L’illustrateur Cloakwork basé à Kuala Lumpur a usé de ses multiples talents pour personnaliser le fond de plusieurs boîtes à chaussures. À l’aide de peintures spray, d’acrylique et de marqueurs, il a reproduit sur le carton le modèle de Sneakers correspondant à sa boîte. Le résultat est à découvrir en images.
Après 20 jours de voyage et plus de 15 000 km parcourus, District7media nous offre une vidéo époustouflante dévoilant toute la beauté de la Chine. Un rendu aérien principalement réalisé grâce à l’utilisation d’un drone, permettant ainsi de montrer toute la splendeur des lieux visités, et ce malgré des obstacles comme une météo plus que capricieuse. Des montagnes aux différents temples en passant par la Grande Muraille, chaque image devient une invitation au voyage.
The Endless Book Project est un projet de Beamused Magazine, organisé en 52 semaines, qui a fait appel à 400 artistes. Parmi ces créatifs, on trouve la photographe Dina Belenko (dont nous avons déjà parlé pour son univers surréaliste), et l’illustratrice Natalie Ratkovski qui ont collaboré ensemble.
Dina Belenko, spécialiste de la nature morte, a voulu raconter une histoire à propos des galaxies, des constellations et de l’espace avec de la nourriture et des ustensiles : du café, des cookies, de la farine, du sucre, des tasses et des soucoupes. En 12 mois, elle a réalisé des images panoramiques qui seront disponibles dans ce superbe bouquin.
Dans sa série intitulée Brandversations, le designer autodidacte Stefan Asafti a imaginé une collection de posters représentant les logos des marques les plus importantes de ces dernières années. Chaque marque est mise en scène avec son logo dessiné à partir de logos miniatures et avec le célèbre slogan de son concurrent direct. L’artiste cherche à créer la confusion tout en montrant à l’observateur qu’il a toujours existé une compétition historique entre ces marques.
Belgian duo Studio Job has patterned giant windows at the Faena Art Center in Buenos Aires with coloured symbols and replicated the motifs on the floor of a roller disco inside (+ slideshow).
The Futopia Faena exhibition presents work created during the four-year collaboration between Studio Job founders Job Smeets and Nynke Tynagel, and Argentinian property developers Faena.
“The multi-faceted exhibition at Faena Art Center showcases how our longstanding collaboration with Faena has been an incredible series of playful, thought-provoking, and inspiring experimentations,” said Studio Job.
The Antwerp and Netherlands-based artists have turned the Sala Molinos – the art centre’s main exhibition space – into a roller disco titled Àngeles Veloces Arcanos Fugaces.
Bright patterns made up of motifs including keys, wings, columns and roses form a large circle across the rink, which is lit by disco lights suspended from the ceiling.
In the centre, a circular booth with mirrored sides provides a space for the DJ to play live music. Singer and producer Henri provided tunes for the opening night, and a roster of Argentinian DJs are scheduled to perform for the installation’s duration.
The symbols on the floor are echoed in triple-height stained glass windows installed over the top of the building’s original fenestration.
These tall, thin “cathedral-style” windows are positioned at the ends of the three branches that form the T-shaped space.
Other walls are decorated with images of Studio Job’s projects, including the graphics created for the hoardings, pavements and printed material for Faena’s construction sites.
Also on display is a crest designed for the company set up by Alan Faena, who Dezeen interviewed last year.
“Studio Job and Faena’s ongoing collaboration is a true manifestation of the Faena mission to foster cross-cultural exchange,” said Alan Faena in a statement about the exhibition. “Faena by Studio Job illustrates the progression of this important relationship, and the roller disco is yet another way in which Studio Job enhances Faena’s aim of engaging the local community.”
The exhibition also includes a polished bronze, gilded and hand-painted clock tower fountain that Studio Job created for the new Faena District Miami Beach.
Faena‘s Miami development takes up six ocean-side blocks on Collins Avenue, and will include an OMA-designed arts centre, a condominium tower by Foster + Partners, and the restoration of the landmark Saxony Hotel by Hollywood director Baz Luhrmann.
“For this project, it’s been particularly rewarding to translate many of the ideas we’ve been exploring with Faena for the new district in Miami and to reimagine them for Faena Art Center Buenos Aires,” Studio Job said.
“Studio Job’s visionary experimentation and expertise across the worlds of art and design have been incredibly influential to the cross-disciplinary initiatives of Faena Art,” said Faena Art chair Ximena Caminos. “It is the perfect time to highlight our work together as we are near the opening of Faena District Miami Beach in November, for which Studio Job has been a vital collaborator.”
A second installation of models, drawings, flags and collage materials features at Futopia Faena to provide insight into Studio Job’s working process.
The studio’s signature patterns also run through the lobby and spill down the steps at the entrance to the arts centre, which is situated in Buenos Aires’ Faena District.
