Le cabinet Hans van Heeswijk Architects a imaginé cette belle construction appelée « Reiteiland House ». Située sur Ijburg, une île dans la banlieue d’Amsterdam, cette résidence propose grâce à l’installation de baies vitrées une vue panoramique du plus bel effet. Plus d’images à découvrir dans la suite.
Part entertaining pop-up book for young numerophiles, part creative dissection of numbers’ visually symbolic values, Marion Bataille’s forthcoming book “Numero” breaks down the world’s most basic integers with each turn of the page. A New York…
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We humans have put a lot of gross-sounding mixtures in our mouths through the years to get our teeth clean. The latest incarnation of this storied tale is one of the coolest products I’ve stumbled upon recently, called Blizzident. It gets the job done in six seconds. By taking scans and impressions of the brusher’s mouth and targeting bristles in hard-to-clean areas, the Invisalign-like tool achieves a 100% cleaning ratio while electronic toothbrushes typically come in around 70% at best. The toothbrush comes fully equipped with over 600 bacteria busting (soft/ultrafine) bristles and slits/holes to attach floss.
Blizzident got me thinking. What did people do before we had amazing tools like that? We’ve come a long way from the burnt eggshell toothpaste and swine bristle toothbrushes (seriously). Let’s take a step back in time:
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Le studio Bot & Dolly a dévoilé « Box », une performance live proposant un mapping 3D sur des objets en mouvement, d’une qualité encore jamais atteinte. Nécessitant près de 2 années de travail, cette création magnifique sans aucune retouche joue avec le réel et ouvre la voie à de nouvelles possibilités.
wants a User Interface Designer
in Louisville, Kentucky
GE Appliances’ vision is to be recognized as the leading brand for performance and efficiency, and as a team committed to delivering an outstanding ownership experience for our customers. The only catch is they need your UI expertise, project management skills and passion for user advocacy to accomplish all that.
This is a great position for someone with at least 5 years of experience in User Interface Design who wants to make a difference at one of the most recognizable brands on earth.
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Interview: 3D printing will revolutionise the way buildings are designed and built – and could herald a new aesthetic, according to Bart Van der Scheuren, vice president of Belgian additive manufacturing company Materialise.
“I do believe that in the not-too-distant future we will be able to print really large-scale architectural objects,” Van der Scheuren said. “We will really see it on a level of houses and so on.”
Van der Scheuren spoke to Dezeen earlier this year when we visited leading 3D-printing company Materialise in Belgium as part of our Print Shift project, which documented cutting-edge developments in the 3D-printing world.
In this previously unpublished extract from the interview, Van der Scheuren predicted that 3D printing would first be used to manufacture cladding for buildings, before being used to print structures containing integrated services such as plumbing and electrical conduits.
“You could think of making plastic structural components, which are covered by metals for aesthetic reasons, or [print] insulation [inside] the structure,” he said. “It’s certainly something that I can see developing in the next 5-10 years.”
This will give architects radical new aesthetic freedom, he predicted. “I see certainly in the coming years a development where architects will be able to become more freeform in their design and thinking thanks to the existence of 3D printing.”
At the start of this year several architects announced plans to build the first 3D-printed house. In January, Dutch firm Universe Architecture unveiled designs for a dwelling resembling a Möbius strip.
Shortly after, London studio Softkill published a proposal for a home made of interlocking fibrous plastic modules (main image). The DUS Architects from Amsterdam announced that they were constructing a canal house in the city, using an on-site printer.
However, none of these proposals have yet been realised.
See our movie in which Van der Scheuren explains the three most common 3D-printing processes. Read more about 3D printing in our print-on-demand magazine, Print Shift.
Here’s an edited transcript of the interview with Van der Scheuren:
Marcus Fairs: Is 3D printing of architecture a realistic possibility?
Bart Van der Schueren: There is a potential for 3D printing of architecture. If we are honest with ourselves, 3D printing started in architecture. It started in Egypt, stacking [stone blocks] on top of each other, layer by layer, and that way they created the pyramids. But of course what we mean by 3D printing is slightly different from what the Egyptians did.
What I am seeing happening is that there is a lot of research going on in the development of concrete printers; large gantry systems that extrudes concretes in a layer by layer basis [such as Enrico Dini’s D-Shape printer]. I do believe that in the not-too-distant future we will be able to print really large-scale architectural objects. We will really see it on a level of houses and so on.
But it’s not necessary in architecture to use those large printers. You can see it [working] also on a slightly smaller scale, like the panels that are required to cover architectural structures. Today in lots of cases those panels are limited in complexity because of the fabrication problems. These architectural elements can take advantage of 3D printing’s freedom of design complexity. So here I see certainly in the coming years a development where architects will be able to become more freeform in their design and thinking thanks to the existence of 3D printing.
Marcus Fairs: So it could affect the way buildings look?
Bart Van der Schueren: Yes. It could also affect other things like the integration of facilities into components, like the integration of air channels and cable guides and insulation in one single piece. Or you can think of the integration of loudspeakers in furniture and things like that, so they’re interior architecture. I’m expecting that there will be a big change and shift in the way that architects are thinking and looking and working, and making products as a result of that.
