Amid the clattering bustle of a small resort town packed street-to-screen with the film industry, two art galleries are providing a different option for the artistic influx that temporarily inhabits Park City, Utah. This year at Sundance, pop-ups “SPACE” and “recordOutboundLink(this,…
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Untreated copper cladding will gradually change colour from golden brown to vivid turquoise on the walls and roof of this house near Ghent by Belgian studio Graux & Baeyens Architecten (+ slideshow).
Intended by Graux & Baeyens Architecten to give the building “a poetic impermanence”, copper panels with visible seams cover the whole exterior of House VDV and were left untreated to allow the material to oxidise over time.
“We wanted to integrate the house into the woody surroundings as much as possible,” architect Basile Graux told Dezeen. “The copper gave us the opportunity to do that, as it will continuously change colour over the years, from gold in the beginning to blue, than brown and green at the end.”
The two-storey residence is located in Destelbergen, east of the city centre, beside the remaining brick wall of a castle that was destroyed during the second world war.
The architects generated the house’s irregular plan by abstracting a simple rectangle and making cutaways along its length, creating three blocks that angle away from one another.
The roof features a steep gable modelled on the form of traditional farmhouses. “The typical rural pitched roof house is an archetype that has been really common in Belgium and the northern part of Europe for centuries, but strangely enough has never been seen as an modern way of building,” explained Graux.
“When urbanism regulation stipulated that the house needed to have a pitched roof we saw that as an opportunity to experiment and a modern interpretation for it,” he added.
The two gable ends are both fully glazed, as are the two triangular recesses along the sides of the building, one of which accommodates the main entrance.
Family rooms such as the lounge and dining room are all located on the house’s ground floor, and feature a mixture of oak and marble flooring.
A spiral staircase leads up to first-floor bedrooms, where angular ceilings reveal the slope of the roof overhead.
Photography is by Filip Dujardin.
Here’s a project description from Graux & Baeyens Architecten:
House VDV
This single family house is located just outside the town of Ghent. The plot is part of a domain where used to be a castle destroyed in WWII. Parts of the surrounding wall is still standing and is a silent reminder of this history.
House VDV appears simultaneously familiar and strange. The volume, consisting of one level with a pitched roof, alludes to familiar archetypes such as the rural homestead or barn.
But at the same time the volume is broken up by large glass facades, so that the relationship is established with the surrounding trees and the listed castle wall.
The mandatory implantation in the back of the plot ensures that the house is conceived as a pavilion. A garden-house with no front or rear, but with two identical facades and a 360 degree experience of the entire plot.
The (non-treated copper) cladding gives the project a poetic impermanence, which is echoed in the reflection of the surrounding trees in the glass facades.
Architecture & Interior design: Graux & Baeyens Architecten
Function: dwelling
Location: Destelbergen, Belgium
Design year: 2011
Construction year 2012-2013
Square metres: 410 sqm + 73 sqm basement
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will change colour over time appeared first on Dezeen.
Le photographe Bertil Nilsson a réalisé une série d’images mettant en scène des danseurs mis à nu, évoluant dans des paysages naturels. Pirouettes en montagne ou équilibre au sommet des arbres, les artistes et la nature semblent créer un seul et même mouvement. Un univers onirique dans lequel se plonger sans attendre.
by Eva Glettner Miguel Cardona is a professor of design and an illustrator with an unusual canvas: the paper coffee cup. No subject is off limits for Cardona—in fact, the more obscure, the better; be it…
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You’re abroad and the streets are unfamiliar and frankly you can’t keep carrying so many gadgets with you while keeping track of your touristy gait. Consolidating a GPS, camera, phone and many other tech features, we have the Travelling Companion Panorama Camera. The ample screen allows you to map your course for the day and get in additional info like hot spots and unbeaten paths to follow. Like it for its simplicity and advanced tech features! What do you think?