This development began in 2000, and consists of hotels, apartments and cultural buildings by architects including Norman Foster and Philippe Starck. It is regarded as one of the most successful recent urban regeneration projects in South America.
Futopia Faena opened to the public on 23 July and continues until 3 August 2015.
Studio Job’s other recent projects include a table that depicts a head-on collision between two steam trains and a giant crystal-encrusted model at the Swarovski theme park in Austria.
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OMA has unveiled its design for a new sports and science facility at Brighton College, England – a historic school campus made up of buildings by George Gilbert Scott and Thomas Graham Jackson.
As the biggest construction project in the school’s 170-year history, the scheme will bring together sports and science departments into a three-storey building expected to feature a running track on the roof and a swimming pool in the basement.
OMA‘s design, which was submitted for planning approval earlier this month, is for a linear building located at the edge of the school playing field – separate from the historical quadrangle, made up of gothic-revival buildings completed by imminent English architects Scott and Jackson in the late-19th and early-20th centuries.
Sports facilities will contained on the ground floor, with the sports hall opening out to the pitch, while the science department will be raised above like a “skeletal bridge”, according to OMA.
“Inside, views from one department into the other make for lively and animated circulation throughout the new building, creating an unexpected interplay between sport and sciences,” said the firm.
Related story: OMA’s Fondazione Prada art centre opens in Milan
The building’s facades are intended to mimic the rhythm of terraced houses adjacent to the site, helping the new addition to fit in with its context.
Rem Koolhaas’ firm – whose past education projects include a school of architecture at Cornell University in New York – won an invited competition to design the building in 2013.
It forms the final phase of a £40 million masterplan for the private school, which includes two new buildings by Allies and Morrison – a boarding house and an amenities building.
Hopkins Architects and Eric Parry Architects are also working on new buildings for the college.
Construction of the sports and science building is anticipated to start in July 2016, with completion pencilled in for 2018. A 1970s sports hall, classroom block, maintenance building and two-storey pavilion must all be demolished first.
The post OMA to create new sports and science facility at historic English college appeared first on Dezeen.
Broad white piers and a colonnade suggest a Classical aesthetic on the facade of this small residence near Stockholm by architecture firm Hermansson Hiller Lundberg (+ slideshow).
Located on a rural site in Nacka, a municipality east of the city, House Skuru is a single-storey house featuring a monochrome colour palette both inside and out.
Rectilinear pillars can be found on all four sides, giving the building a uniform appearance from every angle. On three sides these are piers framing a series of door-size windows, while on the fourth elevation they become the colonnade.
Hermansson Hiller Lundberg – a Stockholm studio made up of architects Andreas Hermansson, Andreas Hiller and Samuel Lundberg – designed the building as a permanent residence for a family.
The architects describe it as an unconventional dwelling with a monumental appearance.
It is reminiscent of several projects by British architect David Chipperfield, particularly his Stirling Prize-winning Museum of Modern Literature and the recently completed Fayland House, which reference the Classical architecture of ancient Greece and Rome.
“The repetition of pillars and the juxtaposition of building elements create a minimalistic complexity,” said Hermansson Hiller Lundberg.
Although the house appears to be constructed from cast concrete, it was actually built using expanded clay masonry blocks. These were rendered off-white, with the most prominent surfaces given a smooth surface, while others were left with a rough texture.
“The clear volume of the house gains a richness of expression through the development of a tectonic order of discreet buildings parts,” said the architects.
“These tectonics, however, are entirely rhetorical as they lie in the elaboration of reliefs in the plaster surface.”
Inside, the building has a very simple layout, with a large living, dining and kitchen space taking up half of the floor plan. Behind this, two bedrooms are separated by an entrance lobby and a bathroom.
There are five entrances in total, making it possible to enter and exit any of part of the house without disturbing other members of the family. These doors all look exactly the same, so it is unclear to visitors which one is the main entrance.
Walls and ceiling surfaces inside the house have also been rendered off-white, while the floor is polished concrete.
“In the interior the rhetoric is monolithic rather than tectonic, and this too lies in the surface treatment of the rendered walls and ceiling and the polished concrete floor,” added the architects.
A hearth stands near the centre of the plan, and a tiled recess at its base creates a place where residents can store firewood.
Photography is by Mikael Olsson.
The post Hermansson Hiller Lundberg references Classical architecture with monochrome House Skuru appeared first on Dezeen.
New York City-based creative agency and rapid-prototyping house BREAKFAST wears many hats marrying advertising, art, graphic design, industrial design and rapid product and prototype production. “We are a unique group with a massively diverse set of skills…as good at engineering as we are at design and ideation,” the company writes. “Every employee at BREAKFAST is hands on and have a variety of expertise. We do the work ourselves, and we keep our team small.” BREAKFAST lives life in the maker culture fast lane, creating connected devices that are born in technology but exhibit the two primary characteristics embodied in good works of art—timelessness and contemporary relevance.
