Présentée au Museum of the Moving Image à New York, Sonos Playground Deconstructed est une installation qui permet aux visiteurs de sélectionner n’importe quelle chanson depuis un iPad relié à Spotify pour ensuite admirer une visualisation de la musique projetée sur les murs. Une création très réussie signée Aramique.
News: SHoP Architects and SOM are among four firms putting forward their visions for the future of New York’s Pennsylvania Station and Madison Square Garden.
In an event at the Times Center last night, the Municipal Art Society of New York also unveiled proposals by Diller Scofidio + Renfro and H3 Hardy Collaboration Architecture, each reimagining the rail hub and the indoor arena that sits atop it.
SHoP Architects proposes to expand the main hall of Penn Station into a bright and airy space surrounded by new parks and amenities. An extension of the High Line – the New York park built along a section of a former elevated railway – would connect the station to a new Madison Square Garden offsite.
Skidmore, Owings & Merrill LLP (SOM) put forward a huge expansion of the station centred around a central, transparent ticket hall. Floating above it would be an inverted dome containing offices, apartments and green spaces staggered over multiple levels.
The proposal by Diller Scofidio + Renfro suggests moving Madison Square Garden across Eighth Avenue and expanding Penn Station upwards to include new amenities such as a theatre and spa.
Finally, H3 Hardy Collaboration Architecture proposes shifting Madison Square Garden to a 16-acre platform over the Hudson River at 34th Street, creating cycling and pedestrian promenades and a new 16-acre park.
The competition was launched to encourage discussion about the future of the site, which seems increasingly uncertain. While the owners of Madison Square Garden have asked to renew their permit for the site above the station “in perpetuity”, the New York City Planning Commission recently voted to limit it to 15 years, placing a question mark over the arena’s future.
Penn Station, which was designed to accommodate around 200,000 passengers a day but now has to deal with around 640,000, is seen by many New Yorkers as inefficient and badly in need of an update.
Last year the Municipal Art Society invited architects to suggest improvements to New York’s Grand Central Terminal, with SOM coming up with a floating observation deck that slides up and down and Foster + Partners proposing to increase the station’s capacity.
Other railway stations we’ve published include a Spanish station with a faceted aluminium interior and the vaulted concourse by John McAslan + Partners at King’s Cross Station in London – see all stations and transport hubs.
The post Four architects reimagine
New York’s Penn Station appeared first on Dezeen.
wants a Furniture Design Intern
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Imagine being exposed to all the behind the scenes processes, meetings, and work involved in creating successful furniture designs for leading retailers across the country. Slate Design, a small but accomplished firm, would like to bring you on board as a Furniture Design Intern, and if all goes well, hire you for a full time position.
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A museum housing sixteenth century Tudor warship the Mary Rose opens today in an elliptical timber-clad building designed by London office Wilkinson Eyre Architects (+ slideshow).
Located in the historic dockyard of Portsmouth, England, the Mary Rose Museum displays part of the ship that served the navy of King Henry VIII for 33 years before spending 437 years undiscovered at the bottom of the sea.
Wilkinson Eyre Architects designed the museum with a stained black exterior, intended to reference traditional English boat sheds, and a disc-shaped metal roof that curves up over its elliptical body.
The starboard section of the ship’s hull is housed in a temperature-controlled chamber at the heart of the building and can be viewed through internal windows on three different storeys.
The interiors, by London firm Pringle Brandon Perkins+Will, were designed to recreate the dark and claustrophobic atmosphere found below a ship’s deck.
“We designed a museum that would recreate the experience of being on board the ship hundreds of years ago and created a context gallery to highlight its precious contents,” said studio principal Chris Brandon.
Spaces feature low ceilings and are kept deliberately dark, with lighting directed only onto exhibits and handrails so that visitors can find their way through the galleries.
Two smaller extensions branch out from the sides of the museum. The first accommodates a reception, cafe and shop, while the second contains an education centre.
Wilkinson Eyre Architects was the recipient of last year’s World Building of the Year prize for its role in the Gardens by the Bay tropical garden in Singapore. The firm also recently won a competition to design a skyscraper on Sydney’s harbourfront.
See more architecture by Wilkinson Eyre Architects »
See more museums on Dezeen »
Photography is by Richard Chivers.
