Only an artist who works with materials as ambitious and untamable as light, water and air temperature could embark upon a project to bring affordable light to those without it. In 2012, critically acclaimed artist …
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Milan 2014: designer Tom Dixon presented a collection of pendant and table lights that combine geometric brass-plated planes with spherical glass shades in Milan last week.
Dixon‘s Plane collection features two-dimensional surfaces surrounding spherical diffusers, creating lamps with geometric outlines that change depending on the aspect they’re viewed from.
“Geometry is a constant in my work,” Dixon told Dezeen, explaining the form of the lamps. “Actually I think in the main I have been minimal and geometric for many years now, starting with the Jack Lamp in 1997, or maximal and geometric, such as with the Pylon Chair in 1990.”
The flat planes are made from steel covered in reflective brass plating, while the spherical diffusers are produced from white glass.
“The flat and the round, the shiny and the matt, the reflective and the translucent is just part of the exploration of opposites that we started a couple of years ago with a collection called Rough & Smooth,” Dixon added.
Pendant versions are available with either round or triangular planes, while the table lamp balances on a separate surface fixed perpendicular to the rear of the metal section surrounding the light.
Electrical cords that carry current to the bulbs disappear into raised channels that lead from one edge of the flat surfaces to the central glass sphere.
Grouping the lights close to one another results in dynamic reflections across the warm brass surfaces.
The lights were displayed at Tom Dixon’s stand at the Salone Internazionale del Mobile last week, alongside a range of new furniture and lighting products referencing the comfortable and cultured environment of a traditional British members’ club.
The post Tom Dixon launches “minimal and geometric”
Plane light collection appeared first on Dezeen.
Per il loro primo prodotto, i ragazzi berlinesi di Bullenberg hanno disegnato Arx table. La struttura è in rovere massello oliato con telaio in acciaio verniciato a polvere e top da 4 centimetri. Concepito per essere altamente personalizzato sia nei colori che nelle dimensioni, come dimostrano le varie combinazioni realizzate ad hoc in mostra sul sito.
Abbiamo già avuto modo di ospitare e apprezzare LC23. Questa è la nuovissima Sport Collection, prodotta interamente a mano in Italia. La trovate anche sullo store online.
Pour ce deuxième best-of du mois d’avril, nous avons réuni, pour vous, le meilleur du timelapse : cette jolie technique qui permet d’accélérer le temps pour le voir passer et qui permet aux paysages, aux fleurs, aux gens et aux villes de se mouvoir. La sélection est disponible dans la suite.
Infra Red Timelapse by Glen Ryan & James van der Moezel.
Malaria Illustration by Edson Oda.
Mauna Kea Heaven Timelapse by Sean Goebel.
Melancholia Timelapse by Enrique Pacheco.
Mirror City Timelapse by Michael Shainblum.
Beyond Nature Iceland by AprilGarden.
City Lights by Colin Rich.
Dan Black – Hearts by Chic & Artistic.
Death Valley Dreamlapse by Sunchaser Pictures.
Dreamscapes by Jonathan Besler.
Family Portraits Timelapse by Anthony Cerniello.
First Footprints by Murray Fredericks.
Flowers Timelapse by Katka Pruskova.
Heild Timelapse Trailer by Trailperpark Studios & Petur K. Gudmundsson.
Landings by Cy Kuckenbaker.
Limitless Graffiti Timelapse by Selina Miles.
Radiance by LakeSuperiorPhoto.
Rumble and Sway NY Timelapse by The Seventh Movement.
Into The Atmosphere by Michael Shainblum.
Supercell Thunderstorm Time Lapse by Mike Olbinski.
The World Outside my Window by David Peterson & Random Photons Productions.
The Making Of Design Fu Mural by YIU Studio.
This is Shanghai by Rob Whitworth.
Welcome Home Timelapse by Michael Shainblum.
White Noise Movie by TimeLine Films.
Cityscape Chicago by Eric Hines
Yosemite Timelapse II by Colin Delehanty & Sheldon Neill.
Adventure Is Calling by Shane Black.
Alchemy Nature by Evosia Studios.
Disneyland Timelapse by Matt Givot & Dan Douglas
Dal 2 al 4 maggio Milano ospiterà i primi campionati italiani per bike messenger. Chiunque abbia il fegato di partecipare può farlo iscrivendosi direttamente sul sito dove troverete anche il programma completo della tre giorni.
Il duo di designer giapponesi Junpei Tamaki e Iori Tamaki hanno presentato durante l’appena trascorso Salone del mobile questa credenza formata da due ante che se sovrapposte, danno vita ad un pattern simile alla classica configurazione del fiocco di neve. L’intera struttura è in metallo e per gustarne a pieno la bellezza del prodotto, si consiglia di tenerlo ovviamente ‘vuoto’.
Series of park benches designed as a farewell gift to the City of Arnhem, The Netherlands, from departing Mayor Pauline Krikke. Excellent ergonomic fe..
German manufacturer S+L Tischlerei’s approach to tool storage is modular in concept and monolithic in appearance. In contrast to OPO Oeschger’s line of wares, which require the carrier to pick and choose which box is the right one to bring to the job, S+L Tischlerei’s MobilMarie system is meant to transport a far denser variety of hand tools, power tools, hardware and parts to the jobsite. (It also presupposes being used in an environment with a fair amount of infrastructure: Trucks with hydraulic lift gates, buildings with elevators and wheelchair ramps, etc.)
MobilMarie consists of a series of stacking boxes on a wheeled base. The boxes are made from birch plywood skinned in PVC and reinforced along the corners, flight-case style, with aluminum fittings; popping open the front lid reveals individual drawers on ball bearing slides. Here’s how it looks in action:
The minimalist cover of Yale University Press’ new catalogue for artist Carl Andre uses a version of one of his text-based artworks from the 1960s to introduce the larger body of work inside…
Designed by Purtill Family Business, Sculpture as Place – 1958-2010, accompanies the first retrospective Andre has had since 1970 which opens at the Dia Art Foundation in May.
On the cover, the words that appear in the five line Preface to My Work Itself (1963) are simply arranged by length – from “in” to “interchangable” – and offer a playful way into Andre’s work.
The piece itself treats the words as objects of different sizes and – as a cover device – lets the reader arrange them into statements which may, or may not, be relevant to his wider body of work in abstract sculpture.
So “my art is made of the same stacked broken pieces; the work piled, interchangable” could be one way of ordering half of the words, for example.
It’s an interesting way of getting the reader to categorise Andre’s work – much of it having garnered its fair share of both positive and negative reaction over the fifty years he has been working (the controversy generated by The Sunday Times over the Tate’s acquisition of Andre’s firebrick piece, Equivalent VIII, in the 1970s being an infamous case in point).
In addition to ten essays, the book includes images of many of Andre’s sculptural pieces made from materials such as timber planks, concrete blocks and plates of metal, alongside concrete poetry, postcards, letters and documents relating to the installation of many of the artworks.
Carl Andre: Sculpture as Place, 1958-2010 by Philippe Vergne and Yasmil Raymond is published by Yale University Press; £45. See yalebooks.co.uk. Details on the Dia Art Foundation exhibition in New York are here.
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