Designer: Han Li
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(On The Go Cam Is The Best was originally posted on Yanko Design)
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The North American International Auto Show, Detroit (known as NAIAS) always serves as a major platform for American brands, as well as for foreign brands who sell a lot of a specific model or manufacture them in the USA. The showcase also stands…
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Inspired by the hoverboard Michael J. Fox cruises around on in Back to the Future Part II, ex-IDEO’er Kyle Doerksen created the Onewheel. A self-balancing electric monowheel skateboard, the Onewheel seemingly replicates the feeling of riding around on a hoverboard (if not the form factor), and even a novice can purportedly pick up how to ride one in less than a minute; in addition to the self-balancing feature, riders can accelerate by leaning forward and slow down by leaning back, as with a Segway.
The 25-pound device will do 12 m.p.h., with a range of four to six miles. Charging the lithium battery takes from 20 minutes to two hours, depending on what type of charger you use. And the monowheel design means that maintenance is a lot simpler than it would be for a bicycle: “There’s literally only one moving part—the wheel,” writes Doerksen. “No gears, belts or chains to maintain.”
And yes, the Onewheel is real, not just a concept; Doerksen and his team have it up on Kickstarter, where it’s already tripled its $100,000 goal. Check out the video:
News: three months after leaving online retailer Fab, its co-founder and ex design chief Bradford Shellhammer has announced that his next career step will be to form a rock band with British designer Tom Dixon.
Shellhammer (pictured) will provide lead vocals for the band Rough, while Dixon – who began his career welding live on stage – is to play bass guitar. “We’ve been talking about it for like a year,” Shellhammer told Co. Design.
The duo is hoping to launch during Milan design week in April and is looking for a female designer to join the group. “We’re actively seeking a woman in the design world,” Shellhammer said.
If that’s not enough to keep him busy, Shellhammer has also launched a new retail and design consultancy. Shellhammer.co will offer creative advice and strategies as well as product, interior and graphic design services.
Shellhammer announced he was leaving Fab, the company he co-founded and worked on for four years, in November last year.
From humble beginnings as social network in 2010, Fab grew into a flash sales site claiming 7.5 million members in 20 countries just two years later.
During an interview with Dezeen last September, Shellhammer discussed what made Fab so disruptive to the design retail and supply chain.
In 2012 Fab closed its UK site and moved its European operations to Berlin, and in 2013 the firm announced it would design its own range of furniture and homeware.
Fab announced another change in strategy earlier this month, ending its relationship with external designers and brands across Europe and focusing entirely on selling its own custom-designed furniture.
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to start a rock band appeared first on Dezeen.
The BBC has launched a series of interactive guides about World War One using its new digital learning platform, iwonder.
iwonder is a responsive platform that combines archive footage and original content to create immersive online learning resources. Eight guides were launched yesterday to coincide with the start of the BBC’s World War One programming season, another 17 will be released this month and 100 by the end of this year. The platform will also be used to provide guides covering art, food, science, history and religion.
At bbc.co.uk/ww1, users can explore subjects such as poetry’s impact on our understanding of the war, censorship of the press during conflict and how World War One affected women’s rights.
Each guide is a separate web page divided into seven or eight key points and includes original editorial, video and audio content as well as imagery sourced from various archives including the Mary Evans Picture Library, infographics and a ‘where next’ section linking to external sites for further reading.
The BBC says the guides are designed to provide audiences with a deeper understanding of the war and challenge common misconceptions about the conflict. Each features commentary from a different broadcaster or expert, from composer Gareth Malone to journalist Katie Adie and historians Dan Snow and Neil Oliver.
The mix of content is fascinating and includes a timeline plotting the daily routine of soldiers in the trenches, excerpts from a BBC 4 documentary on wartime plastic surgery techniques and journalist Stephen Gibbs reading extracts from his great grandfather’s account of working as a war correspondent at the British Army Headquarters. There are also interactive quizzes and multiple choice questions.
Andy Pipes, executive product manager of knowledge and learning at the BBC, says the iwonder service will provide a new way of presenting content compared to publishing traditional editorial or broadcasting TV shows and podcasts online.
