As it stands, when searching for stock photos, publications and the general public have few options for quality, legal images worth publishing. And, as a photographer or artist, there are even fewer ways to combat having your work plagiarized or……
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« Solar Reserve » 2014 créé par l’artiste John Gerrard est une simulation informatique d’une usine d’alimentation d’énergie solaire thermique, entourée par 10 000 miroirs qui réfléchissent la lumière solaire. L’installation simule les mouvements réels du soleil, la lune et les étoiles dans le ciel, comme ils apparaîtraient sur le site. Les milliers de miroirs ajustent leurs positions en temps réel en fonction de la position des astres.
In my early ID days, I rendered a hell of a lot of toothbrush designs while working for an oralcare company. Some of them played with the angle of the head, the neck and the bristles, but one thing we never thought to do was rotate the entire head 90 degrees. Now a company called More-T is doing just that.
The company claims that “the traditional straight-end toothbrush…was designed to resemble the straight-edge razor. In fact, the straight-end toothbrush has not changed its design since its invention in 1498,” which I found somewhat strange, as I could’ve swore that straight-edge razors with handles came about later than that, during the Industrial Revolution, and had never heard that toothbrushes were meant to mimic razor forms. I also thought the form factor of a toothbrush, including the alignment of the head, was pretty form-follows-function.
More-T, however, say that their orientation and the soft bristles they use “[provide] for deep cleaning” with less effort. They also cite that their product “promotes up & down brushing” and is “better at cleaning [the] tongue,” and I can’t argue the latter point.
My previous oralcare experience makes me biased, and I want to hear what you think: Do you see the benefits of this new design, or do you think it’s an “if it ain’t broke…” type of situation?
British writer Roald Dahl touched the hearts of children around the world with his imaginative tales of gigantic peaches and golden tickets. His granddaughter Phoebe Dahl extends his legacy in her own way: by helping girls in Nepal to grab ahold……
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« Patience et Discipline » est une illustration née de la collaboration entre Rémy Boiré et Xavier Casalta. Les deux graphistes ont eu besoin de plus de 300 heures de travail pour y parvenir et force est de constater que le résultat est somptueux. Pour mieux découvrir l’ensemble du processus, rendez-vous dans la suite de l’article.
Think wine, not veal. Redder than russet, browner than carmine, more mischievous than maroon. Today Pantone declares Marsala (18-1438 on your fandeck) the “hearty, yet stylish” Color of the Year. In the wake of picks including Radiant Orchid, Honeysuckle, Turquoise, and Mimosa, it would seem that 21st-century color trends are defined by a box of Crayola “bold colors” markers.
“Marsala enriches our mind, body, and soul, exuding confidence and stability,” said Pantone Color Institute directrice Leatrice Eiseman. “Much like the fortified wine that gives Marsala its name, this tasteful hue embodies the satisfying richness of a fulfilling meal, while its grounding red-brown roots emanate a sophisticated, natural earthiness.” Those eager to embrace the “naturally robust and earthy wine red” can purchase a a Pantone USB drive in Marsala or start stocking up on Pantone paint in the color of 2015, and Amazon sells the real stuff by the jug.
New Career Opportunities Daily: The best jobs in media.
One huge window frames views out over the harbour from inside this library that Irish firm Carr Cotter & Naessens has completed in a harbour-side town near Dublin (+ slideshow).
Set to open next week, Dlr Lexicon is the new public library for the town of Dún Laoghaire and was designed by Cork-based Carr Cotter & Naessens to provide a new landmark between the town and coastline.
The four-storey structure was built into the existing slope creating two ground floor areas and a pair of quieter upper levels, designed to offer a mixture of both social and intimate spaces.
New gardens and terraces were also added around the building’s perimeter, featuring a bamboo garden, a plaza lined with trees and a series of tiered water pools.
“This challenging project has offered us the opportunity to work on a number of different scales,” explained architect Louise Cotter.
