Talent-spotters: Sunderland

Sunderland’s Degree Show this year proved an eclectic mix, with silversmithing, fashion, interior design and animation, to name but a few, all packed into one space. Livija Dale attended the opening night to snap us some pics of the best work.

Gordon Cable really stole the show on the Jewellery and Silversmithing front. Amazing use of creating typography with metal, then exploring a physical manifestation of the rabbit hole in Alice’s Adventures in Wonderland.

Charlotte Hirst’s pieces caught my eye with their vibrant colours and bold shapes, and become even more interesting once you realise they’re based on Pythagoras’ theorem and the Fibonacci sequence.

Petra Bartosova’s work is very conceptual; Mindspace is an experimental piece focusing on how thoughts can be perceived and created in a virtual space. She utilises dynamic typography and motion graphics to explore textural thoughts to great effect.

Jamie Sparkes’ Origami Tweet project creates a physical version of Twitter, where people write their tweets to friends and family, which are then folded into the shape of the signature Twitter bird. An interesting alternate look at social networking.

Teodora Nedyalkova’s work has a dream-like feel to it. In Sacred Geometry she explores geometric forms found throughout nature and in religion.

Neil McKenzie’s project Characterising Creativity saw him explore the meaning of creativity. His work also displays some nice branding projects for Crystal Glass catering.

Faye Robertson has a unique and intricate style, mixing bold and dull colours together to create a very old-world feel. It’s interesting to see her application of illustration to textiles, showing the different ways her style can be utilised.

You can see more of the students’ work here.

CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here

CR in Print
The July issue of Creative Review features a piece exploring the past and future of the dingbat. Plus a look at the potential of paper electronics and printed apps, how a new generation of documentary filmmakers is making use of the web, current logo trends, a review of MoMA New York’s group show on art and type, thoughts on how design may help save Greece and much more. Also, in Monograph this month we showcase a host of rejected design work put together by two Kingston students.

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TED Prize winners announced


Dezeen Wire:
 the winners of this year’s TED Prize for urban innovation have been announced. Recipients of the prize include London design studio 00:/ for their project WikiHouse, which involves the construction of wooden houses from a downloaded kit of parts. Read our story about the project here.

Fubiz TV Issue 07

Nous sommes fiers de vous présenter aujourd’hui l’Issue 07 du programme hebdomadaire Fubiz TV. Au sommaire cette semaine, nous avons sélectionné le meilleur de l’actualité et nous avons rencontrer Orelsan et le réalisateur David Tomaszewski pour une interview exclusive.

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Chocolate Mill by Wieki Somers at the Vitra Design Museum

Thin layers are gradually shaved away from a cylindrical block of chocolate to reveal the embedded geometric patterns in this installation by Dutch designer Wieki Somers at the Vitra Design Museum (+ movie).

Chocolate Mill by Wieki Somers at Vitra Design Museum

Somers worked with Swiss chocolatier Rafael Mutter to create the Chocolate Mill, which is adapted from a cheese-cutter.

Chocolate Mill by Wieki Somers at Vitra Design Museum

A blade pivoting on the centre of the block is rotated to scrape back one layer at a time, making thin curly shavings to serve to visitors.

Chocolate Mill by Wieki Somers at Vitra Design Museum

The slab is made up of smaller pieces of different types of chocolate, arranged so that new patterns emerge as the surface wears away.

Chocolate Mill by Wieki Somers at Vitra Design Museum

A smaller version of the machine is available in the museum shop.

Chocolate Mill by Wieki Somers at Vitra Design Museum

The project is on show until 1 September at the museum in Weil Am Rhein, Germany, as part of an exhibition called Confrontations that pairs designers working in the Netherlands with practitioners of traditional crafts in Switzerland.

Chocolate Mill by Wieki Somers at Vitra Design Museum

Eindhoven-based duo Formafantasma are also included in Confrontations and worked with a traditional charcoal burner to make tap-water purifiers.

Chocolate Mill by Wieki Somers at Vitra Design Museum

See more stories about chocolate »
See more stories about Wieki Somers »

Here’s some more information from Somers:


Against the background of the summer exhibition ‘Gerrit Rietveld – The Revolution of Space’, a special exhibition under the title ‘Confrontations’ opened during Art Basel at the Vitra Design Museum, dedicated to a number of innovative Dutch designers whose experimental methods are similar to Rietveld’s. The designers were invited to join a partner from the region in developing a design project. The spectrum of partners ranged from the molecular biology laboratory of the firm Roche to the only female charcoal maker in Switzerland.

Studio Wieki Somers teamed up with chocolatier Rafael Mutter to create the Chocolate Mill, a large cylindrical block of chocolate from which delicate rosettes can be shaved off with a crank-turned blade. Various patterns are integrated into the block using different types of chocolate, creating a flipbook effect as the layers are scraped off.

