RAW Design, Ferris + Associates et Curio ont monté ensemble la compétition internationale de design « Winter Stations » à Toronto. Le « Snowcone » des deux étudiantes Diana Koncan et Lily Jeon a retenu l’attention : il s’agit d’un poste de secours cinétique en forme de cône-igloo organique qui adapte la direction de ses pétales colorées selon le temps qu’il fait.
Photo by Eamon MacMahon.
The installations remain open to the public until march 20, 2015. Photos by Remi Carreiro.
DesignMarch 2015: this textile range by Reykjavik designer Hanna Whitehead is covered with bright flecks and dots based on the coloured glazes from her ceramics collections.
Whitehead studied at Design Academy Eindhoven before setting up Studio Hanna Whitehead in Reykjavik. She presented the 97 per cent cotton, 3 per cent linen fabrics as a range of speckled hand towels in an exhibition for the city’s DesignMarch festival this week.
The digitally printed patterns reference Whitehead’s Past In Present ceramic collection, which she debuted at the festival last year. Also on display, these pieces are shaped like chiselled stone-age implements and are covered in brightly coloured glazes.
“It originates from a previous ceramic project,” explained Whitehead. “These are all shapes from the stone age which I put a pattern on to change the context.”
A set of pastel-coloured maracas that fit into the palm of the hand look similar to prehistoric flint knives, while small shallow trays reference jagged daggers.
“I was wondering how could we use this shape today, it’s such a great shape,” Whitehead told Dezeen. “We don’t know how to use it as a knife anymore and I was holding it and somehow it works with the hand – a hand tool.”
She experimented with bisque-firing that gave the pieces an unglazed finish that appeared “like something you would look at in a museum” before settling on the vibrant colour palette.
Dialogue collection
“When you look at the shape, you don’t recognise it anymore as being from the stone age, it becomes a new object,” she added.
Dialogue collection
Each towel is on display with its ceramic muse, as well as dish brushes with elongated handles painted in matching prints.
Dialogue collection
Items from Whitehead’s ceramic collections Past to Present and Dialogue, as well as a set of varnished sketches are also included in the exhibition.
Past to Present collection
Sample books display fragments of knitted and sewn patterns, where Whitehead is experimenting with “knitting the glaze rather than always painting it”.
Past to Present collection
A long table in the centre of the space is dotted with jelly beans and a set of wooden tools with ceramic knobs. Whitehead invites guests to the exhibition to use the tools to rearrange the small sweets, which remind her of the glazing, and determine their own patterns.
The exhibition at DesignMarch
Whitehead has plans to expand the textile range and put into production by the end of 2015. DesignMarch continues until Sunday.
Photography is by Hanna Whitehead and Skúli Júlíusson.
Le cabinet slovène OFIS Architects a conçu la « Villa Criss-Cross Envelope », une maison très minimaliste pour une famille à Ljubljana. La structure externe cubique est constituée d’une enveloppe métallique perforée. L’intérieur dont l’espace a été maximisé est, quant à lui, composé de murs en béton et d’une coque en bois.
Ariel Zuckerman et Oded Sapir sont à l’origine d’une série de lampes intitulée « Knitted Light » qui combine technologie et tradition. Un tricot en fils de laine sert de dispositif d’éclairage et devient une grosse boule lumineuse semblable à un oursin. Plusieurs versions sont disponibles, permettant à la lampe de s’installer facilement n’importe où : au sol, au mur ou au plafond.
A living room is contained within this glazed extension to a period property in Dublin, forming a transparent connection between the existing building and its garden.
The owners asked the architects to remodel the ground floor area of an annex that projects from the property’s rear facade to accommodate a new kitchen, utility room and storage space.
In addition, a new glazed living room was added between the main building and a granite terrace that is used for outside dining.
“We wanted to make the room feel like part of the garden,” architect Michael Pike told Dezeen. “The extension is as light and transparent as possible to create this sense, as well as visually connecting the new courtyard with the garden beyond.”
