The jagged glass edges of this restaurant by Norwegian studio Reiulf Ramstad Architects point up towards a sheer cliff face.
Named the Troll Wall Restaurant, the building is located at the foot of the tallest vertical rock face in Europe, in Norway’s Romsdal Valley.
Full-height glazing gives diners a view of the landscape, behind a criss-crossing pattern of structural beams.
Charred timber clads the elevations at the rear of the building, where additional rooms provide a local service and information centre.
Reiulf Ramstad Architects also completed a timber-clad nursery in Oslo this year – see our earlier story here.
Photography is by the architects.
Here’s some more text from Reiulf Ramstad Architects:
It’s a new cursor at the foot of the Troll Wall; The architecture of the new visitors`center next to E139 is an outcome of the sites` close connection to the impressive mountain wall, Europe’s tallest vertical, overhanging rock face in The Romsdal Valley.
The Romsdal valley has some of the tallest, sheerest cliffs in Europe and is a popular place for BASE jumping including “birdmen” jumping off cliffs in Wingsuits!
This location allows for an exciting setting for the new service- and information center.
RRAs proposal is carefully planned in relation to the Troll Wall.
At the same time it is building a character and identity which in itself will be an attraction in the region.
The building has a simple, though flexible plan, with a characteristic roof that has its character from the majestetic surrounding landscape.
Geometry of the roof is also generated from the view to the mountains from the restaurant inside the building.
These simple ways of design gives the building its character and identity that makes the Service center an eye-catcher and an architectural attraction in the region.
Reiulf Ramstad Architects: Reiulf Ramstad, Sunniva Neuenkirchen Rosenberg and Espen Surnevik
Location: Trollveggen, Møre og Romsdal, Norway
Program: New restaurant and service building
Commission type: 1st price, Invited competition (2009)
Status: Under construction
Year: Completed summer 2011
Considering that Brett Swope‘s “Oblique” was Kickstarted in less than 24 hours, there’s no need to sell the product here… but let’s just consider it an addendum to our Ultimate Gift Guide (a companion to Cristalino, perhaps) in the interest of sharing a
brilliant modern update on a classic design object.
Oblique is a wine bottle holder that is precision machined from 6061 Aluminum that holds the bottle horizontally such that the center of mass is roughly above the middle of the footprint of the holder. Thus, the bottle and holder are co-dependent on one another. The design is a result of the ‘balance’ between the CNC milling machine process considerations, efficient material use, shipping constraints, aesthetics, and cost. Oblique is designed in California and manufactured in Minnesota.
It’s more practical than, say, William Lee & et al collective’s “Lean”, perhaps even more so than Beverly Moon’s ultraminimal contact case, yet the form remains remarkably pure, a monolith in miniature, perfectly calibrated for its purpose… all without electromagnets.
True to his background in engineering, San Francisco-based Swope offers a ton of manufacturing details and specs, courtesy of his friend and business partner Greg Suski, on this Kickstarter page. Fun fact: the “Oblique” is made from the same type of aircraft-grade aluminum that Aaron Panone uses for his 144#47 track chainring.
There’s no video, so you’ll just have to believe the
hype pictures until the “Oblique” ships (just in time for Christmas)… you’ve got 12 days to pull the trigger.
Consumerist society’s refuge becomes art in the artist’s second solo show at NYC’s Susan Inglett Gallery
As one of the most unique artists to emerge from the anti-establishment movement of the 1960s, George Herms creates unconventional assemblages from a range of refuse materials. By rescuing civilization’s discards to make art, Herms creates two- and three-dimensional works that prove the point of cause and effect—and, more light-heartedly, that old adage about trash and treasure. Back in NYC for his second solo show at the Susan Inglett Gallery, opening 1 December 2011, Herms offers a selection of work spanning sculpture and collage with the familiar foundation of found objects.
For this series of sculptures, Herms has enlisted society’s more dejected physical objects. Although not necessarily imposing in stature, the powerful sculptures do encourage one to consider the economic and environmental impact of a modern “throw-away” mentality.