Chocolate Mill by Wieki Somers at Vitra Design Museum

During their performance at June 15, Studio Wieki Somers and the chocolatier prepared chilled drinks for visitors using the chocolate rosettes. Small chocolate mills are on sale in the Vitra shop, including special chocolate for refilling.

Making chocolate out of cocoa beans is a labour-intensive process. But once transformed into chocolate mass, the possibilities seem endless. The fluid mass of chocolate solidifying into different forms is a fascinating process, how it can break and melt again. Nowadays production possibilities can produce new forms of chocolate bars and bonbons by printing, milling, extruding, dripping and spinning chocolate. Solidified sediments, left overs of these processes, can become new chocolates.

Chocolate Mill by Wieki Somers at Vitra Design Museum

This is the first time we have worked with a material that has such a delicate and direct relationship with its consumer; chocolate stimulates all our senses and our brain at the same time. Nowadays we sometimes forget how astounding it is. It has been a long time since chocolate was a rare substance; a sacred drink, a medicine.

We wanted to inject a new excitement and enjoyment into chocolate by changing some rules and generating a new ritual: a new way of eating and sharing chocolate.

We have created a device, a chocolate carrousel, by adapting a machine used mainly in Switzerland as a cheese slicer. We use it in a different way, as an instrument that mediates between us and the chocolate. We also designed the chocolate which the machine processes, by inserting memories into it like fossils. Thus the three-dimensional aspect of the carrouselis extended by a fourth: time and history translated through movement. By rotating the carrousel’s arm, one image appears while another fades away.

There are two animations. The first is a couple spinning in a dance of never-ending pleasure: the carrousel’s handle turns like that on a music box. As another layer, we drew upon geometric patterns from Rafael Mutter’s bonbons: by turning the mill you witness a mysteriouskaleidoscopic effect in which African Bobo masks emerge (cocoa pickers believe they have a special power to bring a good harvest). The movement now refers to the magical history of chocolate.

Chocolate Mill by Wieki Somers at Vitra Design Museum

In its new symbolic play, it reminds us of Marcel Duchamp’s chocolate grinder, one of the central motifs in his masterpiece, The Large Glass. This complex work has mechanical, symbolic, chemical and erotic associations. We do not intend to match such a broad spectrum of references, but take this device into account as an imprint in our collective subconscious. We want our machine to produce emotions. We want a machine that feels and tastes.

Eating the delicate flowers generated by this process will be a completely new experience of tasting chocolate. Unlike breaking a conventional chocolate bar, the material now becomes so fragile and generous. It is affluence and scarcity at the same time: slicing layers of pleasure.

Quote of Note | Rineke Dijkstra

“I feel an affinity with the tradition of documentary photography, but my photographs nevertheless have aspects that make them different. I’m attracted to portraiture because of the personal relationships I develop with people I meet and am interested in. These are encounters where, each time, something happens and a certain emotional interaction takes place. I’m looking for something that’s real. To me photography means that you can point to something and show other people the unexpected, the unusual. Precisely by bringing life to a standstill, you can capture things that often go unnoticed day to day–it has to do with the extraordinary quality of the ordinary. I’ve chosen photography as a medium for making art because I want to show something that cannot be expressd in any other.”

-Artist Rineke Dijkstra, in an interview with Jan van Adrichem that appears in the catalogue accompanying “Rineke Dijkstra: A Retrospective,” which opens today at the Guggenheim

Above: “Vondelpark, Amsterdam, Netherlands, June 19, 2005.” © Rineke Dijkstra (Courtesy the artist and Jan Mot)

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Ciel de Paris by Noé Duchaufour-Lawrance

French designer Noé Duchaufour-Lawrance has fitted out a restaurant at the top of the tallest skyscraper in central Paris.

Ciel de Paris by Noé Duchaufour-Lawrance

Named Ciel de Paris, the new restaurant is located on the 56th floor of the Montparnasse Tower, which at 210-metres-high is taller than everything else around it bar the Eiffel Tower.

Ciel de Paris by Noé Duchaufour-Lawrance

Warm lighting glows out from behind the circular mirrors covering the ceiling, as well as around the edges of the room and from beneath the curved central bar.

Ciel de Paris by Noé Duchaufour-Lawrance

Chairs designed by Duchaufour-Lawrance feature smooth grey resin and fibreglass shells with orange leather linings.

Ciel de Paris by Noé Duchaufour-Lawrance

This week Noé Duchaufour-Lawrance also revealed a spiralling bookcase inspired by the shape of a fossil.

Ciel de Paris by Noé Duchaufour-Lawrance

See all our stories about restaurants »

Ciel de Paris by Noé Duchaufour-Lawrance

Photography is by Vincent Leroux/Temps Machine.