Here’s some more information from the design team:
Award-winning architects bring the Mary Rose back to life and create a new centrepiece for Portsmouth’s Historic Dockyard
The design of the new £27m Mary Rose Museum – by Wilkinson Eyre Architects (architect and design team leader) and Pringle Brandon Perkins+Will (architect for the interior) – is a story of collaboration, with the project team combining delicate conservation, contemporary architecture and specialist technical expertise. The result is a truly unique design that reveals the secrets of the famous Tudor ship, marking 30 years since the hull of the Mary Rose was raised from the Solent where she lay undiscovered for 437 years.
Like crafting a jewellery box to house a precious gem, the design team has together created a building and interior that protects and showcases the Mary Rose. Designed from the inside-out, the Museum building takes many of its cues from the historic ship, allowing its hull, artefacts and exhibitions to take centre stage and create a visitor experience befitting this remarkable piece of history.
At the heart of the project, within a carefully controlled ‘hot box’ environment, is the starboard section of the hull of the Mary Rose. Alongside it, a virtual port-side hull has been created over three levels to view the ship and house the context gallery. Encasing the Mary Rose and the largest collection of Tudor artefacts in the world is an architectural form that alludes to the historic significance of the Museum’s collection and announces the arrival of a major new cultural attraction.
Chris Wilkinson, Founding Director at Wilkinson Eyre Architects, said: “When you have a treasure like the Mary Rose, which continues to capture the world’s imagination, the architecture of the building takes a supporting role. However, the building has a very significant part to play in projecting the Museum and its remarkable collection to the world, creating intrigue and heightening the visitor experience of this major cultural attraction.”
Chris Brandon, Principal of Pringle Brandon Perkins+Will (PBP+W), said: “This museum is unique – the only one in the world to take its inspiration from the archaeological finds of the Mary Rose and the ship herself. Our role was to create a showcase for The Mary Rose and her artefacts befitting their significance, so we designed a museum that would recreate the experience of being on board the ship hundreds of years ago and created a context gallery to highlight its precious contents. Coming from a marine archaeological background, finally I can unite my two passions in life – architecture and marine archaeology. I hope visitors to the Mary Rose Museum are as excited by the end result as I am.”
The architecture
When working with such a fascinating artefact like the Mary Rose, the architecture needs to complement rather than distract. In this case, the challenge was finding the right architectural language to help articulate the story being told by the Museum, whilst adding a confident piece of contemporary architecture to Portsmouth Historic Dockyard.
The simple, pure elliptical form of the new building is derived from toroidal geometry echoing the shape of the Mary Rose; its timber is reminiscent of the ship’s historic hull, showcasing the innovative Carvel construction methods of the 16th Century. Further embedding the building in its maritime heritage, the timber has been stained black to reflect England’s vernacular boat shed architecture.
The challenges of the site’s historic context, adjacent to HMS Victory and the listed Admiralty buildings, are compounded by the nature of the site itself: a late 18th Century Dry Dock that is listed as a Scheduled Ancient Monument. Care has been taken to keep the height of the Museum as low as possible to remain sensitive to the proportions and scale of the surrounding buildings. The low-profile, shell-shaped metal roof follows this logic and reduces the internal volume of space which has to be environmentally controlled to precise standards to ensure the conservation of the hull.
Two rectangular pavilions are attached to each side of the main building, one housing the main entrance reception, café and shop, and the other occupied by the Learning Centre and main plant room. The overall composition is a piece of contemporary architecture, an elegantly simple form with an air of mystery that encourages visitors to enter and explore.
The interior
The essence of the design of the interior evolved from the frozen moment in time seconds before the Mary Rose capsized and sank on 19th July 1545. Following the painstaking archaeological excavation and recording of the exact location of every find, the project team could see inside the Mary Rose and reunite the original contents – fittings, weaponry, armament and possessions – deck-by-deck.
A virtual hull was constructed to represent the missing port side with all the guns on their original gun carriages, cannonballs, gun furniture, stores, chests, rope and rigging. Visitors to the Museum walk in between the conserved starboard section of the hull and the virtual hull on three levels, seeing all the main shipboard material in context as though they are on board the Mary Rose. The end galleries then interpret the context gallery deck-by-deck in more conventional museum display cases, designed by Land Design Studio.
The atmosphere of being on the ship is further enhanced by the walkways following the shape of the deck from stern to bow and low ceilings on the lower deck. The Museum spaces are deliberately dark with daylight excluded and the only lighting either focused on the objects or concealed under the walkway handrail, lighting the space and re-creating the dark claustrophobic spaces below decks.
