Hasta La Ideas

Voici ce supercar du constructeur polonais Arrinera basé à Varsovie. Un coupé sportif imaginé par Lee Noble, rappelant les lignes de Lamborghini. Particularité : le véhicule est équipé d’une caméra thermique pour la vision nocturne. Prévue à la commercialisation pour 2013.

Previously on Fubiz

• New Ferrari California 2012
• Faralli Mazzantis – Evantra
• Custom Bikes of Poland

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A dual one-hand watch, it shows both the local time and the time at one additional time zone, using just one hand in each case.This is the simple yet ..

Milan 2012: visitors were invited to sit in a chair hooked up to advanced stress-analysis equipment normally used in the car industry at an installation by Clemens Weisshaar and Reed Kram for car brand Audi in Milan last month.

Above: Alice Rawsthorn, New York Times design critic

Data collected from the R18 Ultra Chair Public Beta tests will be used to hone the structure and shape of the final chair, which will be presented at Design Miami in December.

Above: Paola Antonelli, MoMA curator

Movies of every test can be viewed on the project website.

Above: Max Fraser, deputy director of London Design Festival

Weisshaar and Kram previously worked with Audi to install eight robotic arms in London’s Trafalgar Square to scrawl messages across the sky.

Above: Marcus Fairs, Dezeen editor-in-chief

See all our stories about their work here.

The Salone Internazionale del Mobile took place from 17 to 22 April.

See all our stories about Milan 2012 here, plus photos on Facebook and Pinterest.

Here’s some more information from Clemens Weisshaar and Reed Kram:

Audi and the designers Clemens Weisshaar and Reed Kram are pleased to announce their project for the Salone Internazionale del Mobile Milan 2012:

R18 Ultra Chair – Public Beta

Designed by Clemens Weisshaar and Reed Kram for Audi

For their groundbreaking new venture, the designers are developing a chair within a public testing environment in collaboration with Audi’s Lightweight Design Centre using methods borrowed from the future of automotive manufacturing.

The R18 Ultra Chair consists of three main components: a carbon composite seat, a carbon-rubber composite back rest and aluminium alloy legs which can be compacted and transported in a lightweight flat-pack box.

Its genesis incorporates crowd-sourced data acquired through thousands of testing sessions using advanced industrial sensors whose data is processed by custom algorithms to adjust the final geometry and construction of the end product accordingly.

Visitors to the installation are invited to use the chair and view their unique physical impact on it displayed via a video wall inside the testing booth. Hundreds of industrial sensors integrated into the prototype capture every movement and simultaneously display it as a realtime false colour force simulation, thus exposing and visualising the flow of forces normally hidden from the human eye.

The purpose of this live laboratory is to gather user data in order to optimise the final product and shed every gram of excess weight. Every testing session will be documented as a personalised video and sent back to each visitor by email link to watch and share with friends. After the PUBLIC BETA phase, all crowd-sourced data will be fed into the chair’s design parameters and its production adapted as necessary.

The R18 Ultra Chair – Public Beta installation will take place in the courtyard of the 18th Century Palazzo Clerici, Milan from April 17 to 22, 2012 during the 51st Salone Internazionale del Mobile. The final product will be presented to the public in December 2012 at Design Miami.

The chair’s namesake is the 24 Hours of Le Mans winning Audi R18 race car. Audi has dominated Le Mans with its cutting edge technology for the past decade and won 10 races since 2000. As part of the installation the Le Mans 2011 winning Audi R18 will be exhibited alongside the PUBLIC BETA testing lab. The carbon fibre monocoque chassis with an Audi TDI 3.7 litre V6 engine and total weight of only 900kg represents the ultimate in lightweight construction – Audi ULTRA.

Audi Ultra stands for state of the art lightweight construction, technology and design aimed at streamlining and optimising efficiency across the board. This begins with the raw materials sourced for production all the way through various manufacturing stages, the operation of the vehicle, its fuel consumption and its deconstruction and recyclability at the end of its life cycle.

Each stage of the chair’s design, construction and transport is guided by the rigorous principles laid out by the ULTRA paradigm and its holistic application. ULTRA’s specific focus on the intelligent combination of materials stresses the implementation of the optimum material for every given purpose resulting in a sophisticated multi-material space-frame.

The legendary Domus Magazine will be hosting a concurrent exhibition entitled OPEN DESIGN ARCHIPELAGOS curated by editor-in-chief Joseph Grima on the upper floors of the historical Palazzo Clerici.