Full-height sliding doors set in aluminium frames help to achieve the required feeling of transparency within the new open-plan living and dining area.
The extensive use of glass also creates a contrast with the solid mass and more enclosed rooms of the original building.
“The extension is light and contemporary, and is deliberately contrasted with the solidity of the existing period house,” said Pike.
Two structural concrete beams are positioned inside the glazing on either side of the extension to support the roof. This arrangement helps create the illusion of a thin roof from outside, enhanced by extending the aluminium frames up to the level of the coping.
Despite a height of 3.28 metres, the architects were intent on making the frames as thin as possible to emphasise the lightness of the structure.
A skylight inserted into the ceiling between the existing house and the extension brightens this space and marks the transition from the old building to the new addition. Fitted storage also runs along the boundary wall.
A wood-burning stove on the end wall of the extension is flanked by a desk on one side and log store on the other.
Book shelves that reach up to the height of the ceiling have also been created, and are located in the alcoves.
Apple finally delivered its Apple Watch keynote this week, and while the product is packed with mind-boggling technology, its pricing may be the most dizzying. With so many size, strap and material combinations out there……
La photographe roumaine Alecsandra Raluca Dragoi parcourt les rues en demandant à des passants inconnus quel est leur plus grand regret. Elle leur tend une pancarte pour qu’ils partagent ce regret avec elle et elle immortalise cette seconde d’intimité avec une photo. Cela donne des portraits poignants de gens de tous horizons et de tous âges qui confient leurs secrets, le temps d’un cliché.
« Not listening. »
« What I did last night. »
« I regret I do not have more time to play. »
« When I stole my sister’s money! »
« Developing an addiction to alcohol. »
« I miss my lovely country…with each of my breath. »
London department store Selfridges has opened concept retail spaces free from gender directives, created by designer Faye Toogood (+ slideshow).
Level one
Toogood used metal framework and mesh panels to mark out linear spaces on two floors of the Oxford Street store for the new Agender initiative – an experiment to provoke conversation about the subject of gender targeting.
Fashion, beauty and lifestyle products in the dedicated areas are stripped of all branding.
Level one
Meanwhile, clothing and accessories from over 40 brands is stored and displayed in plain garment bags and brown boxes, to “democratise” the merchandise and remove any assumptions about their target gender.
Level one
“In the 21st century we’re increasingly aware that gender is not a binary, and the way we choose to present ourselves as individuals shouldn’t be constrained by the artificial divisions of society or commerce,” said Toogood.
Level two
Masking tape is used to create text rather than using specific logos, and products are all labelled using the same tags.
Level two
“I chose to give the space the feel of an archive to reflect the curatorial decisions that go into any fashion edit,” Toogood said. “By removing branding, gender differences and merchandising, we allow the garments to speak for themselves.”
Level two
On the first floor, materials such as vulcanised rubber and latex are used in a warm pink palette within the lighter of the two areas – which is occupied by abstract sculptures.
Level two
Horsehair, steel and concrete create a darker environment on the level above, though both areas feature the same metal rails and tube lighting.
Level two
“The materials used in the Agender houses – concrete, horsehair, rubber – have a primal, raw feel,” said Toogood. “It’s about trying to pare back the superficial layers of polish and branding, and by doing so reveal something that is innate.”
Also on level two, a pop-up for shoe brand Underground features display units built from black metal poles.
As part of the campaign, all of the mannequins have been removed from Selfridges’ windows for the first time in the history of the store, which was founded in 1909 by Harry Gordon Selfridge and is one of the UK’s largest department stores.
Instead, gender-ambiguous garments are draped over straps, stacked against poles and hung from furniture pieces.
“Through Agender, we’ve changed the context of shopping in store and online; by removing gender codes, our shoppers will be free to make choices based purely on personal taste,” said Selfridges creative director Linda Hewson.
Faye Toogood’s previous retail interiors include a London boutique that looks like a nightclub, and a Dubai fashion store that pairs raw concrete and colourful fabrics.
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