Two museum interiors have been designed – the first for 2013 to 2017/18 and the second for the period after 2018. Initially the Mary Rose will remain in her protective cocoon while she is dried and be seen through windows on the three levels of the context gallery and the lifts. However, on completion of the conservation process, the context gallery walkways will be opened and the Mary Rose and all her contents will be seen together.
The post Mary Rose Museum by Wilkinson Eyre
and Pringle Brandon Perkins+Will appeared first on Dezeen.
A series of images by CGI specialist Recom Farmhouse and photographer Markus Wendler places vintage cars in some of Los Angeles’ less desirable neighbourhoods, conjuring some striking images. The project is a self-initiated, collaborative venture between Recom Farmhouse and Wendler, who have worked on a number of commercial projects together in the past.
Wendler had already shot some nighttime images of LA as a starting point, and after a bit of creative to-and-fro, Wendler and Recom decided to use vintage cars in “sketchy areas in and around LA, that are not just placed in an advertising style angle, but would rather tell a story – or pose questions as it’s never going to be clear what is actually happening”, according to Recom Farmhouse creative director Christoph Bolten.
Creating aged, damaged and dirty cars completely through CG was an attractive challenge for the company, as automotive CGI is one of its niches of expertise. “The next thing that was really exciting, was that these were not going to be classic advertising images, but had a much more realistic and narrative approach,” adds Bolten. “Something that from the beginning was offering the possibility to create something ambiguous and magical.”
Top and above: Two final images from an ongoing project created by photographer Markus Wendler and CGI specialist Recom Farmhouse
Having come up with the idea last summer, Wendler shot more material in situ in LA, before the CG modelling began, with Recom Farmhouse fitting the research and work between commercial projects. Bolten is always keen to have such research and development projects on the go – they are all about “pushing the boundaries”, he says. “Also, for the CGI artists it’s a lot more fun to work on projects like that; they love the freedom of playing a little and not having a client breathing down their neck.”
The process for creating the series included many stages, from initially modelling a scene and planning different crash scenarios, to extensive research of imagery of similar crash scenarios, sketching the form of cars, and sculpting creases and dents (see process images below).
Creating realistic effects for various automotive states of ageing – dented metal, shattered windscreens, dusty metal with fingerprints, rusted medal, skid marks, or smoking tires – was particularly challenging, all-in-all “quite time intensive”, says Bolten.
Wendler and Recom Farmhouse are still finalising the series, but are hoping to exhibit the images in the near future. As Bolten says: “These images are really about being printed very large as they have so many mysterious little details going on in them.”
The Recom Farmhouse project above also features in the current issue of CR. Unfortunately, an image on page 29 of the magazine was wrongly credited as being part of the project. It was, in fact, an unconnected image used merely for reference in the making of the project and was not taken by Markus Wendler as stated. Our apologies for the error.
Out now, the May 2013 issue of Creative Review is our biggest ever. Features over 100 pages of the year’s best work in the Creative Review Annual 2013 (in association with iStockphoto), plus profiles on Morag Myerscough, Part of a Bigger Plan and Human After All as well as analysis, comment, reviews and opinion.
You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month. If you subscribe before May 3, you will get the Annual issue thrown in for free. The offer also applies to anyone renewing their subscription. Details 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.
Dezeen promotion: Tokyo Designers Week is calling for design professionals, young creators and design schools to enter the Asia Awards, which will be presented during this year’s event from 26 October to 4 November.
The inaugural awards program will honour projects in categories ranging from architecture and product design to fashion and photography, under the themes Hello Future and Festival.
The awards will include presentations by finalists and critique sessions from the selection committee, plus a conference and party for exhibitors and students from different countries.
Entries for the awards will be accepted before 31 July. For more details about how to register, entry formats, fees and prizes visit the sites for the professional exhibition, young creators exhibition and school exhibition.
For students and designers within the school and young creators exhibitions, a grand prize of 1 million Japanese Yen (£6532) and semi-grand prize of 300,000 Yen (£1959.60) will be awarded to winning entries.
Tokyo Designers Week has also issued a call for designers to show at the Tent exhibition and promoters or brands to exhibit at the Container exhibition.
The event takes place from 26 October to 4 November 2013 – click here for more details.
Photographs of last year’s event are by Luke Hayes. Asia Awards logo and Tokyo Designers Week 2013 key visual and art direction by Airside Nippon.
Here is some more information from the organisers:
Asia Awards 2013
Asia Awards will be held to foster young talented designers, the future of the creative industries. We are now looking for professionals, young creators and school exhibitors.