In Britain, punk music has been strangely but inextricably linked with the monarchy since 1977 saw a Silver Jubilee and the Sex Pistols’ God Save the Queen. 35 years on, this year’s Jubilee sees an exhibition from collector Toby Mott and The Vinyl Factory which looks at the sleeves of 60 singles that helped form the punk aesthetic…

Jubilee, 2012: Sixty Punk Singles will show some of the most interesting 7″ designs to have come out of the punk scene in the late 1970s, including Headache’s Can’t Stand Still on Lout Records, shown above (art direction: Big Al; photo: Box Brownie).

And among now famous covers by Jamie Reid for the Sex Pistols and Malcolm Garrett for the Buzzcocks, there are plenty of other lesser known sleeves for bands like Menace, Angelic Upstarts, The Wasps and Chelsea, which frequently made use of one-colour printing, black and white photography, and type that came straight out of the fanzines which supported the burgeoning scene.

Here are some of the perhaps less familiar sleeves from Mott’s new show, which will be at The Vinyl Factory, 91 Walton Street, London SW3 2HP from May 30. All tracks are linked to the songs on YouTube.

The Snivelling Shits’ Terminal Stupid featured the late Giovanni Dadomo, an ex-music journalist, on vocals. Billed as a novelty record intended to fool the NME into giving it a Single of the Week (listen out for “don’t use yer sleeve, use an ‘anky” at the end), it stands up as a much stronger track than that. The sleeve used a photograph taken by Brian Randle of a girl watching The Stranglers at a gig in Manchester. The image had first appeared on the front page of The Sunday Mirror, June 12 1977 with the headline ‘Punk Rock Jubilee Shocker’, according to punk77.co.uk.

This no-nonsense, almost-modernist sleeve designed by Hothouse for The Wasps’ Teenage Treats made use of a punk staple: the live shot of the band (photographed here by Dave Clark). The tune itself fair zips along in a kind of proto-Undertones-y way.

Somewhat overlooked these days, despite being on Beggar’s Banquet, Fulham’s The Lurkers released their Shadow/Love Story single in this bright pinky-red sleeve, complete with marker pen type at the top. It featured photography by Wally Davidson and Rod Cartmell.

The Undertones’ Teenage Kicks has become a bit of a classic, thanks in part to DJ John Peel’s famous adoration of the track, but did you know the sleeve lived up to the brilliance of the song? (Sire Records, 1978).

A suitably ominous sleeve for Menace single, Screwed Up/Insane Society, by Jill Furmanovsky and Phil Davis.

Anonymous location; shuttered shop-front; gritty black and white photography: Alternative TV’s dub-influenced Life After Life ticks all the boxes for the British post-punk look. There’s some interesting rehearsal footage of the track, here – with what looks like a young(ish) Jools Holland on the keys.

The Adverts’ Gary Gilmore’s Eyes sleeve in garish yellow, pink and green. Gilmore was the first person in the US to be executed after the death was reinstated in 1976 and he requested that his eyes be donated for use in two cornea transplants. (According to Dan Wieden, founder of ad agency Wieden+Kennedy, Gilmore’s last words as he faced the firing squad – “Let’s do it!” – were the inspiration for the famous Nike slogan, Just Do It.)

Chelsea’s rather bleak, urbanist sleeve for High Rise Living (Step Forward Records). Designed by a ‘Sandra Tiffl…’ (according to Mott the credit has been cut off the sleeve – if anyone can complete the ‘Tiffl…’ let us know). [It’s Sandra Tiffin – thanks to Russ in the comments].

Finally, here’s the cover of The Angelic Upstarts’ The Murder of Liddle Towers. Released in 1978 on Small Wonder and Rough Trade, it made use of the ‘ransom note’ lettering, a technique also used by Jamie Reid on his God Save the Queen cover for the Sex Pistols (and later on the Never Mind the Bollocks album). The song is about the amateur boxer, Liddle Towers, who died in police custody in 1976.

In addition to the exhibition of sixty sleeves a limited edition book, with an essay by Toby Mott and an exclusive 7″ vinyl record of the notorious Sex Pistols Bill Grundy interview, is also published (designed and printed by Ditto Press. Jubilee, 2012: Sixty Punk Singles is available exclusively from The Vinyl Factory Chelsea gallery and vfeditions.com.

More details on The Mott Collection at facebook.com/themottcollection. For details on The Vinyl Factory’s work, go to thevinylfactory.com. The site for their Chelsea gallery is at thevinylfactory.com/chelsea/.

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