Ciel de Paris by Noé Duchaufour-Lawrance

Here’s the full press release:


Ciel de Paris

Noé Duchaufour-Lawrance has designed a soft and profound amber bubble of light on the 56th floor of the Montparnasse Tower: the new Ciel de Paris restaurant interior design and furniture.

Ciel de Paris by Noé Duchaufour-Lawrance

From the bay windows to the central bar, depending on the aura of the mirrors, the skilled composition of the sombre reflections strengthens and transforms perspectives. The view becomes space; space becomes the view.

Ciel de Paris by Noé Duchaufour-Lawrance

The golden glints of the City of Light bounce off the sensual curves and materials. Paris is sparkling and all of a sudden the tower is more desirable.

Ciel de Paris by Noé Duchaufour-Lawrance

This primarily touristic venue has become welcoming and ethereal, a pleasurable experience designed for everyone.

Ciel de Paris by Noé Duchaufour-Lawrance

Furniture + Lights – Bespoke design by Noé Duchaufour- Lawrance

Bar: wood fibre and resin structure, Corian interior with Stopsol extra white glass top, golden interior
Lights produced with Artemide
Ceiling light dimensions: 300x200cm
Ceiling light and suspended illuminating mirrors: made of Stopsol glass (colourless mirror) + honeycomb + gold painted dome
Bar Stools: resin composite materials + glass fibre exterior, grey satin-finish colour, Stolz leather interior, grey satin-finish coated steel base

Furniture – Bespoke design by Noé Duchaufour- Lawrance

Armchairs: resin composite materials + glass fibre exterior, satin-finish grey colour, Stolz leather interior, grey satin-finish coated steel base
Tables: Corian top, lacquered MDF below and resin composite materials + glass fibre, grey satin-finish coated steel base

Ciel de Paris by Noé Duchaufour-Lawrance

Description of Materials and Furniture

Lighting: tailor-designed, in partnership with Artemide
275 lights suspended from the platform comprising:
– direct honeycomb lighting fittings creating graduated light from the outside to the inside
– backlit indirect lighting fittings creating a halo of light projecting onto the ceiling
Acoustic Ceiling: OWAcoustic premium system – Owaplan
Bar: wood fibre and resin structure, Corian interior with Stopsol extra white glass top, golden interior
Main Walls: grey velvet paint
Entracne Wall: curved staff
Back Wall: curved staff
Column Trim: bronze mirror with transparent degradation
Woodwork: lacquered metal
Floor: made-to-measure Taî Ping carpet for the restaurant area and Royal Mosa ceramic sandstone for the entrance hall and sanitary area
Seat: resin composite materials + glass fibre exterior, grey satin-finish colour, Stolz leather interior, grey satin-finish coated steel base.
Benches: wooden structure + upholstered with Stolz leather
Tables: Corian top, lacquered MDF underneath and resin composite materials + glass fibre, grey satin-finish coated steel base

Ciel de Paris by Noé Duchaufour-Lawrance

Total area: 400 m2, 160 seats
Interior design – Designer: Noé Duchaufour-Lawrance
Project Leader: Lluc Giros
Team: Laetitia Leinartz, Grégoire de Lafforest and Alfredo DaSilva
Lighting designer: L’Observatoire International
Visual identity: Yorgo Tloupas

Installer: Chantiers Baudet
Furniture production: Tabisso
Lighting production: Artemide
Carpet production: Tai Ping

Hydroponics at Home

Gardening can be a rewarding and therapeutic activity- unfortunately, many urban dwellers will never get the chance to experience it! Using current hydroponics technology, the Auxano concept was designed to enable city dwellers to grow their own produce effectively and efficiently (and without mess!) within the space constraints of city living. Its innovative oxygenating pump system means no electricity is needed for the product to operate.

The root cradle slides out of the top making the harvesting of the vegetable or herb an easy process. The roots freely hang down from the cradle into the nutrient solution below.
This bottom section unscrews revealing the nutrient reservoir. Feeding the plant from underneath the product makes the process more efficient and mess free.

The nutrient solution needs to remain oxygenated to prevent it from stagnating. Auxano’s innovative pump system sets this product out from any other hydroponic grower. The user simply pushes the underlying rubber pump a few times a day releasing bursts of oxygen into the nutrient tank above.The oxygen is pumped into the nutrient tank through a simple one way valve system. Operating the air flow manually enhances the user interaction with the product and also removes the need to introduce electricity to keep the nutrient solution aerated; in turn further enhancing the products eco-friendliness.

Designer: Philip Houiellebecq


Yanko Design
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(Hydroponics at Home was originally posted on Yanko Design)

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