If you’re on a search for high-quality wares to set the table with that are minimalist enough to match any mood and decor but are unusual enough to be memorable, look no further than Haaand Ceramics….
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En collaboration avec LUX Playing Cards, l’artiste et illustratrice Karina Eibatova a créé un jeu de cartes à partir de ses propres illustrations d’oiseaux et de plumes exotiques. Le jeu de cartes est intitulé « Aves » (« oiseaux » en latin) et il ne reste plus qu’un mois pour soutenir ce projet sur Kickstarter.
London Design Festival 2014: a spinning disk covered in changing glowing patterns illuminates the dimly lit Tapestry Gallery in London’s V&A museum.
The Candela installation at the V&A was created by a team consisting of product designer Felix de Pass, graphic designer Michael Montgomery and ceramist Ian McIntyre, commissioned by Italian watch brand Officine Panerai.
The rotating wheel is suspended off the ground and moves constantly in a clockwise direction, powered by a motor.
Its surface is made from superluminova, the material that makes watch faces luminesce.
Over 700 LEDs housed in a vertical element in front of the wheel charge the superluminova to make it glow.
As the wheel spins, the glowing sections fade gradually until they return to the charging point.
The LEDs are programmed to switch on and off at various times, creating different patterns that slowly spread across the disk.
The luminous effect is made more effective by the location; the gallery is one of the museum’s darkest spaces due to the light sensitivity of the textiles. “It’s a very quite, peaceful space,” Montgomery told Dezeen.
The motor is hidden within the structure, which sits in the middle of the gallery and was created to be viewed from all angles.
“The design of the back is just as important as what happens on the front,” said Montgomery. “We spent a long time detailing how we could make the machine look and feel like a designed object.”
A metal stand supports the vertical disk, designed to be as simple as possible.
“To create this wheel we knew it had to be a fairly mechanical object, but we didn’t want that aesthetic to take over,” said Montgomery. “The technology doesn’t get in the way.”
The V&A is also hosting installations by Zaha Hadid and Barber and Osgerby as the hub venue for this year’s London Design Festival, which continues until 21 September.
Photography is by Ed Reeve.
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as it spins inside dark V&A gallery appeared first on Dezeen.
Sports brand Nike has unveiled the Lebron 12, a basketball shoe with five hexagonal air bags built into the sole to provide “accelerated explosiveness” (+ slideshow).
Designed specifically for basketball star LeBron James, who is currently playing for the Cleveland Cavalier NBA team, the boot has an upper that includes an area of breathable mesh and flexible synthetic fabrics fused together to create single piece.
The soles combine Nike‘s existing Zoom technology – which uses balls of bouncy fibres to help give athletes more power when their feet impact against a hard surface – with hexagonal pockets of air for extra cushioning across key points on the bottom of the foot.
“Nike Zoom Air delivers the same great cushioning it brought to footwear when first introduced to basketball in 1995; now the hexagonal Nike Zoom Air is mapped to the pressure points of the foot where it’s most needed for basketball performance,” said Nike in a statement today.
“James runs approximately three miles per game, and the average player changes directions about 1,000 times over that distance, requiring supportive, comfortable footwear to withstand tremendous impact and torque. Dynamic Flywire cables provide lockdown support for James’s unrivaled combination of speed and strength.”
Each of the seven colour combinations for the Lebron 12 has been influenced by elements of James’ style of play. The first two will be released in October, with a further three made available in November and the final two going on sale in December.
“Nike’s Sport Research Lab provides the Nike Basketball design team with in-depth analysis on athletic performance and scientific testing,” said Nike. “The Lebron 12 was born in the lab, where scientific data and analysis substantiated the need for next-generation cushioning, support and flexibility.”
“The lead colourway, the Lebron 12 NSRL, was inspired by the new shoe’s genesis in the lab.”
The post Nike revamps the basketball shoe
for LeBron James appeared first on Dezeen.
