Mike Ko nous dévoile sa dernière création avec “iPhone Diorama”. Visuellement très réussie, cette vidéo d’animation 3D autour du smartphone Apple dévoile tout le talent de cet artiste basé à Los Angeles. Une vidéo courte et très bien réalisée à découvrir dans la suite.
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This blanket is embroidered with tiny sensors so it can watch you sleeping.
Called Im Blanky, it maps the positions of 104 tilt sensors arranged in hexagons across its surface, which communicate changes in resistance to a controller that’s stitched to the back of the blanket, which in turn sends the data wirelessly to a computer that digitally recreates the shape of the whole surface (see movie above).
It was developed in the RAD laboratory at the University of Toronto by Studio NMinusOne and Rodolphe el-Khoury, who say that possible applications could include monitoring those with sleep disorders or watching the vital signs of elderly patients who aren’t being cared for in hospitals.
As part of a future where more and more devices are wirelessly connected, it could automatically turn down your central heating or open a window to maintain comfortable sleeping conditions.
Embroidered in swirling floral patterns on green taffeta, the blanket was commissioned by WORKShop Toronto for an exhibition called Stitches that asked participants to marry traditional embroidery and stitching with new technologies.
Read more about how information technology is creeping into everyday objects, turning them into devices and apps that monitor our behaviour and communicate with each other, in our special report for Intel here.
Here’s some more information from Studio NMinusOne and Rodolphe el-Khoury:
IM BLANKY is a blanket with an IP address. The basic v. 1.0 is self-modeling, which means that it is wirelessly linked to a digital model that registers and represents its changing state in real time. The built-in capacity to situate and represent itself in space and time points to a most primitive and essential form of cognition, the sense of one’s own body. This ability constitutes a foundation for multiple additional functionalities that would be enabled with the use of other sensing devices in future generations of IM BLANKY.
Soft tilt sensors arrayed in a hexagrid pattern and sewn into the fabric of the blanket enable the digital self-modeling. The data they generate—variation in current resistance—establishes the vectors from which the shape of the entire blanket is computationally extrapolated.
The electronic components and their circuits constitute figurative patterns. The organization of flows and connections here reproduces the logic of nature in generating intricate and hierarchical forms: stems, flowers and petals are the decorative by-product as much as the motivated form of a functional circuit.
IM BLANKY was commissioned by WORKShop Toronto for “Stitches,” an exhibition that invited artists and designers to project traditional embroidery and stitching practices into the 21st century. IM BLANKY aligns ornamental craft with digital electronics and computation to invest the intelligence and knowledge built into traditional materials and forms with a renewed purpose and relevance in increasingly networked environments.
(soft) Hardware:
The blanket measures 7’7” x 4’2” and comprises 104 tilt sensors. They are arrayed in a hexa-grid formation and distributed uniformly over its entire field. The flower-like sensors consist of 6 conductive petal-like pads, radiating from a conductive tassel attached to a powered double-arabesque of conductive wire. The resistance in the current flowing through petal and tassel varies depending on which petal is in contact with the tassel (The R value thus indexes the direction of the tassel). The flowers are arranged in 16 clusters and their stems connected to computational node (Multiplexer). The nodes communicate the fluctuation in current resistance recorded at each flower to a microcontroller stitched to the back of the blanket (Arduino Lillypad). The data is communicated wirelessly to a computer (XBee Shield)
Software:
Each flower occupies a hexagonal cell, surrounded by six neighbors. The computation script extrapolates directional vectors from current resistance data and models a slope based on the orientation of that of that cell in relation to that of its immediate 6 neighbors. The algorithm generates a field of peaks and valleys that is fine-tuned into a smooth polygonal mesh by negotiating local conditions at each cluster within the behavior parameters of the overall figure (Processing).