Marcus Fairs: How could 3D printing change architecture beyond the cladding? Could it be used to print more efficient structures?
Bart Van der Schueren: More organic-looking structures are already being investigated. There is research going on to make use of topological optimisation. This is a kind of computer design by which you define by boundaries of certain conditions and then the computer will organically grow a structure that matches the boundary conditions.
This can result in very organic shapes. It will still take a little bit of time, but for cosmetic uses or smaller components it is already possible today.
Marcus Fairs: What new developments are you expecting to see in the near future?
Bart Van der Schueren: 3D printers today are built typically to print with only one material. There are a couple of exceptions but typically a 3D printer will use a single material. What I am expecting is that printers in the future will combine different materials and in that way you can start thinking of making gradients or graded materials where you can then really change the function of the components. From an architectural point of view this can really have fantastic opportunities.
Marcus Fairs: Can you give some examples of this?
Bart Van der Schueren: An example would be mixing metals and plastics. In that way you could think of making plastic structural components, which are covered by metals for aesthetic reasons, or to [print] insulation [inside] the structure. There is still a lot of research to do but it’s certainly something that I can see developing in the next 5-10 years.
The post 3D-printed buildings to become reality
“in the not-too-distant future” appeared first on Dezeen.
News: Zaha Hadid’s extension to the Serpentine Gallery has opened today in London’s Kensington Gardens (+ slideshow).
Located just across the river from the main gallery building, the Serpentine Sackler Gallery occupies a 200-year-old former gunpowder store. Zaha Hadid Architects renovated the old brick building to create new gallery spaces, then added a curving cafe and events space that extends from one side.
The new tensile structure is built from a glass-fibre textile, forming a free-flowing white canopy that appears to grow organically from the original brickwork of the single-storey gallery building.
It stretches down to meet the ground at three points around the perimeter and is outlined by a frameless glass wall that curves around the inside.
Five tapered steel columns support the roof and frame oval skylights, while built-in furniture echoes the shapes of the structure.
“The extension has been designed to to complement the calm and solid classical building with a light, transparent, dynamic and distinctly contemporary space of the twenty-first century,” explain the architects. “The synthesis of old and new is thus a synthesis of contrasts.”
For the original building, the architects added a new roof that sits between the original facade and the outer enclosure walls, creating a pair of rectangular galleries in the old gunpowder stores and a perimeter exhibition space in the former courtyards.
A series of skylights allow the space to be naturally lit, but feature retractable blinds to darken it when necessary.
The Serpentine Sackler Gallery is Zaha Hadid’s first permanent structure in the UK and follows the studio’s Lilas installation at the gallery in 2007 and pavilion in 2000.
The gallery opens with an exhibition from Argentinian artist Adrián Villar Rojas.
This year’s Serpentine Gallery pavilion by Japanese architect Sou Fujimoto is a cloud-like grid of steel poles and remains open in Kensington Gardens until 20 October.
Zaha Hadid has also recently revealed the first in a chain of boutiques for American shoe designer Stuart Weitzman and plans for an 11-storey apartment block that will be constructed beside New York’s popular High Line park, while her forthcoming National Stadium of Japan is now set to become the main sporting venue for the 2020 Olympic and Paralympic games.
See more architecture and design by Zaha Hadid »
See all our stories about the Serpentine Gallery »
The post Serpentine Sackler Gallery
by Zaha Hadid appeared first on Dezeen.
Movie: Katrin Schön of garden trade fair Spoga+Gafa shows Dezeen around the Garden Unique section of this year’s show and discusses the growing trend for outdoor cooking in this movie filmed in Cologne.
Garden Unique is a showcase of premium garden furniture at the Spoga+Gafa trade fair, which took place at Koelnmesse in Cologne earlier in September.
“We do this area especially for the furniture traders,” explains Schön, project manager of this year’s show. “In Germany outdoor living is very popular.”
Schön says that the market for cooking and eating outside is growing rapidly and there is now a demand not just for grills and barbecues, but full outdoor kitchens.
“The Germans love grilling, the grilling market is the fastest growing market in recent years,” she says. “It’s a trend to have an outdoor kitchen.”
“Not only the Germans, I think the Europeans like to be outside and here at the fair you have a whole range of products for it.”
One of the brands showing a range of outdoor kitchens at this year’s show was German company OCQ. Nadine Pollex of OCQ says the trend is due to the increasing size and importance of outdoor spaces.
“Outdoor spaces continue to grow, people have big lounges and big tables,” she says. “There are guests and guests like to eat, so you need an outdoor kitchen.”
There were many garden products besides kitchens at Garden Unique, including an array of chairs, tables and daybeds.
One of the more unusual products on show was a shower that you connect to a garden hose by Swedish company Röshults. Tobias Lindberg of Röshults agrees that outdoor living is becoming more and more popular.
“Our experience is that people want to be more outside,” he says. “We see all these new types of modern architectural houses and we want to do products for those types of houses.”
See all our stories about garden furniture »
See all our stories about parks and gardens »
The post “The current trend is to have
an outdoor kitchen” appeared first on Dezeen.
