Menswear capsule collection by Bureau V

New York architecture studio Bureau V showed its debut menswear collection based on theories by German architect Gottfried Semper during New York Fashion Week.

Menswear capsule collection by Bureau V

Bureau V centred its first foray into fashion design around Semper’s nineteenth-century Stoffwechseltheorie, which describes the replication of old construction techniques when implementing new materials.

Menswear capsule collection by Bureau V

With this in mind, the studio used the performance-driven shapes of cycling shorts and fisherman’s waders and created garments in lighter, textured fabrics and a minimal palette.

“We’ve shifted the materials and tweaked the shapes to migrate some of the forms of this clothing outside of sport and into a more formal setting,” Bureau V’s Peter Zuspan told Dezeen.

Menswear capsule collection by Bureau V

Oxford shirts with mesh vents under the arms and bibbed long johns feature in the 12-piece collection, along with felt T-shirts and tweed shorts.

White and light grey tones help to emphasise the textures such as waffle cotton knit and quilted cellulose fabric, plus diverge from the overuse of black in architect’s clothes according to Zuspan.

Menswear capsule collection by Bureau V

“The original reason we chose the colours was a minor protest to architects’ (and New Yorkers’) longterm obsession with black,” he told Dezeen. “That said, we also appreciate the light colour’s ability to show off the more sculptural details in the clothing with minimal lighting.”

Menswear capsule collection by Bureau V

The studio enjoyed the speed of working on a fashion collection compared to drawn-out architecture projects.

“We’re a younger studio and one of our biggest frustrations we find with architecture is that it’s just too slow,” said Zuspan. “A fashion design project that we designed and worked on for 2-3 months was very refreshing.”

Bureau V collaborated with design platform BYCO to produce the garments, which are now for sale. The collection was first shown last Thursday at the Dillon Gallery as part of New York Fashion Week.

Menswear capsule collection by Bureau V

Other architects that have tried their hand at fashion design include Jean Nouvel, Zaha Hadid and Oscar Niemeyer, who have all previously created shoe collections.

For more menswear, see Sruli Recht’s collection that features wooden clothes or check out giant accessories and oversized knitwear by Sibling.

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The designers also sent us the following info:


Bureau V’s capsule collection takes as its point of departure 19th century German architect Gottfried Semper’s Stoffwechseltheorie, a historical theory that describes how forms derived from material-specific practices often shift into other materials, creating valuable lingering forms that bear no material justification.

Menswear capsule collection by Bureau V
The collection presented at New York’s Dillon Gallery

The collection expands upon this theory from material practices to utility at large. Taking extreme performance-driven forms (such as bicycle bib shorts and fisherman’s waders), the collection shifts both the clothing’s material and its context, removing much of the utility from the work, and thereby re-contextualising material formal artefact as sculptural gesture.

Menswear capsule collection by Bureau V
The collection presented at New York’s Dillon Gallery

The collection is presented by BYCO, a tech-platform for design, which has an ongoing project to collaborate with designers to create work outside of their respective discipline.

The post Menswear capsule collection
by Bureau V
appeared first on Dezeen.

Ylvis – The Fox

Formula One Crash Video Captured by Onboard Thermal Imaging Camera

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We’ve often looked at how new applications of camera technology, from quadrotors to GoPros to sequential shooting, can be used to create thrilling footage. But these are often used for purely artistic effect. Now some Formula One racing teams are experimenting with alternate imaging for scientific and diagnostic effect. In last weekend’s Italian Grand Prix, UK-based Force India kitted out their VJM06 car—a technological masterpiece of carbon fiber, aluminum and a sort of super-Kevlar called Zylon—with an onboard thermal imaging camera. By producing a simple color scheme ranging from purple to orange, and greying out everything that’s not hot, it allows technicians to see where and how hot the tires get. Have a look:

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Andrew B. Myers Photography

Le photographe Andrew B. Myers nous présente des clichés d’une grande qualité et souvent drôles et très bien pensés. Avec des compositions réussies et un regard décalé, l’artiste canadien dévoile l’étendue de son talent avec près de 50 images à découvrir dans la suite de l’article.

