be met without using fossil fuels.

The Energy Report has been produced in collaboration with the World Wildlife Fund (WWF) and energy company Ecofys. Read the full report here » More details below.

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More green design on Dezeen »

Groundbreaking report describes a world 100% reliant on renewable energy by 2050

3 February, 2011 – The Energy Report: a comprehensive study developed by the WWF, AMO and Ecofys claiming that the world can be 100% reliant on renewable energy by 2050, launches globally today.

The report proposes to address the urgent problems caused by looming climate change and dwindling fossil fuel supply through its assertion that by 2050, the world’s energy needs could be met entirely by renewable sources. It outlines an ambitious energy saving scenario as the first step toward an energy system in which fossil fuels are gradually replaced by wind, solar, geothermal, hydropower and sustainable forms of bio-energy.

The aim of the report is to inspire governments and businesses to understand the challenges associated with this shift and, at the same time, to encourage them to move boldly to bring the renewable economy into reality. By demonstrating the advantages of global cooperation and the deeper integration of global energy infrastructure, The Energy Report shows that the benefits of a transition to renewable energy far outweigh the challenges.

AMO’s contribution to the report, led by Partner Reinier de Graaf and Associate Laura Baird, both conceptualizes and visualizes the geographic, political, and cultural implications of a 100 percent renewable energy world. AMO draws a vision of a world without borders in which all continents have equal access to sustainable energy.

Reinier de Graaf said: “The Energy Report is the first of its kind to claim the technical possibility of a global renewable energy supply by 2050. Through the realization that future energy provision really is a universal issue which must be addressed at a global scale, we have developed a new perspective on the world.”

The project builds on two foundational AMO projects on large scale renewable energy planning: Zeekracht, a plan made in 2008 for a ring of offshore wind farms in the North Sea, and Roadmap 2050, proposing a decarbonized European power sector by 2050, which was launched in April 2010.

The Energy Report will launch globally today.

The first thing we thought of when learning that actor/artist James Franco had teamed up with the film school Columbia College Hollywood (which isn’t associated with either of the Columbias, in Chicago or New York) to help teach a class called Master Class: Editing James Franco…with James Franco, was the name of the mid-80s band Pop Will Eat Itself, because their name seems to perfectly encapsulate so much of Franco’s work. That got us watching the video for their 1989 hit “Can U Dig It?” which is now painful to watch, but also still a lot of fun. After that distraction, we got back to the task at hand, which is to think about the actor’s new class. Better to just read the explanatory portions of the press release:

Mr. Franco’s frequent collaborator editor and Tyler Danna is teaching the course, which has been entitled Master Class: Editing James Franco…with James Franco. Mr. Franco is providing the footage – much of it from behind the scenes on short films he has directed – and the conception for the course and will speak to the students weekly via live feed (Skype) and attend class the weekly class sessions when his schedule allows. The student editors will seek to create a cinematic image of James Franco through the footage.

…As conceived by Mr. Franco and Mr. Danna, the class sessions themselves will be taped and be part of the final film created by the class or another project.

There is the potential to carry the class forward with 12 different editors in the spring quarter and beyond as the film project continues.

Now we’ve seen the future of film and film school. By 2012, every movie released will resemble what it looks like when you point a video camera at the television your camera is plugged into. Except instead of ever-swirling and moving boxes and scan lines, there will be a million heads of James Franco. Fortunately, we’ll have the Mayan apocalypse to look forward to at the end of next year.

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Un projet personnel avec ce court-film intitulé “Silent Transitions” de la part du réalisateur et motion-designer Salomon Ligthelm, inspiré par le concept du silence et 2 extraits de la Bible. Un superbe démonstration avec ce shooting en Canon 7D / Twixtor, dans la ville de Dubai.

Previously on Fubiz

• Winter in Hell
• Natural Progressions
• BMX in Slow Motion

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Speaking of language, as we were a couple of posts back, currently making the rounds all over the design-y portions of the internet is this piece for the Atlantic by Rebecca Greenfield, “Tech Etymology: Animated GIF.” It arrives at a conclusion surrounding a very serious and contentious debate: how to pronounce “GIF,” the image file format that, anymore, seems largely in use only in animated form on online forums about celebrities, cats, or cat celebrities (and probably elsewhere too, but those are the only sorts of sites we look at on a daily basis). This debate has raged at this writer’s own home for several years now, with his wife using the hard G and he using a softer J-like sound, as in “gin.” Turns out, he wins. Unfortunately, Greenfield gives his wife an out by saying none of it really matters in the end:

All of this to say that those of you who pronounce GIF with a hard-g shouldn’t be embarrassed. Not only does the Oxford English Dictionary declare both pronunciations — /gɪf/ (hard g) , /dʒɪf/ (soft g) — correct, but as Dr. Labov’s colleague, phonology expert Dr. Rolf Noyer, explained, “pronunciation is a matter of agreement between people.” Language is constantly changing: If an overwhelming amount of people want to say GIF like gift, and an overwhelming amount of people accept and understand that pronunciation, the creators’ intentions don’t really matter.

Boo.

New Career Opportunities Daily: The best jobs in media.