London Design Festival 2014: the Dezeen and MINI Frontiers exhibition features ideas for the future of travel created by six cutting-edge young designers (+ slideshow).
Part of Dezeen’s ongoing collaboration with car brand MINI, the Future of Mobility envisions different ideas about the way car design will evolve.
From ubiquitous augmented reality to long-haul space travel, the exhibition features a series of radical concepts for how we might get around in years to come created by Alexandra Daisy Ginsberg, Dominic Wilcox, Keiichi Matsuda, Matthew Plummer-Fernandez and Lucy McRae.
Their designs are being shown in a space designed by architect Pernilla Ohrstedt with 3D-scanning specialists ScanLAB, which seeks to create a physical expression of the digital point clouds our cars may one day use to navigate around cities.
Launching tonight with a party in London’s West End, the Dezeen and MINI Frontiers: the Future of Mobility exhibition will be open to the public from tomorrow until 21 September as part of the London Design Festival.
Visit the exhibition at designjunction, the Sorting Office, 21-31 New Oxford Street, London WC1A 1BA.
Read on for more information about each of the projects in the exhibition:
Design Taxonomy by Alexandra Daisy Ginsberg
Alexandra Daisy Ginsberg’s Design Taxonomy imagines design subjected to biological rules. In this alternative vision for sustainable production, resource-intensive metals and plastics have been replaced by a new wave of degradable biological materials that can be cheaply and efficiently replaced. Car companies no longer produce entire vehicles, but rather manufacture and distribute a durable chassis block, onto which disposable, locally produced bio-shells can be added.
In this scenario, adaptation, mutation and evolutionary patterns would start to emerge. Here, Ginsberg presents a single car, which diversifies down thirteen generations and across five climate zones to produce over one hundred different designs.
Supported by SynbiCITE, Imperial College London. Watch the behind the scenes movie »
Stained-Glass Driverless Sleeper Car of the Future by Dominic Wilcox
In a future of fully automated, computer-controlled vehicles, airbags and crumple zonestraffic collisions will be a thing of the past, Dominic Wilcox suggests. So why not build a stained-glass car?
Wilcox proposes that by the year 2059 – 100 years after the first MINI went into production – driverless cars will make current safety requirements redundant. This will give car designers total freedom of form and material.
Inspired by the tranquil interiorstained-glass windows of Durham Cathedral, Wilcox has built a car using the same techniques used to make Tiffany lampshades. Hand-cut glass has been soldered onto a wooden frame to create a shell that encases a single bed, which the passenger can relax in as the car takes them where they need to go.
But our cars of the future could take many other forms. Taxirobot.co.uk is a concept website by Wilcox, where customers can order a car with a bed, restaurant, office or even a Jacuzzi inside and pair it with an exterior shell of their choice.
Supported by Middlesex University product design department. Watch the behind the scenes movie »
Hyper-Reality (extract) by Keiichi Matsuda
In this extract from his Hyper-Reality series of films, Keiichi Matsuda explores what it would be like to live in a world where digital information such as turn-by-turn navigation and road signage is superimposed onto the physical world via augmented reality.
Set in Medellín, Colombia, Matsuda’s film imagines the future of the city from the perspective of a driver. Augmented reality has become ubiquitous and people are constantly immersed in a digital layer of real-time information. Buildings and infrastructure are no longer static, but fluid, interactive and endlessly updating.
Having a steady stream of up-to-date information at our fingertips should provide an unparalleled level of control. But the driver in Matsuda’s film seems to have surrendered to the authority of the augmented-reality city entirely as it redirects cars to regulate the flow of traffic through its streets. Watch the behind the scenes movie »
Unique Passengers by Matthew Plummer-Fernandez
Inspired by dashboard bobbleheads and the figures of gods and deities seen in cars around the world, Matthew Plummer-Fernandez imagines a future where we each use a personal 3D-printed driving companion to communicate with our vehicles.
He proposes that vehicles will have their intelligence personified in a physical artefact: an avatar we take with us on our travels, ready to install in any vehicle we travel in. Unique Passengers is a prototype avatar-generating service developed by Plummer-Fernandez.