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Opening Ceremony SS14 Presentation: The brand’s first runway show wows with zooming luxury cars and a colorful collection

Opening Ceremony SS14 Presentation


Every fashion week, editors and stylists take their seats to watch the unveiling of hundreds of designers’ upcoming collections. There is variation in the style of runway shows and standing presentations—and certainly variation in content from season-to-season and style-to-style—however, attendees generally know what…

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How Arcade Fire’s Reflektor web experience was created

Reflektor, the highly-anticipated first track from Arcade Fire’s new album has launched online this evening with the band releasing a new interactive web experience, created in collaboration with Aaron Koblin at Google and director Vincent Morisset. We talked to Morisset about how the piece was created…

The new digital experience, which can be found online at justareflektor.com, has been created to promote the title song from the album, which is released on October 29. It invites users to interact with an online film via their mobile phones, using the phone to create an effect on the screen that is “a bit like beaming something from your hand”, as Morisset puts it.

Stills from the justareflektor.com

The work joins a back catalogue of impressive digital experiments by Arcade Fire, stretching back to 2007 when the band collaborated with Morisset to create what is widely acknowledged as the first web video, for the song Neon Bible. This was followed by some interesting digital artwork for 2010 album The Suburbs, and a second site for the band by Morisset, for the track Sprawl II, plus of course The Wilderness Downtown, an ambitious piece that became an instant success.

The Wilderness Downtown, created with Koblin and director Chris Milk, began life as a project for Google Chrome rather than Arcade Fire, and it was Milk’s connection with the band that brought them on board. This new project began in a similar fashion, with Morisset and Koblin initially coming together to create something for Google. The duo first met at the OFFF Barcelona in 2011 and immediately connected. “There was this kind of mutual respect, we promised each other that we would work together one day,” says Morisset. “Last year was good timing. We looked at ideas, they were really broad, we went in a lot of directions. We were excited about the potential of connecting devices together, we talked a lot about that. We had the idea of putting a tracker on a mobile device.”

The duo played around with gyroscope data and found this a successful way of letting the mobile create a detailed effect on screen. “We were able to create something much more complex, you have orientation, speed and also positioning.” At this stage, they began talking to Arcade Fire and found that the first single from the album was a perfect fit for their experiments. “The concept of you and something on the other side of the wall echoed the song,” continues Morisset.

The finished web experience was created by both Morisset and Koblin, with Morisset’s regular team of collaborators, which include Édouard Lanctôt-Benoit, Caroline Robert and Brandon Blommaert, also playing a key role in its creation.

It is designed to be viewed on a Google Chrome browser and is split into two halves. Across both is a film written and directed by Morisset and shot in Jacmel in Haiti with the help of a local film school, Cine Institute. It stars Axelle ‘Ebony’ Munezero, a Montreal-based dancer and choreographer. She features particularly in the first half, where the audience is invited to interact with her movements on screen using their phones. By sweeping your phone, visual and light effects appear on screen. And in a particularly clever touch, you can still make the sweeping motions appear even when the image is paused.

Halfway thorough, Munezero is shown breaking a mirror. The camera zooms in and suddenly the viewer sees their phone reflected in the glass on-screen, with their own image at the centre. The words ‘Break Free’ appear on screen, and users are encouraged to reject playing around with the interactive experience and watch the rest of the film in a more traditional fashion. To reflect this change, the content here becomes more “emotionally driven”, says Morisset.

“When she breaks the mirror, there was this idea of getting back to something more real and grounded,” he says. “We approached that part of the shoot more in a documentary style.” It happened to be Flag Day in the town so the team were blessed with some stunning footage. Morisset describes the project as “the best of both worlds”, allowing him the opportunity to experiment with the looser approach of documentary filmmaking and then combining this with truly cutting edge technology.

The team shooting in Haiti

As with all web-based experiences, a major part of the challenge for the team was to anticipate all the environments in which the piece would be encountered, and adjust the technology accordingly. “You never know the context in which people will use it,” explains Morisset. “If it’s dark, if it’s bright, what kind of computer, what kind of phone.