The accompanying collages—sourced from his recent exhibition “Xenophilia (Love of the Unknown)” at Los Angeles’ MoCA—are constructed entirely of shredded pieces of Madison Avenue “consumerist propaganda.” These seemingly chaotic layered pieces include everything from a “perfect” set of legs to sports cars, referencing society’s classification of wants against needs.
George Herms’ solo show will be run from 1 December 2011 through 21 January 2012, closing for the holidays between 19 December-3 January. For more information on the exhibition and the artist visit the Susan Inglett Gallery online.
All images courtesy of the Susan Inglett Gallery
Voici cette séquence d’ouverture du film de Guy Moshe intitulée “Bunraku” et qui a été réalisé par Guilherme Marcondes. Permettant d’introduire ce film d’action dans lequel Josh Hartnett tient le premier rôle, cette vidéo en animation très réussie se dévoile dans la suite.
Previously on Fubiz
In a rather unorthodox move, the New York City Department of Transportation has installed a handful of signage from left field. DOT Commissioner Janette Sadik-Khan and co. enlisted artist John Morse to design twelve graphics, each complemented by an obliquely explanatory haiku, in the interest of raising awareness for cyclists and pedestrians.
“Curbside Haiku,” a DOT safety education campaign launched in November 2011, is a set of twelve bright, eye-catching designs by artist John Morse that mimic the style of traditional street safety signs. Each sign is accompanied by a haiku poem. The “Curbside Haiku” installation can be seen citywide on 144 signs to promote road safety. Each design and haiku delivers a safety message by focusing on a transportation mode.
Placed near eye level in high-crash locations near cultural institutions and schools, the colorful signs draw attention to the critical importance of shared responsibility among pedestrians, bicyclists and motorists in keeping New York City’s streets safe.
As bad as traffic can be in the city, the hint of irony—despite the refreshingly unironic form and presentation of the signs—lies in the fact that the signs will likely go largely unnoticed by motorists. Of course, if the QR codes are any indication, that’s not necessarily who they’re intended for:
In many locations, the haikus are embedded in a QR code on the sign, readable with smartphone apps, making the safety messages interactive and fun to discover. In others, the signs are hung in pairs with the image and text from its accompanying haiku.
And although the new signs certainly stand out among the visual onslaught of many intersections throughout the city, I’m surprised that none of the signs are located in Lower Manhattan (at least according to the DOT’s Curbside Haiku map (PDF)), which I generally find to be more cycle-crossed than northward neighborhoods such as Spanish Harlem.
That said, each piece is undeniably delightful—if only marginally informative—and I, for one, appreciate the effort. While some might decry this latest effort by Safe Streets—”a public-private partnership which aims to reduce the number of traffic-related injuries and fatalities [through] social marketing and direct education programs”—as a vanity project, keep in mind that the New York City DOT is preparing to launch a 10,000-strong public bicycle program by Summer 2012. There are probably worse ways to spend funds from “local traffic offense fines” (read: tickets) and for what it’s worth, Safe Streets is selling posters of the graphics to raise money for other awareness initiatives.
A freelance programmer using DIY technology as a tool to teach with Machine Project
Catering to “overambitious amateur enthusiasts,” Machine Project conjures up an idiosyncratic fusion of classes and workshops that masterfully craft pedagogy out of the infinite realm of possibility. Hosting a range of workshops from psychic communion with plants to the typography of ransom notes, Machine Project is a non-profit arts organization that operates as an “informal educational institution” from its unassuming storefront in the Echo Park district of Los Angeles. Founder Mark Allen explains the cult appeal of the classes, stating, “We found that an engineer and a poet talking about noise music was even more interesting than a group of poets talking about poetry or a group of scientists discussing science.”
Born in Vermont, Allen received his MFA at the California Institute of the Arts and began honing his curatorial leanings towards the obscure through a series of trial and error. In Houston, Allen ran a gallery called Revolution Summer that adopted the Marxist theme of time as currency for the purchase of art works. Shortly after moving to LA, Allen became involved with the subversive art collective, C-Level (currently reincarnated as Betalevel), a group that was known for such sardonic situationist commentary as virtual cockfighting—contestants donned rooster suits with sensors—and the shock-inducing video game, Tekken Torture Tournament.