When clothing retailer Forever 21 wanted a fun technological attraction to connect with their fans around the world, BREAKFAST came up with a massive 11-foot-tall, 2,000-pound monitor to display Instagram shots carrying a “#f21threadscreen” hashtag. The kicker is that the “pixels” are actually multicolored conveyor belts that, when viewed from the front, resemble several thousand spools of thread.
The F21 Screen has over 200,000 custom made parts, including 6,400 specially made, rotating thread spools over which multiple 5½ foot strips of colored fabric rotate; 6.7 miles of fabric set in motion by motors controlled by in-house programmed, designed and manufactured circuitry. What could go wrong?
“This was the first set of modules we put on the superstructure. We purposely wanted to build one column to full height to ensure no unexpected problems arose.” Zolty, BREAKFAST Creative Director.The real story behind BREAKFAST’s F21 Thread Screen is one of hard work, experimentation and resiliency in the face of initial failure. Starting with a brief from the retail giant Forever 21 to “do something different,” BREAKFAST almost immediately decided to leverage Forever 21’s 7.5 million Instagram followers. The #F21ThreadScreen tags are automatically captured, put into a cue and optimized for the 80×80 resolution of the F21 Thread Screen. Then each spool’s motor drives the colored fabric band over multiple spools, stopping at the appropriate color/pixel position in the display.
“First PCB to be put together. Most of the components are so tiny that a microscope is required to check if it’s been built correctly. There are 200 modules on the screen, each with one of these boards on the back controlling the 36 motors in each module.”
“This is an early part of the assembly for the rail that holds the breaker and distribution of where the power comes into the machine.” Zolty, BREAKFAST Creative Director.
“This is an accelerated life test machine that we built to see how much wear the fabric belts would be able to take. We simulated many months of wear and stress upon the fabric to ensure they wouldn’t fray, lose color, lose their stitches, etc…” The decision to integrate the basic building blocks of fashion, thread and fabric, was an organic one. On an interview with Core77, Andrew Zolty, BREAKFAST Co-Founder and Creative Director says, “I don’t think there is a single part that didn’t go through several iterations.” The fact that fabric is a versatile material was an added benefit and was probably the easiest decision made during the process. The F21 Thread Screen required innumerable mechanical and technology decisions, most of which required prototyping to find the optimal solution.
BREAKFAST prototyped multiple fabrics, using various color printing techniques and elastic fabric combinations to find the perfect mix of surface color and fabric tension. It was apparent quite early on that these were necessary traits since the fabric had to rotate around thread spool bodies at high speeds while retaining mechanical and color integrity. BREAKFAST built test rigs to assess how the fabric would perform over time. They also 3D printed and CNC milled parts before having them injection molded or laser cut to find the best shape and structures.
“We had major problems with static. This is what would happen to the board when the static wasn’t getting dissipated correctly. It often would have a foot tall flame that would shoot out it.” Zolty, BREAKFAST Creative Director.Nature does not make exceptions for hard work and the creation of the F21 Thread Screen was a process of testing the laws of nature. Principle among them was static electricity. The Thread Screen comprises multiple modules, and a single module has 36 rapidly rotating spools. Operating them was regularly producing over 20,000 volts of static electricity. The initial grounding system proved to be insufficient. The static would run through the motors, the motor leads, then back to the circuit boards often causing some of the boards to catch fire. The reengineered grounding system now has three redundant systems to ensure all static is properly dissipated.
“This is actually a sad picture. This is a first batch of fabric belts we received. The reason it’s sad is if you notice, not a single two are the same length. They were all suppose to be exactly the same within 3 millimeters.” Zolty, BREAKFAST Creative Director.However, one of the biggest hurdles BREAKFAST encountered was the inconsistency in the quality of parts, and their frustrating propensity to change size and shape in response to heat and/or humidity. BREAKFAST found that fabric turning over a wood spool won’t keep proper tension if the room heats up just 10 degrees . Despite encountering many challenges during the development of the F21 Thread Screen wall, the final result is mesmerizing, demonstrating that persistence remains an essential ingredient in creating design and technology solutions that resonate.””
“This is a day or two before launch. Mattias Gunneras (co-founder and CTO) is trying to tweak our in-sequence homing to be as full-proof as possible. The in-sequence homing occurs in between each users’ photo where the machine looks for a reflective strip on each fabric belt to ensure it’s in the position it should be, or adjusts it if not.” Zolty, BREAKFAST Creative Director.
Over the past couple of years enamel pins of all kinds have seen a huge comeback—from the NYC-made sporty and playful Prize Pins, to Melbourne-based Georgia Perry’s celebrity portraits and Hungry Eyes’ personified dishes. Food-themed apparel also saw……
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In 2015, the idea of not having immediate access to the internet, games and social media apps on your phone has gone from inspiring terror and fear of missing out to sounding increasingly appealing. The ability to disconnect and not constantly check……
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This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
