« Le Nuage » est une table pour 6 personnes pensée par le designer danois Emil Skovgaard et son équipe. Cette table moderne et élégante réalisée avec différents bois présente des angles et une structure organiques. Un nuage sur lequel nous pouvons diner, à découvrir.
The design world has been rocked by allegations that the Super Friends, the so-called crimefighters whose Saturday morning reality show once documented their exploits, are in fact a bunch of design thieves with little respect for the laws they are sworn to uphold.
Years ago the vigilante group decided to construct a headquarters. In the security footage screengrab below, you can see them inspecting the site under the guidance of Superman:
Without obtaining permits, the team then constructed their headquarters in violation of zoning laws, and subsequently angered local trade unions by having Aquaman perform the plumbing himself. The cell phone “selfie” taken below shows the team after completing the sub-basement.
It was implied that the structure was self-designed, indicating one or more of the Super Friends had a background in design or was associated with a name-brand architect. However, it has now been revealed that neither the ‘Friends, their associates nor even their foes have any connection with architecture whatsoever. For example, while archenemy Lex Luthor is often described as the “architect of destruction” of this or that, our research provides no evidence of his having obtained degree in architecture from any accredited institution.
Instead it appears the design of the structure was ripped off wholesale from Cincinnati’s Union Terminal, the Art Deco structure designed in the 1930s by accredited architects Alfred T. Fellheimer, Steward Wagner, Paul Philippe Cret and Roland Wank.
The resemblance is too close to be a coincidence, and with mocking arrogance, the ‘Friends named their headquarters the “Hall of Justice.”
Lengths of transparent film and sticky tape wrap around the concrete columns of Paris gallery Palais de Tokyo to form a network of hollows and tunnels in an installation by Numen/For Use (+ slideshow).
Numen/For Use created the Tape Paris installation for a group exhibition at the Palais de Tokyo in Paris. Titled Inside, the show explores both physical and psychological connotations of interior space.
The Vienna-based design collective transformed the entrance hall of the gallery into an inhabitable organism-like structure using layers of sticky tape and plastic similar to cling-film. Visitors can navigate their way through the piece, which is suspended between the ceiling and floor and has a translucent “stretched biomorphic skin”.
“The installation was envisaged as a site specific, parasitical structure invading an arbitrary location,” said Numen/For Use co-founder Christoph Katzler.
Visitors to the exhibition can climb into the series of translucent hollows and channels strung six metres above the gallery foyer for a bodily experience.
“In the moment when the audience enters the installation, what started off as a sculpture seamlessly morphs into architecture,” said Katzler, whose previous projects have included a cavernous net staircase in an Austrian gallery.
The thin layers of film that make up the network flex under the weight of passing visitors, and the translucent surfaces give views from within the structure to the floor below.
“The interior of the structure is supple, elastic and pliable while the form itself is statically perfect,” he said.
A team used layers of conventional Scotch Tape to create the sinuous form between the concrete columns of the gallery.
The tape lines were then covered inside and outside by layers of an elastic plastic sheeting to bind the structure together, forming a 50-metre-long network of cocooning passageways.
“With the further layering of the tape, the figure becomes more and more corporeal as it picks up on the slow increase of the curvature,” said the designer.
Tape Paris is supported by fashion brand COS and is on show at the Palais de Tokyo until January 2015.
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installation with sticky tape appeared first on Dezeen.
Ora spiegatemi perchè le figate escono sempre e solo in Giappone. Queste classiche Puma Suede hanno una colorway a dir poco esagerata. Assemblate con materiali di primissima qualità, tomaia in angora e inserti in pelle scamosciata. Le trovate in vendita su Footpatrol. Made in Japan.
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Le Musée d’Histoire Naturelle de Londres a annoncé ses grands gagnants et finalistes pour le concours Wildlife Photographer of the Year 2014. Plus de 42 000 soumissions en provenance de 96 pays ont été triées privilégiant la composition, l’innovation et leur propre interprétation de la nature. Un beau panorama de photos à découvrir.
« Facebook update » by Marsel van Oosten, winner 2014 — new special award : people’s choice, the Netherlands.
« Touché » by Jan van Der Greef, finalist 2014 — birds, the Netherlands.
« Divine Snake » by Raviprakash S S, winner 2014 — amphibians and reptiles, India.
« Night of the deadly lights » by Ary Bassous, winner 2014 — invertebrates, Brazil.
« Glimpse of the underworld » by Christian Vizl, winner 2014 — plants and fungi, Mexico.