The research for this project was conducted at RAD, a laboratory of embedded and situated technology at the Daniels Faculty, University of Toronto
Credits:
Studio NMinusOne in collaboration with Rodolphe el-Khoury
Principals in Charge at Studio NMinusOne: Christos Marcopoulos and Carol Moukheiber
Fabrication Team: Valentina Mele, Sebastian Savone, Yie Ping See
Programming: Jonah Ross Marrs, Samar Sabie, Dina Sabie
Ivan Chermayeff of Chermayeff & Geismar has created the graphic identity of Rupert Ray, the new creative agency founded by Alex Maclean and Caroline Matthews, both former creative director and managing director respectively of Airside which closed earlier this year…
The duo’s new agency is named after Rupert Ray, an ancestor of both Maclean and Matthews who grew up in late Victorian and Edwardian England and then experienced both world wars and became an artist. However, when starting up their new company, the pair chose not to design their own identity, but to commission it from another design company in order to fully understand ” the need for clarity of communication and collaboration from the other side of the table,” says Maclean. “We wanted to put ourselves in the client’s shoes and learn some lessons.”
“The Rupert Ray symbol [shown above] was developed to be an arresting and active mark of identity, of a new enterprise for the future, more than the image of a character from the past,” says Chermayeff of the logo, which splits the studio’s name into three elements RUP / ERT / RAY and sets them in a customised version of Vitesse at a 45 degree angle.
Chermayeff has also chosen Fuller Benton’s 1908 sans serif face News Gothic as the principle typeface for Rupert Ray with News Gothic Bold used for headlines and titling.
So what was it like, we wondered, for a design company to commission its logo from another design company?
“In working with Chermayeff and Geismar we really had no idea what to expect,” Maclean tells us. “When we saw the proposals we were delighted but slightly surprised at the way we were perceived. There must have been a subconscious expectation of the way we were perceived, or what we might see even though we did not visualise it in our mind’s eye. After falling in love with one of the routes proposed we started to rethink, we tried to seriously critique our initial enthusiasm. We tried to change the colourway only to realise that we were compromising the strength of the idea.
“We kept an open mind and were persuaded by the designer. We came to realise we had our perfect solution, not by accident but by design, not just the graphic design but the design of the relationship and the process. As a designer I have learnt a lot about process and how to do it next time.”
As well as the new logo, Maclean and Matthews have invited a host of image makers to respond to the question “who is Rupert Ray” and will exhibit the resulting images in an exhibition in London soon.
“We are always being asked ‘who is Rupert Ray?’ so we thought we would turn that question into a launch event and ask our most admired artists, designers and illustrators to do an imaginary portrait of Rupert, and exhibit them at a launch exhibition,” says Maclean. For more information, visit whoisrupertray.com
CR in Print
The May issue of Creative Review is the biggest in our 32-year history, with over 200 pages of great content. This speial double issue contains all the selected work for this year’s Annual, our juried showcase of the finest work of the past 12 months. In addition, the May issue contains features on the enduring appeal of John Berger’s Ways of Seeing, a fantastic interview with the irrepressible George Lois, Rick Poynor on the V&A’s British Design show, a preview of the controversial new Stedelijk Museum identity and a report from Flatstock, the US gig poster festival. Plus, in Monograph this month, TwoPoints.net show our subcribers around the pick of Barcelona’s creative scene.
If you would like to buy this issue and are based in the UK, you can search for your nearest stockist here. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.
This week we’ve added a new board to Pinterest compiling all the best photos of food from the pages of Dezeen. We now have over 2000 followers on Pinterest – join in here.
On a recent walk I came across a piece of street art. I stopped and took a mental picture of my kids in the enormous double stroller and Tinkerbell, our 65 pound black lab, proudly escorting us on a brilliant early spring day.
Erin’s four-year-old son living in the moment.So, I thought, what if I asked members of our community to do the same thing? Have them stop and take a moment to document where they are throughout their Mondays. Luckily, I had a willing participant in Melanie Biehle who blogs at Inward Facing Girl.
“When Erin asked me to participate in her “a day in the life” experiment, the day she wanted me to document happened to be my third wedding anniversary. How could I say no?”