To use the service, follow @UniquePassenger on Twitter and a unique 3D-printable driving companion will be algorithmically generated, based on information pulled from your Twitter feed. Watch the behind the scenes movie »
Prepping the Body for Space V.01 by Lucy McRae
In the first of a series of experiments looking at the effects of zero gravity on the human body, Lucy McRae has developed a speculative vacuum chamber designed to prepare the human body for long-distance space travel.
Based on the principles of negative pressure vacuum therapy, McRae’s chamber puts the body into a sort of suspended animation as it is hugged by a plastic membrane.
McRae’s artistic installation is underpinned by scientific research carried out by NASA, which developed a negative pressure device in the 1960s to improve blood flow to the lower extremities of astronauts’ bodies.
Performers provided by Aquabatix synchronised swimming. Watch the behind the scenes movie »
Glitch Space by Pernilla Ohrstedt and ScanLAB Projects
Driverless cars will use 3D-scanning technology to accurately locate themselves in their environment and navigate the world. As they become widespread, the data they capture will gradually allow us to create a 1:1 replica of the real world in the form of a digital “point cloud”, suggests Pernilla Ohrstedt.
Glitch Space, which provides the backdrop for the exhibition, is a physical representation of what the data captured by the first driverless cars will look like. Ohrstedt and ScanLAB Projects have scanned the space at designjunction and superimposed that data back onto the building, creating the landscape on which all the exhibits are displayed.
Ohrstedt’s point cloud is represented at the low resolution that the first driverless cars will capture, full of glitches and imperfections. But the technology already exists to scan in much more detail. Visitors can explore a high-resolution scan of the exhibition created using the latest surveying technology on the tablet nearby. Watch the behind the scenes movie »
The post Dezeen and MINI unveil visions for the future
of mobility at London Design Festival appeared first on Dezeen.
If you are a fresh industrial design student, you’ll most likely have your first try at 3D printing this semester or this year. And while a lot of focus has been on the printers themselves, it’s equally important and fascinating to look at the materials we can use.
There are surprisingly few limitations placed on the kinds of materials used to print 3D objects. As additive manufacturing develops into a widespread practice it’s important to focus on the potential of the ingredients used. Here’s a rundown of the popular and the strange.
The most commonly used materials today are the thermoplastics (polymers.) Typically the polymers are in the form of filament made from resins.
– Acrylonitile butadiene styrene (ABS) also known as lego plastic, is perhaps one of the most commonly used plastics in 3D printing.
– Polylactic acid (PLA) has the flexibility to be hard or soft and is starting to gain popularity. There is also a soft form of PLA that is rubbery and flexible.
– Polyvinyl alcohol (PVA) is a dissolvable material that is used as a support, that then gets washed away once the object is created.
– Polycarbonate requires high-temperature nozzle design and is in the proof-of-concept stage.
Plastics can be mixed with carbon fiber to make them stronger without adding weight.
There are also several metals that can be used for additive manufacturing:
– Steel
– Stainless steel
– Titanium
– Gold
– Silver
Several types of processes work with metals and metal alloys. These are direct metal laser sintering (DMLS), electron-beam melting, selective laser melting (SLM). SLM can worth with plastics, ceramics abut also metal powders, and can produce metal objects that have strikingly similar properties as those of traditionally manufactured metals. (We previously posted videos of each of the methods listed above.)
(Courtesy of the John D. & Catherine T. MacArthur Foundation)
Cartoonist and graphic memoirist Alison Bechdel (Fun Home, Are You My Mother?) and artist Rick Lowe (Project Row Houses) are among this year’s MacArthur fellows, the annual mix of thinkers, writers, artists, mathematicians, and materials scientists awarded $500,000 in no-strings-attached “genius grants” over five years. “Those who think creativity is dying should examine the life’s work of these extraordinary innovators who work in diverse fields and in different ways to improve our lives and better our world,” said MacArthur Fellows Program vice president Cecilia Conrad, in a statement issued today. “Together, they expand our view of what is possible, and they inspire us to apply our own talents and imagination.” Other 2014 fellows include documentary filmmaker Joshua Oppenheimer, translator and poet Khaled Mattawa< /strong>, playwright Samuel D. Hunter, and computer scientist Craig Gentry. Meet all 21 MacArthur fellows here.