While at C-Level Allen started to combine his love for technology with a flourishing aptitude for teaching, which laid the groundwork for his philosophical approach to Machine Project. “My interest in teaching unexpected, creative and unsanctioned uses of technology in the production of art is in direct support to the idea that technology is a tool which can be used by any motivated individual,” he says. As a freelance programmer and a faculty member of the Digital Art Related Program Activities (DARPA) initiative at Pomona College, Allen relies heavily on the gestalt of technology factors in creating new courses at Machine Project, but at the same time invites a naturalistic study of the world around us.
In 2008, Machine Project took over the Los Angeles County Museum of Art for a day, and turned it inside out as a metaphorical nature center of activity, comprised of more than 60 projects that included “ambient haircuts,” musical elevators and a murder mystery entitled “A Machine Project Field Guide to the LA County Museum of Art.” Inspired by the artistry of set designers Christy McCaffrey and Sara Newey who designed the ornate gate created for the event, Allen asked the team to imagine a transformative environment for Machine Project’s own storefront. The result was an immersive forest installation that housed woodland-themed events involving banjo plucking, elf lore and “a presentation by some very dedicated Bigfoot enthusiasts.”
The inquisitive wit and spirited atmosphere at Machine Project is reflected in both the class subjects—a selection based on chance meetings with talented individuals—and the “hide-and-seek” mechanisms throughout the space. Whether it’s teaching a parent-child course on How to Steal Cars—”Our belief is that children who learn to steal cars with their parents are more likely to steal cars responsibly when they grow up,” Allen quips—or the storefront’s tree stump dumb waiter that delivers beer, Machine Project transforms the everyday into something simultaneously extraordinary and achievable.
Allen explains, “If you look around wherever you’re sitting there’s a large percentage of things whose workings are totally mysterious: cellphone, tape dispenser, refrigerator, computer. We are surrounded by a material culture where most people remain unaware of how everything that surrounds them is made. Machine Project exists to provide an opportunity for people to understand their built environment, to create a space in which accessibility to knowledge and hands-on, DIY learning experiences can happen right in our own neighborhood.”
The F5 documenting a truck rollover on the street.
When was the last time you saw a Georges Seurat painting? The father of pointilism pioneered the technique of a canvas full of points to make a complete picture. Like Seurat, the new F5 from Mantis Vision gets the point. The 3D scanner boasts 50,000 points per video frame and sets a new standard for the industry by taking what might be thought as a traditional camcorder recording and translating data into 3D data points. Their tag line “The first 3D Camera for non-experts” seems like one of those marketing catch phrases that seem too good to be true, but rest assured, this product delivers.
Offering continual 1 hour use, the F5 is lightweight with the two pieces weighing in at 1.7 kg for the Camera and 1.0 kg for the UMPC/data storage and display (Camera-3.74lb; UMPC- 2.20 lb).
Key features of the F5:
– MVP Software transfers the 2D coded video to 3D models and also offers the ability to stitch multiple frames together.
– Supplements hard to reach/see places that spherical 3D scanners can’t.
– Simultaneous Imaging range: 55 cm – 3.0 m with a Single frame Accuracy: up to 0.5 mm at a range ≤ 1m.
– The ability to capture reflective models.
– Very little, if any, prep worked required ahead of time to start scanning.
Over the past 5 years the accessibility, cost and ease of use of 3D scanners has improved as products appeared on the market with an affordable price tag (under $3k) with the ability to scan color. Designers, engineers and architects already make clay, foam and sketch models to flesh out ideas so it’s only a matter of time until a 3D scanner is added into the process to help bring the analog models into the digital world. With its portability, the F5 can be used in hard to reach places or help to supplement what other scanners might have missed. Take a look after the jump to see actual footage of the F5 in action.