“We’re not just dealing with technology, we’re dealing with unique environments,” he continues. “A big part of the data is our engagement and gesture. We developed a HTML5 video player where we control real-time WebGL shader effects. We pair camera vision with the gyroscope and accelerometer data from the mobile device that we send to the computer through WebSockets. It’s by far the most complex thing I’ve ever worked on.”

Despite this advanced tech, the team were determined for the piece not to just become a technology show; instead they intend it to be first and foremost an emotional experience. “There’s been a lot of trial and error to create something that felt magical but still had a sense of something real,” says Morisset. “It could really easily go into a Photoshop filter thing, so that the demonstration of technology becomes the subject.

“For me it’s always been an obsession to combine these things, to make something rich and nuanced, so you forget the technology.”

To play with Reflektor, visit justareflektor.com. The making-of film below gives more info on how it was put together. You can play around with the technology behind the experience here.

Credits:
Written, directed and produced by Vincent Morisset
Creative Direction by Vincent Morisset and Aaron Koblin
Produced by AATOAA, Unit9, Google Creative Lab, Antler Films
Lead creative developer:  Édouard Lanctôt-Benoit
Artistic direction: Caroline Robert
Visual effects: Brandon Blommaert
Google Creative Lab creative director: Aaron Koblin
Technologists: Doug Fritz, Jono Bandel, Aleksandar Rodic, Mr.doob
Producers: Sabah Kosoy, Valdean Klump
Marketing managers: Jenny Ramaswamy, Clem Wright
Unit9 Interactive producer: Amelia Roberts
Lead developer: Maciej Zasada
Developer: Fábio Azevedo
Antler Films producer: Sach Baylin-Stern
Director: Vincent Morisset
DOP: Mathieu Laverdière
Costume designer: Renata Morales
Choreography: Axelle ‘Ebony’ Munezero
Editor: Nicolas Roy
Haiti Line Production: Cine-Institute Jacmel

In addition to the Reflektor experience, Arcade Fire has also released a conventional music video, directed by Anton Corbijn. See it below:

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Early Childhood Centre in Wassenaar by Kraaijvanger

Rotterdam studio Kraaijvanger has added two new buildings to a school in a suburb of the Dutch capital, The Hague, with pitched roofs and rustic materials that reference the site’s original role as a farm (+ slideshow).

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Kraaijvanger‘s additions to the American School of The Hague include a sports hall and a larger barn-like building that houses a nursery, 12 classrooms and a gym for babies and children up to the age of six.

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The new “barn” adjoins a sixteenth-century farmhouse that the architects are currently renovating. The site’s historic significance meant that the height and shape of the buildings had to correspond with the existing agricultural structures.

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“We weren’t allowed to build any higher than the old farm buildings so we had to bury the lower storey below ground,” architect Annemiek Bleumink told Dezeen.

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Wood is used for the external cladding to tie the buildings in with their rustic setting, as well as for internal beams and columns that continue the natural look indoors.

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“Because the buildings are used by small children we wanted to use warm materials for both the exterior and the interior,” explained Bleumink.

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Large windows in the sloping roof fill the nursery classrooms with natural light, while a glazed walkway traverses a void between that part of the building and an atrium housing the main entrance.

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A bridge crossing a public road links the “barn” with the sports building, which has sloping roofs covered in plants that further emphasise the scheme’s agrarian aesthetic.

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Other schools featured on Dezeen recently include a wooden nursery and elementary school in France with a roof covered in plants, and an offset gabled classroom and play area at a school in England. See more schools »

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Photography is by Ronald Tilleman.

Here’s a full project description:


School as farmyard: expansion of the American School of the Hague with the Early Childhood Center & renovation monument farm Ter Weer.

As a farm with several buildings, The American School of The Hague in Wassenaar is expanded for The Early Childhood. This set-up fits the small scale of the area. On the location stood already the 16th century farmhouse ‘Ter Weer’. The farm is restored and incorporated into the whole. The entire complex is integrated into the environment and the landscape. The school has a capacity for 250 children from 0 to 6 years and includes a nursery, twelve classrooms, a gym and a multipurpose room. The entrance is in line with the arrival route over the Deijlerweg and is designed as a monumental glass heart between the farm and the ‘barn’.

