Hasta La Ideas

L’artiste Omer Agam, aka Omerika manipule les images en leur ajoutant une dose de féérie et de fantastique. Dans sa série Whismical, elle met en scène des personnages et des objets en les miniaturisant, ou en y incorporant des touches de surnaturel. Un joli voyage dans un monde onirique et enchanté, qui pourra replonger quiconque s’y aventurera dans ses rêves les plus lointains.

This glass-fronted living room and surrounding garden have been added by New South Wales firm CO-AP on the rooftop of a house in Sydney’s Darlinghurst (+ slideshow).

Featuring a faceted timber-lined roof and several large-scale windows, the pavilion-inspired structure provides a living room for a new penthouse residence formed by the consolidation of four flats on the level below. CO-AP named the project Darlinghurst Rooftop after the suburb where it is located.

“Our client approached us shortly after acquiring the properties in 2007,” explained architect Will Fung. “They saw the potential to have a new rooftop living space and elevated garden overlooking the city.”

The new roof slopes gently upwards in a series of folds, creating an angular ceiling around the lounge space, dining area and kitchen. It also extends beyond the walls to create sheltered areas around the edges of the terrace.

Windows, many of which stretch from floor to ceiling, have been carefully positioned so as to be shaded by the roof when the sun is at its highest during the day. These include one wall-sized window that frames views of the city’s towering skyline.

“Barely visible from the street, the roof dips on the southwestern side, forming a visor for sun control,” said the architect. “Glazed elements in the facade have been used thoughtfully and sparingly to accommodate privacy whilst also curating near and distant vistas.”

Inside, Blackbutt wood flooring runs throughout the space, offering a much richer tone than the pale Hoop Pine plywood that covers the ceilings. Blackbutt was also used for the kitchen joinery.

Furnishings include a number of mid-century classics, from Hans Wegner‘s CH006 dining table to Alvar Aalto‘s 413 armchair, along with more contemporary pieces by designers including Leon Ransmeier and the Bouroullec brothers.

There is also a steel bookcase framing the staircase, which had to be lifted in by crane.

The rooftop garden was designed by landscape architect Matt Dillion from Verdant Solutions Australia. At its centre is a concrete patio, which is surrounded by raised beds filled with indigenous plant, tree and shrub species.

“These were carefully selected for the harsh elevated rooftop conditions,” said Fung. “Over time the plant species will adapt and change on nature’s terms, making for an ever-evolving garden.”

Furnishings outside include a seat from the Traffic collection by industrial designer Konstantin Grcic.

Photography is by Ross Honeysett.

Project credits:

Architect: CO-AP
Builder: Artechne
Structure: James Taylor and Associates
Hydraulics: Ecological Design
Landscape: Material, Verdant Solutions Australia

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Japanese artist Hajime Sorayama is best known for his portrayals of women and feminine robots. Now you can buy one “Sexy Robot” standing model for 150,000 yen(about $1,200). Limited to 100 pieces, the creation is 300mm in height, then coming with a signed guarantee of authenticity courtesy of Sorayama himself, and packaged in a special premium box. It is scheduled to ship in October.(Read…)

By AsapSCIENCE.(Read…)

Instead of applying coloured pigments to these vases, Scottish designer Dean Brown has placed the powder in glass tubes and suspended it away from the undecorated surfaces (+ slideshow).

Brown created a series of 14 white unglazed vases based on classical shapes from the archive of Parisian porcelain company Sèvres, for an exhibition titled A Matter of Colour.

To each of the vessels in the Vase Collection, hand-blown glass tubes and flasks containing coloured pigments are attached in a variety of ways – forming handles, lids and decorative features balanced on appendages.

The transparent containers were created to hold the colour away from the surface to which it would normally be applied.

“The viewer is encouraged to imagine the white form transformed by the colour, invited to make their own interpretation of the potential between the object and the unapplied colour,” said the designer.

Glazing samples are laid out in front of each vase to show how each of the pigments hung from its form look when applied to the porcelain.

Alongside the vases, the exhibition includes the Colour Wheel installation – a slowly rotating carousel of glass test tubes filled with 24 of Sèvres’ most vivid pigments.

The powders rise and fall like sand timers as the wheel turns, while a factory tool known to Sèvres craftsmen as the Pallette Vase is positioned at the centre.

Painted with every colour swatch of the Sèvres Pallette, it is used much like a contemporary Pantone chart, and is being shown outside the factory for the first time.

A limited-edition series of eight Pallette Vases has been made and will be available to purchase.

Another factory tool used in the colouring of porcelain is the Test Vase. Two-dozen vases have been painted in the 24 colours featured in the colour wheel, and adorned with a cork and brass tag denoting the factory code for its colour.

This is another item that is being made, shown and sold for public consumption for the first time.

“The Vase Collection, the Colour Wheel and the Test Vases refer to different facets of the colouring process, demonstrating the journey from pigment, through swatch to full colour,” said Brown.

A Matter of Colour is on show at Sèvres’ Cité de la Céramique museum until 31 July 2015.

The exhibition is part of a wider trend for revealing the making process behind products, which was encapsulated by the Power of Making exhibition at London’s V&A museum in 2011.

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for A Matter of Colour exhibition appeared first on Dezeen.