“More and more of our audiences are accessing our content via mobile and tablet devices…for the first time this past Christmas, the proportion of people visiting the BBC Food website from a tablet or smartphone was larger than those visiting from a PC. This trend is set to continue. With the look and feel of native mobile applications getting ever more immersive, our audience’s expectations of accessing content on their phones and tablets is high. Expecting our users to struggle to navigate a full “desktop” website on a tiny screen isn’t acceptable any longer,” he says.
When designing the service, Pipes says staff were inspired by immersive editorial offerings such as the New York Times’ Snowfall story – but needed a more responsive platform that could be easily updated and adapted.
“We noticed that most [engaging web experiences] seemed to be one-offs and didn’t work well on mobile devices. We were adamant we wanted our new format to have all the qualities of this class of highly immersive story – but tailored for every device – whilst being straightforward for editorial teams to reproduce quickly and repeatedly,” he explains.
To meet these requirements, production staff created a system that’s designed to work seamlessly on tablets, smartphones and computers. Rather than creating bespoke code for each guide, the iwonder platform uses a single framework that editorial staff can update to provide new guides in just a few hours or days.
To make sure pages load quickly on any device, Pipes says the team have developed a system “that loads just the essential components of the page at the right times. Mobile-sized images download first, then when the page’s Javascript detects the browser’s capabilities, higher resolution images get ‘loaded in dynamically’,” he says.
“For pictures with a dense amount of information on them, such as infographics, it’s important not just to resize a smaller version of a big image, but to load in a completely different image that’s best for that screen,” he adds.
The system is also programmed to load the correct media player on any device – so Apple users won’t be offered Flash player – and Pipes says it’s designed to work with older web browswers or those that don’t use Javascript.
This attention to detail is also evident in the guide’s design: icons, headers and linear layouts make pages easy to navigate and browse in small chunks. “It was important for the whole effect to feel manageable, digestible in a single sitting,” a spokesperson told CR.
“The use of circular icons to denote progress also had a subtle effect of moving from dark tones to lighter ones – illuminating new steps of the journey. In terms of response times, especially on mobile devices, care has been taken to eliminate any large graphics that don’t serve the content’s purpose.”
In designing iwonder, the BBC has produced a compelling online platform that’s both a valuable learning resource and a great marketing tool, showcasing the broadcaster’s breadth of content and promoting programmes past and present. Its intuitive design means even those who rarely browse the web should feel comfortable using the service, and the flexible coding framework provides a simpler, more cost effective alternative to bespoke, one-off experiences.
German designer Jule Waibel has created 25 of her folded paper dresses for fashion brand Bershka’s shop windows around the world (+ movie).
Jule Waibel produces the dresses by hand-pleating large sheets of paper into forms that fit the body. Each takes over ten hours to complete.
She was contacted by Bershka with an offer to exhibit 25 dresses in as many of its flagship stores in cities including London, Paris, Milan, Istanbul, Osaka and Mexico City.
“I was excited and shocked at the same time,” Waibel told Dezeen, “25 dresses for 25 shops?!”
Waibel scores the paper horizontally and vertically before folding along the seams, then repeats the process for the diagonal.
The two halves of the sheet are printed with a different pattern, one for the bodice and the other for the skirt.
Most of the dresses are printed with colour gradients, while a few are covered with detailed patterns.
Different colours and graphics were used for each of the cities, but Waibel was keen to move away from stereotypical shades and motifs such as the ones used in the countries’ flags.
“I found it too obvious to use the typical colours and instead I wanted to try something different,” she explained. “I figured that the people must be bored with seeing the same style all the time.”
Her favourites are the black and white design in Paris, the dress patterned with tiny black and orange fish in Berlin and the installation on London’s Oxford Street that appears to glow like lava.
Waibel and her team spent just over a week producing the garments and a set of accessories at a studio in Barcelona.
“Together with my supportive pleating assistants we managed to fold 25 dresses, two bags and two umbrellas within eight tough working days!” she said.
The origami dresses will be installed until 31 January.
Waibel first designed her concertinaed clothing while studying on Platform 18 of the Royal College of Art’s Design Products course and exhibited her work at ShowRCA 2013.
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for Bershka stores in 25 cities appeared first on Dezeen.
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