(more…)
New Career Opportunities Daily: The best jobs in media.
London Design Festival 2014: Galerie Kreo in Mayfair is showing new furniture editions by designers including the Bouroullec brothers, Jasper Morrison, Konstantin Grcic and Jaime Hayon for its inaugural exhibition.
The Des Formes Utiles exhibition, Galerie Kreo‘s first in its new London location, comprises twelve specially commissioned pieces.
“The title considers the relationship between the contrasting and collaborative qualities of function and aesthetics,” said a statement from the gallery.
British designer Jasper Morrison‘s first gallery piece since 2006 is a solid oak desk with a bean-shaped top and cylindrical legs that are angled outwards toward the floor, named DOOW4L.
Ronan and Erwan Bouroullec – who were awarded the London Design Medal yesterday – have reworked their Geta coffee table, first designed for Galerie Kreo’s 2008 exhibition titled 16 New Pieces at its Paris location.
The new version in solid black oak features rounded edges and was carved using a “digital chisel”.
Also in oak, a set of portable wooden stairs called London Calling was designed by Konstantin Grcic to reference London’s old Routemaster buses.
“When I lived in London, in the early 1990s, the old Routemasters were still in service,” said Grcic. “They had a narrow spiral staircase in the back that connected the lower and upper deck… The title evokes fond memories I have for the city.”
Five steps supported by vertical batons spiral around a central pole, to be used for reaching high shelves or sitting on and reading.
François Bauchet took inspiration from Albrecht Durer’s painting Melancholia 1514, using a faceted 3D shape from the image to create a flat mirror.
A series of mirrors by Jaime Hayon are shaped like animal faces, made from Murano glass and patterned with bevelled lines created using traditional techniques.
Alessandro Mendini, Doshi Levien, Pierre Charpin and David Dubois also designed mirrors for the collection.
Editions of Hella Jongerius‘ UN Lounge Chair, designed for the revamped interior of the United Nations North Delegates’ Lounge, and a floor lamp by Studio Wieki Somers with a fabric shade that has to be weighted to stand correctly are also included.
Galerie Kreo is located at 14A Hay Hill, W1J 8NZ. The exhibition opened today as part of London Design Festival, which concludes on Sunday, and will remain on display until 30 October.
The gallery was founded in Paris in 1999 by Clémence and Didier Krzentowski.
The post Galerie Kreo exhibits work by Grcic,
Hayon, Bouroullecs and more appeared first on Dezeen.
The lamp is available in black or white ceramic exterior with matching fabric cord. The interior can be chosen in a more traditional white ceramic fin..
London College of Communication has launched a trio of exhibitions as part of this year’s London Design Festival, showcasing 50 years of illustration, 100 years of graphic design and ten years of button badges.
The exhibitions are open at LCC until late October and include a look at a new Laurence King book on illustration, a collection of 1000 badges from Stereohype and an exhibition celebrating poster designers Tom Eckersley, Abram Games, FHK Henrion, Josef Müller-Brockmann and Paul Rand.
50 Years of Illustration
In the college’s Upper Street Gallery, 50 Years of Illustration presents extracts from a new book of the same name by Professor Lawrence Zeegen, Dean of LCC’s School of Design, and Grafik founder Caroline Roberts. Published on October 1, it charts developments in illustration from the 1960s to 2010 and showcases iconic artwork from each decade alongside essays on the social and political factors influencing illustrators at the time.
The show is divided into five sections (one for each decade) and each display features an introductory essay on the period alongside spreads from the book and key work reproduced in large-scale prints.