Design Association NPO (Venue: Minami Aoyama Minato-City, Tokyo President Kenji Kawasaki) will be holding a Design & Art Event, Tokyo Designers Week 2013, at Meiji-Jingu Gaien (In front of Meiji-Jingu Memorial Picture Gallery, Tokyo).
One of the two main contents of the event represented by the “School Exhibition” & the “Young Creators Exhibition” have showcased a large number of students and young designers from both inside and outside Japan.
This year, a comprehensive Asian creative award called the “Asia Awards” has been established to gather the creative power from all over the world in the center of Tokyo, thus trying to discover young talents that will lead the next generation and become a platform for students and young designers to make their strides to the global stage.
We are implementing the “Professional Exhibition” for top creators and designers, the “Young Creators Exhibition” for young designers and artists under the age of 30, and the “School Exhibition” for Design & Art schools, colleges, universities and graduate schools.
The representatives of Design Association NPO, Architect Toyo Ito and Art Director Katsumi Asaba will be distributing several awards (Grand Prix 1,000,000JPY, Semi Grand Prix 300,000JPY, etc) for the creators of the Asia Awards.
We expect to nurture the future designers/artists and help them develop capabilities to excel on global stage through interacting with students across different countries and fields. We are now looking for professionals, young creators, and schools to join us in Tokyo Designers Week 2013.
Asia Awards – objective
Objectives: strengthen the competitiveness in creativity – become a platform for young creators to make their strides to the global stage, cultural exchange – build friendship between Japan and other countries through cultural exchanges in design and art.
Category: the Asia Awards will provide the opportunity for students and young designers/artists to exhibit along with top professional designers and to hold a wide range of creative presentations.
Exhibition by Top Creators within the Professional Exhibition, Exhibition by Designers under the age of 30 within the Young Creators Exhibition and Exhibition by Schools within the School Exhibition.
Choose from the following two themes: Hello Future, FES (Festival)
Date: 26 Oct (Sat) – 4 Nov (Mon – National Holiday)
Asia Awards – exhibiting details
Professional Exhibition Outline
Chairman: Motomi Kawakami Design Room Kawakami / Designer
Exhibition format: W1800mm×L1800mm, H300mm, 600mm, 900mm (please choose)
Exhibition fee: 150,000 JPN (without tax) *fee to be paid only by applicants who passed the initial screening
Exhibition contents: display of recent, past, representative works, prototypes etc.
Entry deadline: 31 July (Wed)
More details here.
Young Creators Exhibition Outline
First screening : concept sheet review (organiser)
Designers who have passed the first screening will be able to exhibit as below:
Exhibition format: three dimensional works – plain/flat space W900mm×L900mm (Height: choose from H300mm, 600mm, 900mm), two dimensional works – wall surface W900mm×H1800mm
*Designers who failed to pass the 1st screening will have their work displayed within a panel. (panel exhibition, A2 size W420mm X 594mm)
Second screening: work review, within the Tokyo Designers Week 2013, Oct.26th – Nov.4th (Mon.) * (only works that passed the 1st screening will be reviewed)
Final screening: presentation review by a special jury
Finalists will hold presentation for the special jury members, in either English or Japanese. Internet live broadcast from the venue.
Exhibition fee: free of charge
Target: designers under 30 years of age (professionals, amateurs, students)
Entry deadline: 31 July
More details here.
School Exhibition Outline
Chairman: Satoshi Tabuchi Professor, Tama Art University / Architect
Exhibition format: Outdoor Space 20-metre-squares (5m×4m), Indoor Space 8-metre-squared (W4×D2×H2.4)
Number of works allowed: 10 works or less
Exhibition fee: This year, the exhibiting fees for overseas universities and colleges are FREE, however, membership fee still applies ( Membership Fee 100,000JPY tax free per unit)
Entry deadline: 31 July (Wed)
More details here.
Asia Awards – special events
Competition presentations by young creators / students
Date: During the Session (scheduled to be held within the latter half of the event)
Venue: TDW-DOME Stage
Note: Only exhibitors within School Exhibition / Young Creator Exhibition may join
Contents: A competition where students from all exhibiting schools present the concept of their exhibiting work. An opportunity to bring out the students/young creators’ presentation skills.
Critique Sessions
Date: During the Exhibition period (scheduled to be held within the latter half of the event)
Venue: TDW-DOME Stage
Note: Live broadcast from the venue through our YouTube Official channel.
Broadcast within “TOKYO DESIGNERS WEEK.tv” at a later date
Contents: Members of the Design Association’s selection committee will critique the works they have reviewed.