“This building and park is a truly public space with a very particular spatial sequence and material aesthetic.”
Externally the building is clad with brick on the southern side to respect the material palette of the Victorian high street, while the rest of the outer walls are covered with granite as a nod to the town’s former quarry.
The main entrance sits within a sheltered recess at the south-west corner, leading visitors in through a grand space conceived by the architects as the library’s “living room”.
Seating areas run along the edges of the space, offering areas for meeting friends or accessing the internet, while a staircase at the heart of the space leads up to the main reading room on the level above.
At the north-eastern tip of this floor, the monumental two-storey-high window frames a view out towards the Irish Sea.
The building’s concrete shell is left exposed throughout the interior, but is offset by the wooden floor and joinery that includes bookshelves and acoustic baffling.
“We look forward to seeing the spaces evolve as they become inhabited and people make [the library] their own,” added Cotter.
The reading room on the uppermost level is gently illuminated from above by a row of louvred skylights. This floor also includes a line of desks facing a continuous ribbon window.
Other spaces include a junior library, an auditorium, a cafe, an art gallery and a history department.
Photography is by Dennis Gilbert, apart from where otherwise indicated.
The post Granite-clad library by Carr Cotter & Naessens
faces out over the Irish Sea appeared first on Dezeen.
Design Miami 2014: cakes by designers including Viktor & Rolf, Studio Job and Alessandro Mendini were displayed and then eaten during an event hosted in Miami this week by New York gallery Chamber.
Chamber, which opened in New York’s Chelsea district earlier this year, commissioned six of its featured designers and studios to come up with an idea for a cake.
Alessandro Mendini, Martijn Van Strien, Floris Wubben, Viktor & Rolf, Studio Job and Formafantasma all created desserts for the event, hosted at Casa Claridge in Miami Beach on Tuesday evening.
Their designs were realised by a team of cake makers including Antonella Tignanelli. “Most of the designers specified how they wanted their cakes to taste like,” said Tignanelli.
Belgian artists Studio Job – the curators of Chamber’s inaugural collection – created a three-tiered cake decorated with pink, white and gold icing as well as silver embellishments. A large white candle on top was surrounded by small pink mounds dotted with red balls.
The cake design previously featured as the wheel hub of a Land Rover Defender that the studio customised for the vehicle’s 65th birthday last year.
Three-dimensional geometric shapes, some in pastel colours, topped the simple white base of Formafantasma’s design.
“The Studio Job cake was mostly pink and white on the outside so we made a strawberry and vanilla filling, and same with Formafantasma,” Tignanelli said.
Italian designer Alessandro Mendini grouped together six white-tipped conical towers, each with a red ball at the top.
“Mendini wanted the base to be tiramisu, and the towers to have candied almonds so we did that,” explained Tignanelli.
Viktor & Rolf’s red-velvet dessert had a gold base patterned with swirls. The Dutch fashion duo stood a Rococo-influenced element on top, which supported a yin-yang symbol, a heart, a bow and finally a rainbow.
Martijn Van Strien – another Dutch fashion designer who launched his own label in October – used folds of icing to drape over his monochrome creation.
“The Martijn Van Strien cake was a dark chocolate pedestal and then the structure was made out of Rice Krispies to be able to mould it,” explained the cake maker.
Finally, the cake by Dutch designer Floris Wubben was a stack of three cog-shaped cylinders of different heights and widths.
A milk chocolate layer formed the bottom portion, white chocolate was in the middle and dark chocolate covered the top.
Guests were able to eat the cakes once they had been admired at the event, which took place during Design Miami – running until 7 December.
The post Designer cakes by Viktor & Rolf, Studio Job
and more served up during Design Miami appeared first on Dezeen.
A cube-covered housing block in South Korea (pictured), the Guggenheim Helsinki shortlist and Zaha Hadid’s advertising billboard feature in Dezeen Mail issue 231. Click through for all the latest news, jobs and reader comments from Dezeen.
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