The 60s includes work by Klaus Voormann, Pushpin Studios, Maurice Sendak and Heinz Edelmann and comments on the expressive nature of image-making at the time, the influence of hallucinogenic drugs and political reform on popular culture and the influence of Victorian typography and art nouveau in illustrations from the period:
The 70s focuses on punk culture and a DIY aesthetic, with work from Roger Dean, Ian Beck, Alan Aldridge, Raymond Briggs and Philip Castle, while featured illustrators from the 80s include Barney Bubbles, Huntley Muir, Hunt Emerson, Patrick Nagel and Marshall Arisman (creator of the cover image for Breat Easton Ellis novel American Psycho).
The 90s and 00s sections highlight the explosion of digital media and the introduction of a new digital aesthetic. Kate Gibb, Shephard Fairey, Jasper Goodall, Marion Deuchars and papercut artist Rob Ryan are among those featured. It’s not a comprehensive overview of the history of illustration – as Zeegen points out, the book and show is “a mere slice of the discipline’s rich heritage” – but it does provide a look at some of the most influential and widely recognised book jackets, album art and posters in modern history, and illustration’s relationship with popular culture.
100 years of graphic design
Elsewhere in the college, Alan Kitching and Monotype: Celebrating the centenary of five pioneers of the poster commemmorates the 100th anniversary of the birth of Abram Games, FHK Henrion, Josef Müller-Brockmann, Paul Rand and Tom Eckersley (Eckersley set up the school of graphic design at the London School of Printing, now LCC).
The show was curated and designed by Daniel Chehade and features some of the designers’ best-known posters, from Eckersley’s ‘Cyclists, keep them clean’ and Victoria line designs to Games’ work for London Transport.
It also includes video interviews with Games, Eckersley and Henrion, in which the designers reflect on their craft and perceptions of graphic design, specimen books from Monotype’s archives for fonts used by the designers, including Futura and Rockwell, and spreads from textbooks and issues of Graphis which feature articles on their work.
Alongside this is a look at the making of a series of screen prints commemorating each designer, which were commissioned by Monotype and designed by Alan Kitching and Chehade.
Originally exhibited in Monotype’s Century exhibition, held in New York to mark AIGA’s centenary, each screenprint features a monogram for that designer, made up of overlapping letters – in each case, one from Monotype’s archives and a wood letter from Kitching’s workshop.
The finished prints are beautifully produced, and hang alongside the designers’ posters in the gallery. A short film explains the making of the project and offers a look at the printing process, while wood letters, inks and sketches are housed in glass display cases. It’s a fascinating look at printing and a stunning selection of historic posters.
Stereohype 2004-2014
The third event on show at LCC celebrates the tenth anniversary of graphic art label Stereohype, founded by design studio Fl@33. The label runs an annual button badge design competition each year and regularly invites designers to create badges for its By Invitation Only range. Over one thousand button badges are featured in the exhibition – some fixed to the gallery walls, others in glass display cases and a framed artwork (close up below).
To celebrate the event and its anniversary, Stereohype commissioned ten designers and artists to create a badge and poster inspired by the number 10 and/or 1000, or 10×10. Contributing creatives include Kitching, Build’s Michael Place, Daniel Eatock, Genevieve Gauckler, Vaughan Oliver, TwoPoints and Fl@33 co-founder Agathe Jacquillat. Each designer created an original letterpress poster, which has also been reproduced as giclee prints in editions of 10 (each one costs £350).
Visitors to the show can also design and submit their own button badges at the show – and a catalogue featuring every button badge designed is available to purchase at the event (cover and spreads shown below).
50 Years of Illustration and Stereohype 2004-2014 are on show at London College of Communication SE1 6SB until October 31. Alan Kitching and Monotype: Celebrating the Centenary of Five Pioneers of the Poster is open until October 16. For details, see events.arts.ac.uk
50 Years of Illustration is published by Laurence King on October 1 and costs £30. To order a copy, click here.
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