Asia Awards International Exchange Party
Date: Pending dates (scheduled to be held within the first half of the event)
Venue: TDW-DOME
Contents: Create an opportunity for students, young and professional designers from different countries and fields to meet and exchange ideas.
Asia Awards Conference
Date: During the Exhibition period (scheduled to be held within the first half of the event)
Special conferences for students and young designers held by Japanese and overseas professional creators.
Award
Only young Creators and School Exhibitions are included in the (Grand Prix, Semi Grand Prix, Corporate Awards, Prize, Nominee) awards categories.
*Professional Exhibitions are not included in the awards categories.
Genres
Architecture/Interior/Product/Fashion/Textile/Photography/WEB/Image/Marketing/Graphics/Illustration/Art/Media Arts/Crafts/Space Design/Animation/Music
Ex: Architecture, graphic design groups can participate within either design or art category.
The exhibition will be distributing a Grand Prix, Semi Grand Prix, Corporate Awards, Prizes, and Nominee within both Design and Art categories.
Tokyo Designers Week 2013
Tokyo Designers Week started systematically as Designers’ Saturday in 1986 and was renamed as Tokyo Designers Week in the year 1997, setting its venue continuously every fall for 28 years in the city of Tokyo. It is an international design event that gathers the excellent design and art from all over the world in areas close to our every-day lives, such as architecture, interior, product design, graphic design and art. Since 2005, the event has been provided the central venue of Meiji Jingu Gaien Mae (In front of Meiji-Jingu Memorial Picture Gallery) and developed into an event that attracting in 2012 a record number of over 100,000 people with highly sensitive opinions in the creative field. The event has allowed companies, organizations, embassies, schools, designers to become highly recognized by providing a place to announce their latest design and art through PR, product promotion, marketing and testing for branding purposes.
Date: 26 October (Sat) – 4 November (Mon National Holiday), scheduled for 10 days
Time: 11:00–22:00 (18:00 on the last day)
Venue: 2-3 Kasumigaoka, Tokyo
Meiji-Jingu Gaien Mae (Central Venue), Shops around the Metropolitan Area
Expected Visitors: 120,000 people (estimate)
Tent Exhibition – Tokyo Designers Week’s main content is the ‘TENT exhibition’. It gathering more than 120,000 people with high sensitivity opinions in the creative field, thus creating a forum for the promotion of various companies and products. Visitors include manufactures, buyers, various media, people in the design industry who can become incubators.
More details for companies about the Tent exhibition here and the Pavilion exhibition here. Additional details for designers here.
Container exhibition – an original content produced by Tokyo Designers Week using reusable cargo containers. An independent space ideal for promotions and branding. Visitors are fascinated by the unique exhibitions, including interactive art and space installations, but also media arts and projection mapping. More details here.
About Design Association NPO – Design can change the world
Design Association NPO is the maneuvering vehicle that contributes to society with the design in life beyond genres and across borders by connecting the related companies, designers, schools, embassies and media. Through our art and design event Tokyo Designers Week and our tv program TokyoDesignersWeek.tv – Ken Mogi’s Seeds of Inspiration IMAGINE – we believe that design has the power to change the country.
The post Call for entries to the Asia Awards
at Tokyo Designers Week 2013 appeared first on Dezeen.
Après le clip Fuya pour C2C primé aux Victoires de la Musique, le réalisateur Francis Cutter revient avec Flynt et Orelsan pour « Mon Pote ». L’idée du clip est de rendre hommage aux classiques du cinéma grâce à des incrustations de talent sur 20 films tels que Pulp Fiction, Retour vers le Futur, La Haine ou Fight Club.
UK-based tinkerer Mark( Captain Bayley(his flickr)) built this awesome steampunk AT-AT walker from..(Read…)
{1. cake pans 2. vintage Kushi from Japan 3. chairs by Martien Mulder 4. the selby 5. glasses 6. tea bags vintage}
I am a collector of the worst kind according to my dear husband. Sometimes I feel a fool doing this but when looking at images Madison Fraine 'collected' on her pinterest board I don't feel crazy any longer , but enjoy how other people cherish things and keep neatly organized just like me.
To give you an idea of the things I like to collect … here some snapshots that I often share on instagram. I can honestly say that I am addicted to vintage ceramics … can't stay away from wooden spoons, have piles of fabrics, love old toys and always buy lamps when I see them.
What about you… you love to collect too?
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
