Hasta La Ideas

Lui è Stacey Rozich.

Mi piacciono le fragole e i 5 panel di ONLY.
{Via}

Product news: tapered legs support the curved seat and backrest of this wooden chair by Bangkok designers Slap Studio for Thai design brand Curio.

The Bunny chair by Slap Studio for Curio is available in natural beech, oak or walnut. The beech version is also available in three colour finishes: red, grey or black.

There’s also an option to add an upholstered black or grey seat.

Recently on Dezeen we’ve featured a chair that’s a cross between traditional alpine furniture and Danish modernism, and a pine and aluminium chair designed by Konstantin Grcic for the new Parrish Art Museum in New York by Herzog & de Meuron.

We also recently published an update on the classic bentwood bistro chair by Thonet and a chair inspired by the use of forced perspective in Renaissance paintings.

See all our stories about chairs »
See all our stories about furniture »

The post Bunny chair by Slap Studio
for Curio appeared first on Dezeen.

Alder Hey in Liverpool is the UK’s busiest children’s hospital and one of the biggest in Europe. USP Creative were asked to create a brand identity which would work for both the hospital trust and its charity.

A new Alder Hey hospital is being built in 2015. In preparation for this, it commissioned a new brand identity to work for both the Alder Hey Children’s NHS Foundation Trust and the Alder Hey Children’s Charity. According to USP Creative, who won the task, the brief asked for an identity “that reflects the hospital’s core values, has flexibility to work across many different mediums, is easily identifiable and could be used as a key part of communications and fundraising initiatives”. In addition, the work needed to appeal to a wide range of interested parties, including children, staff, the wider healthcare community and the public.

USP say that in research they uncovered certain words which had frequently been used to describe the hospital and charity – “family, wisdom, strength and memory were consistently mentioned” they say. All of which, they felt, could be embodied by an elephant, which they christened Oli.

The character is rendered in a ‘Fuzzy Felt’ style. Prominent stitching recalls, USP say, the care and attention Alder Hey gives its patients. The desired colour scheme should be “bright, colourful, positive and appealing to children, but also respectful of the serious nature behind the work that is done by the hospital” USP say. They plumped for Pantone 300 blue for the character which, they claim, is gender neutral and reasuring and which has no negative connotations in any culture.

As for the name, it’s simple and easy to pronounce for children as well as recalling the ‘Alder” in the hospital’s name.

USP have now started to apply the brand derived from the character across the huge array of materials required, beginning with the charity.

This was a very tricky brief – to combine the needs of both the governing trust and the Alder Hey Children’s Charity and to provide something which would work in all the different contexts that implies. It will be difficult to tell how well the scheme works across everything until the new hospital opens but, in Oli, Alder Hey has a marketable, highly recognisable character with great charm.

CR In print

In our December issue we look at why carpets are the latest medium of choice for designers and illustrators. Plus, Does it matter if design projects are presented using fake images created using LiveSurface and the like? Mark Sinclair looks in to the issue of mocking-up. We have an extract from Craig Ward’s upcoming book Popular Lies About Graphic Design and ask why advertising has been so poor at preserving its past. Illustrators’ agents share their tips for getting seen and we interview maverick director Tony Kaye by means of his unique way with email. In Crit, Guardian economics leader writer Aditya Chakrabortty review’s Kalle Lasn’s Meme Wars and Gordon Comstock pities brands’ long-suffering social media managers. In a new column on art direction, Paul Belford deconstructs a Levi’s ad that was so wrong it was very right, plus, in his brand identity column, Michael Evamy looks at the work of Barcelona-based Mario Eskenazi. And Daniel Benneworth-Gray tackles every freelancer’s dilemma – getting work.

Our Monograph this month, for subscribers only, features the EnsaïmadART project in which Astrid Stavro and Pablo Martin invited designers from around the world to create stickers to go on the packaging of special edition packaging for Majorca’s distinctive pastry, the ensaïmada, with all profits going to a charity on the island (full story here)

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

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

We picked up on Samuel Bernier’s “Project RE_” even before he was recognized as Runner-Up in the DIY category of this year’s Core77 Design Awards, and he might just be in contention for 2013 with his latest project, “Dentelle.” Taking it’s name from the French word for lace, the project was inspired by a simple repair job:

When I moved in my new apartment, the last owner had left [an IKEA] Rigolit lamp in the middle of the living room. An object that looks like a fishing rod holding a big paper cloud. The lampshade was ripped everywhere and Scotch tape was holding it together. This huge volume was always in the way and we kept bumping our heads into it. One day, I had enough and decided to buy a new lampshade to replace the paper one. Everything was either too expensive for me or extremely ugly. Also, the closest IKEA was an hour away… by bus.

What does a designer do in such a situation? He makes! A few hours later, thanks to affordable 3D printing, a unique lampshade was made. I couldn’t stop there, so I designed 2, 3… 12 different ones, using always the same shape and changing only the color and the texture. They take between 4 and 12 hours to print, use absolutely no support material, weight between 50g and 100g and cost less than $5 to print.

As in his “Project RE_,” Bernier’s approach captures the spirit of the Fixer’s Manifesto to a tee, revitalizing a superficially damaged object with ingenuity, a bit of elbow grease (and a spool of ABS, of course).

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