« Passing giants » by Indra Swari Wonowidjojo, winner 2014 — underwater species, Indonesia.
« Apocalypse » by Francisco Negroni, winner 2014 — earth’s environments, Chile.
« The last great picture » by Michael ‘Nick’ Nichols, grand title winner — wildlife photographer of the year 2014, winner 2014 — black and white, USA.
« The price they pay » by Bruno d’Amicis, winner 2014 — world in our hands, Italy.
« The mouse, the moon and the mosquito » by Alexander Badyaev, winner 2014 — mammals, Russia/USA.
« Communal warmth » by Simone Sbaraglia, finalist 2014 — mammals, Italy.
As you bid Archtober adieu with a Halloween-themed candy binge weekend, ready your sturdiest tote bag and a swath of shelf space for New York’s Editions/Artists Books Fair. The extravaganza of contemporary art publishers and dealers gets underway Thursday evening with a festive preview (tickets here) and then runs through Sunday, November 9, at the newly-renovated Art Beam building in Chelsea. Back after a brief hiatus (see also: “Sandy, Hurricane”), this marks the sixteenth installment of the fair, which has lined up 44 exhibitors, from Michael Steinberg Fine Art and the paper maestros at Dieu Donné to Bartleby & Co. and Purgatory Pie Press (“a sanctuary for artists, designers and typographers who are seduced by the kiss of type and the touch of metal”), presenting works by hundreds of emerging and established artists. Speaking of the latter category, Enoc Perez has whipped up a limited-edition benefit print for the fair—Fontainebleau, Miami—that looks ahead to the next big event on the global art calendar: Art Basel Miami Beach.
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There’s something uncanny about Alfred Steiner’s latest exhibition “Likelihood of Confusion,” now on display at NYC’s Joshua Liner Gallery. There’s an element…
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News: the Barcelona Design Museum will open in December with newly curated collections that represent Catalonian design history from the third century to present day (+ slideshow).
The collections will be housed in the new 8,000-square-metre building called the Disseny Hub Barcelona. Local studio BM Arquitectes designed the metal-clad structure for the Barcelona Design Museum on a site just off the Placa de les Glòries Catalanes, a large sunken garden in the centre of an elevated roundabout.
Related story: Vaulted brick pavilion in Barcelona by Map13
The Disseny Hub draws together over 70,000 items from four previously independent museums – the Decorative Arts Museum, Ceramics Museum, the Textile and Clothing Museum and the Graphic Arts Cabinet – and a research centre.
“The new museum is characterised by a flexible, inclusive discourse, which highlights the transversal aspects of these four large collections whilst also focusing on more specific facets in each,” said a statement from the museum.
The newly combined collections, which includes pieces of furniture, clothing, poster design and ceramics aim to encourage visitors to delve into the “historic role of the arts.”
“Design is, to a certain extent, a consequence of the earlier decorative arts, whether as a reaction to their ornamental value or as exponents of the new industrial, post-industrial or digital world.”
Four exhibitions of the permanent collections that “reflect the dynamic nature of design, designers and society itself” will coincide with the opening of the museum, encompassing product, graphic and fashion design, as well as artworks.
“The new centre traces the evolution from decorative arts to design, an area in which Barcelona has always stood out, and particularly, explores the future perspectives for this discipline,” they said.
The collections will be presented within MBM Arquitectes’s Hub building, which is clad in zinc plates with large sections of glazing that give the museum “an industrial feel.”
A large angular volume containing an auditorium cantilevers from the top of the building over the tramlines of the Glòries station at one side of the site, while on the other side a further overhanging box has large sections of glazing that look over an artificial lake.
The two projections, coupled with the metal cladding, give the building an anvil-shaped appearance.
Stairwells and escalator wells that serve the upper and basement floors of the building are attached to the side of the building.
On the interior, the building is divided into two parts – a 7, 00-square-metre exhibition centre spread over four upper floors and a 900-square-metre Documentation Centre across the building’s basement.
The Documentation Centre houses an archive and public library of over 22, 000 documents alongside a space for educational workshops.
“The goal is for visitors to understand and take part in the process that lies behind the creation of an object, concerning its concept, functions and forms, production, use and social representation,” said a statement from the museum.
The Disseny Hub Barcelona will open on 14 December 2014.
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decorative art and design collections appeared first on Dezeen.
The eighth issue of »SELECTION – Germany’s Finest Agencies« has been released and features again numerous self-representations..
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