Information Architect/UX Strategist
The New York Times
New York, New York
The New York Times Company is seeking an Information Architect/UX Strategist for their digital design team, who will help plan, organize and design/redesign experiences throughout NYTimes.com and other digital products and applications. He or she will act as the primary user advocate and experience lead on cross-disciplinary project/product teams, working closely with product, technology and the newsroom to define product features and capabilities.
The best design jobs and portfolios hang out at Coroflot.
Slovenian firm OFIS Arhitekti have created an apartment in Ljubljana where rooms are separated by staggered floors rather than walls, with storage areas located underneath.
The architects removed almost all of the original partitions to create an open-plan layout where only structural walls remain.
Original doors have been retained wherever possible, although one now functions as the back of a bathroom shelving cabinet.
See more projects by OFIS Arhitekti here, including a scaly apartment block with triangular balconies.
Photography is by Tomaz Gregoric and Jan Celeda.
Below is a longer description from OFIS Arhitekti:
Level apartment … inside Art Nouveau palace
2012_Ljubljana, Slovenia
The project is the renovation of an apartment contained within an art nouveau building originally designed and built in 1902 (architect C.M. Koch).
The building is a 5 floor residential block in the centre of Ljubljana overlooking a square surrounded by residential and mixed use buildings.
The original layout consisted of multiple rooms which creating an enclosed feeling within the apartment, the brief required a more open plan layout however with the different uses within the space clearly defined.
Many of the existing partitions were removed to create a more continuous space, leaving only the main structural walls to break the space up creating a constant circulation around the apartment and giving the feeling of a single entity broken by only a few elements.
Instead of using walls to define the uses, levels within the floor were created so that the open plan could be kept however a change in use inside the space was signified by a change in elevation.
Furthermore, storage and furniture were combined with the floors and walls to further add to the delineation of space, giving a more evident use to each space.
By designing the furniture to be contained within the walls and floor, using similar materials enforces the idea of creating separate purposeful spaces whilst generating a feeling that they are all connected and can be viewed as a single entity.
Storage throughout the apartment is achieved using a repeated element, creating hidden storage whenever the floor level is elevated, meaning the steps leading up to the sleeping level or shower level for example are not used solely as circulation but as storage also.
Hiding the majority of the storage means that a continuity of space and materials is kept which adds to the feeling of an un-interrupted space.
Location: Ljubljana historical City Centre
Type: Residential apartment
Client: private
Click above for larger image
Click above for larger image
Click above for larger image
Renovation Area: 115 m2
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Project team:
OFIS arhitekti: Rok Oman, Spela Videcnik, Andrej Gregoric, Janez Martincic, Janja Del Linz, William Gibson, Estefania Lopez Tornay, Nika Zufic
Click above for larger image
Click above for larger image
Best of HDW takes a closer look at some of the most exciting projects featured in Design Museum Holon’s “Designers Plus Ten” exhibition.
If I had to guess, Naama Steinbock and Idan Friedman of Reddish studio probably got the most global press this past year of anyone in the exhibition. Chances are you’ve probably seen Corkers, a series of kits that turn wine corks into ‘party animals.’ The steel and plastic attachments are sold in a box that’s meant to hang around the neck of a wine bottle. Can you say cutest hostess gift ever? And at $8 apiece you can buy the whole set: Monkey, Deer, Buffalo, Bear, Bunny and Crow. Or mix and match the body parts to create your own species.
Corkers are only the latest design from Reddish, which strives to “help objects feel better about themselves.” Naama and Idan also showed Bath & Beyond, a chair made from cutting and bending an old steel bathtub. I love their Menorah, which finds a use for mismatched candlesticks. Equally clever is Hanukit, a small aluminum stand for matchsticks—perfect for those who like to keep their holiday accessories to a bare minimum. There a couple of oddities in their portfolio, like China?, a 3-D printed vase that mimics painstakingly hand-carved China, as well as Buttercup, a “spontaneous picnic dress.”
Lost in Motion est la nouvelle vidéo proposée pour “National Ballet of Canada” par Krystal Levy Pictures. Réalisée par Ben Shirinian, cette création permet de mettre en avant la chorégraphie et la performance du danseur Guillaume Côté. Une vidéo à découvrir dans la suite.
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