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Dialogue between old and new

The dialogue between the two buildings, can be felt both inside and outside. The expansion partly deepened to encrouch the monument is not too much. The new and the old are connected to each other by a bridge in the new atrium. The materialization of the new building refers to a barn by applying wood substructures, caps and wooden parts for wall cladding.

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Program

The barn houses the classrooms. Because of the inclined slope they all recieve enough daylight. The classrooms are characterized by the entry of natural light, the use of healthy materials and the direct relationship with the surrounding landscape. In farmhouse are located the administrative functions of the school a lunch room for 100 children, a kitchen, a nursery, a library and a local labor.

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Ground floor plan – click for larger image

The sports facilities are housed in a separate building. It contains a gymnasium, changing rooms, a canteen and the clubhouse of the local handball association. The building is designed as two interlocking volumes with sloping green roofs, matching the shape of the extension and rural character of the area. A large window is placed in the gymnasium overlooking the connecting bridge to the main building and offers insight from the school and outside play areas.

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First floor plan – click for larger image

Green schoolyards

Around the school are several playgrounds to suit the different age groups. They are designed by design studio van Ginneken with greenery, seating and educational components such as a vegetable garden. Hedges, wooden fences and gentle slopes locks provide a friendly separation between the different squares. In an adjacent site parking there are gravel pavement and rows of trees between the parking.

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Basment floor plan – click for larger image

Total integration

The building is fully integrated into the environment and the surrounding landscape. The design of the landscape is based on the objectives of the school. A healthy environment where young children playfully learn why sustainability matters. By using water, natural materials and to show how energy is generated children come in a natural way in contact with this theme. The building makes use of solar energy, LED fixtures, cold and heat storage, wastewater reuse and craddle to craddle materials such as Accoya cladding.

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Section – click for larger image

The post Early Childhood Centre in Wassenaar
by Kraaijvanger
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Afterschool Podcast with Don Lehman – Episode 4: Martin Kastner of Crucial Detail

Afterschool.jpg

Hosted by Don Lehman, Core77’s podcast series is designed for all those times you’re sketching, working in the shop, or just looking for inspiration from inspiring people. We’ll have conversations with interesting creatives and regular guests. The viewpoint of Afterschool will come from industrial design, but the focus will be on all types of creativity: Graphic design, storytelling, architecture, cooking, illustration, branding, materials, business, research… anything that could enrich your thought process, we’ll talk about.

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Our guest today is Martin Kastner, the founder and principal designer at Crucial Detail in Chicago. One of his major clients also happens to be one of the world’s top restaurants: Alinea. If it sounds funny to hear that a restaurant regularly works with a designer, well: The food they create at Alinea is so inventive and so unique that they literally had to design tools just so people could consume it. If you haven’t seen this work before, you owe it to yourself to look at Crucial Detail’s website before you get too deep into today’s episode. Check it out at crucialdetail.com. Seriously. You’re gonna want to see this.

Last year, Martin Kickstarted one of the objects he designed for Alinea’s cocktail bar, Aviary. It’s a drink infusion vessel called Porthole, which absolutely smashed through his goal of $28,500 to raise nearly three-quarters of a million dollars. We talk about that too.

If that wasn’t enough, Martin has one of the most improbable designer origin stories I have ever heard of. Don’t worry, I’m not going to ruin that for you.

Get the Afterschool Podcast, Episode #4: on the iTunes store | Direct download link [mp3]

Show notes after the jump:

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Nasa Mashups

Inspiré de sa passion pour l’exploration spatiale, la série d’illustration de Doug Pedersen est très réussie. Il mixe les sondes de la NASA avec des icônes culturelles à l’image de la Challenger qui est à la fois une navette spatiale américaine et une voiture Dodge. Un beau projet à découvrir en images dans la suite de l’article.

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Get Clean by AM: The company starting the movement against “screen schmutz”

Get Clean by AM


There’s nothing like the feeling you get when you use your brand new gadget for the first time: The smell when you open the box, removing the screen cover and touching it for the first time. But there and then you know that…

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