How best to show-off a new collection at London Fashion Week? Take the audience into outer space of course. With flying models, dancing bags, giant glowing planets and an epic soundtrack, another impressive Anya Hindmarch show came to Central Hall Westminster last week, this time collaborating with Silent Studios, to bring the collection to life.
Silent Studios, a London based design, direction and music studio, create bespoke audio-visual work for a variety of events and cross-discipline experiences, and they are steadily building a reputation for large-scale immersive work and creative content that blurs the boundaries between art, design, music, fashion and film.
They have worked with a variety of brands including Adidas, Burberry, Google and Shelter, and whether they are creating interactive tour visuals for Kasabian, a ‘holographic’ audio responsive sculpture for the British Fashion Awards, or a synaesthetic installation for Secret Sensory Suppers, their work seeks to combine their skills in art direction and musical composition, with visuals, sound design and digital elements influencing each other during the creative process.
“Experience led design is where we are positioned.” says Silent’s Nathan Prince. “Having worked in ad agencies and design agencies, it felt like a natural progression to somewhere more imaginative, where the audience feels something. Its quite addictive for us as we get to experience the audience experience it all too.”
Although Silent Studios don’t directly align themselves with a particular industry they often tend to work in fashion, in part because their work suits the nature of the industry – being in a constant state of reinvention season by season – and similarly with the fast pace of change in the music industry. Both often place emphasis on innovative experience-based audience engagement.
“They have to constantly push what they are doing and what those experiences are, that’s why we’ve ended up working in these industries.” says Nathan. “We’ve done four years worth of shows for Burberry, and their shows are events that are imaginative and content led, so over the years we’ve got good at getting under the skin of a brand and a collection quite quickly, and doing something really atmospheric.”
Video: Out Of This World, Anya Hindmarch, LFW SS14 show
Hindmarch is well-known for her inventive and extravagant LFW shows, and the task of delivering a show that realises her wildest dreams calls for an understanding of her trademark sleek but playful British style. It’s elegant but fun – it’s about creating beautifully crafted objects but without taking itself too seriously as a brand. Past events have been pretty spectacular – there was a toy factory show with bubbles, conveyer belts of chocolates and bags pulled by toy trains; a disused tube station in London transformed into a colourful lost property office; a merry-go-round of black and white cardboard Georgian rooms and mechanical characters; and last season 60,000 dominos cascaded in perfect formation around her newest collection.
“There was a lot of anticipation around this show, because of the shows she has done before, but Anya had a really clear vision, she wanted it to be less whimsical and more chic than things she had done in the past, but still with an element of humour,” says Silent’s Oliver Davies. “From our point of view, I’d say the real challenge was to try to find that level of chic and sophistication within the world of space, because you could go several different directions within that world.”
Hindmarch’s show’s are partly about presenting what has been going on in her head over the last six months, and with this season’s collection having a focus on lightweight creations, the themes of weightlessness and space seemed like a natural direction. With a treatment from creative director Stuart Nunn, the team began with music, writing and recording an original classical score that would provide a relatively epic sonic element to the show.
“A lot of catwalk shows source music and then cross-fade tracks together, and it feels like this is missing a trick,” says Liam Paton, Silent’s resident music director. “You are taking people on a bit of a journey, which can dynamically change throughout, so we worked quite closely with Anya and her team to work out where the musical cues should happening and bringing in sound design to highlight certain things going on.”
Video: The Making of a Show, Anya Hindmarch, LFW SS14
The team often work with additional specialists, such as coders, programmers or interactive artists. Nunn in this instance led on the more analogue elements for the show, such as the kinetic structure, with the bags coming down on wires in a carefully choreographed sequence, and the models being lifted up from the runway, space-walking and dancing through the air. Silent Studios understand that not all projects call for hi-tech elements or a strong digital presence; “In fashion you don’t want it to be really tech looking, you want it to be quite hidden,” says Liam. “You want it to be emotional, you want people to feel something,” adds Nathan.
This show is a good example of finding a creative solution for a brand that aims to have a high fashion appeal but with a certain British charm. Amidst a blanket of stars, the giant swirling planets showed projections of high speed spinning floating bags, and then became huge yellow smiley faces, (echoing the design of Hindmarch’s ‘Happy Shopper’ bag) – the delighted gasps and giggles of the audience were enough to show that they had got the level techy content and the balance of style with humour just right.
Silent Studios say they don’t have a house style as such, but as “architects of experience culture”, what they love the most is working in a live public facing environment, and creating exciting experiences to fit a brand – work that not only sparks ooos and ahhhs from the audience, but that is evidently the imaginative result of an adaptable, multidisciplinary creative process.
 | This fall, we are all about sporting hats! Get ready to become just as obsessed as we are! This wool fedora here is absolutely gorgeous. Pair your fedora with a moto jacket for a tough-girl chic look. Fall hats are all about putting that cherry on your outfit sundae! They are the perfect accessory to tie your look together. We are loving the wool or felt, wide brim hats. Make sure to stick with a somewhat neutral color. Hats should be all about versatility. The perfect fall accessory! |
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