Portlanders have put their own spin on shoe-tossing by swapping out the sneakers for dildos. Hundreds of hanging phalluses have been spotted dangling from powerlines in its northern region, with more popping up each day. Redditors attribute the abundance……
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L’artiste et photographe Mikkel Jul Hvilshøj met en scène, de manière minimaliste, des récipients et ustensiles de cuisine. L’originalité de son travail réside dans le fait qu’il met les objets en scène avec les ingrédients qu’ils pourraient contenir. Le résultat final offre des compositions artistiques simples et efficaces.
Jone Miskinyte et Monika Dolmantaite ont imaginé un projet social, intitulé I Am Waiting For, dans l’esprit du très populaire My Name Is, il y a quelques années. Leur travail permet de faire savoir ses attentes les plus importantes à travers des autocollants ou des cartes postales à coller ou à envoyer. Une manière créative et virale de s’exprimer également via les réseaux sociaux en photographiant ses stickers et en y associant le hashtag #iamwaitingfor.
Ghidaq al-Nizar aime le café comme beaucoup d’entre nous, mais trouve aussi en cette boisson une source incroyable de créativité. Sous son pseudonyme Coffeetopia, ce dernier peint avec sur des feuilles avec un talent incroyable, mais utilise aussi le café sous toutes ses formes pour composer de jolies créations qu’il met en scène sur son compte Instagram.
The first flagship store for customisable furniture brand TOG in São Paulo is designed by local studio Triptyque as a social space for creatives, like a “21st-century Andy Warhol Factory” (+ slideshow).
Triptyque was chosen to design the 2,100-square-metre store on Rua Iguatemi by French designer Philippe Starck, who is providing art direction for TOG‘s founders – Brazilian footwear company Grendene – as well as designing furniture for the brand.
The intention was to create a space in which visitors could participate in a variety of social activities.
The concept is based on the Factory studio setup by pop artist Andy Warhol in New York between the 1960s and 1980s, where artists and creatives would gather to help produce his silkscreen prints as well as attend parties.
“The flagship was designed as a mixed-use place of sociability, where you can buy, eat, drink, dance, read, create, spend time – a 21st-century version of the Andy Warhol Factory,” Triptyque said.
TOG was launched in Milan last year as a “democratic design brand”, which allows customers to create bespoke furniture pieces from a series of base products by internationally renowned and emerging designers.
Spread over three main floors, the first TOG showroom space is designed to be as customisable as the brand’s furniture.
“TOG was designed as a container and not a content, a repository of uses and different programs,” said Triptyque, which has offices in both São Paulo and Paris. “Its infrastructure is ready to be adapted for all kinds of situations.”
The 1980s building that previously hosted a games club was overhauled by Triptyque, which removed partitions and decorative elements, and painted the entire interior white.
“The base idea was to bare the existing place, which had totally disappeared under the layers of decoration, and to optimise its nature without any intervention in the structure,” Triptyque told Dezeen.
The main showroom areas are located in two double-height spaces on the ground level and the floor above.
At the front of the store, a partition set back from the glazed entrance creates a shop window-like presentation for featured products. No other walls are used in these spaces to keep the areas as open and flexible as possible.
The showroom behind is sparsely populated with TOG’s furniture, while large banners displaying its colourful branding are hung vertically along the walls on each side.
Industrial lighting mounted on long poles is attached to the ceiling beams using G clamps – vices more commonly used during wood or metalwork.
“We built a mixed-use light, which also can adapt to function requested,” said Triptyque, which has also designed a marble and glass showroom to look like an ice cube in the city. “We played with the scale and shape of the G clamps to make them visible as a part of the proposition.”
A wide feature staircase leads up to a mezzanine floor, before doglegging on both sides to provide two flights up to the next main showroom level.
At the top of the final stair flight, meeting rooms and offices are located within rooms surrounded by slightly translucent yellow and white striped walls.
Sections of glass floor allow light from a skylight directly above to reach the ground floor.
Behind the staircase at street level, a restaurant and bar area called Marakuthai serves food by local chef Renata Vanzetto, which is prepared within a glazed kitchen.
Mismatched furniture arranged on Persian-style rugs spills out into a lean-to, with its side open to a garden of tropical plants.
The basement functions as a warehouse for storing products before they are shipped to customers worldwide.
Photography is by Ricardo Bassetti.
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Lumps of flint give a textured facade to this English countryside residence, completed by London firm Skene Catling de la Peña for one of the world’s richest families (+ slideshow).
Located in the grounds of Waddesdon Manor in Buckinghamshire, Flint House is a house and annex commissioned by Jacob Rothschild, lord of the estate and head of the historic banking family. His brief was to provide accommodation for a visiting art curator.
The site is located over the chalk fissure that extends down from Norfolk to the cliffs of Dover, which prompted Skene Catling de la Peña to develop a design around the use of flint – a sedimentary rock that often appears as nodules in chalk.
It is a material rarely used in contemporary architecture, with the few exceptions including a London house with a flint wall.
“Flint is an ancient material related to jasper, obsidian and onyx; a hard, cryptocrystalline form of quartz found in one geological seam in the UK, and in abundance on the surface of the ploughed fields surrounding the site,” said the architects.
The material was used to clad the walls of both buildings. But rather than using pieces of flint at random, they were sorted into layers of tone, with darker strata at the bottom. Towards the top, they become chalky white to match the pale terrazzo roofs.
“The lowest courses of flint are blackest and rough hewn with large gallets in black mortar joints,” said the team.
“The walls and terrazzo roofs fade in six coloured strata as the flint progresses up the building, from galleted black through finely knapped greys, and finally into courses of long, narrow blocks of white chalk, where the building appears to dissolve into the sky.”
The two buildings are both triangular in profile, and they angle away from one another – like two hills with a valley in between.
The terrazzo tiles covering the rooftops create steps leading up to viewing platforms, offering views out over the area’s expansive meadows. There are also various openings, which form sunken rooftop gardens.
“The Flint House and annex form two stepped, linear monoliths that appear pulled from the landscape as geological extrusions of infinite age, with the rough texture and rawness of their surroundings,” explained the architects.
“The buildings are both viewing platforms and condensing lenses for the surrounding panorama,” they added.
The rock analogy also continues inside the main house – a grotto-like space features walls of flint nodules that have been left uncut to reveal their knobbly forms.
This space also houses a pool of water that runs right through the building. A ceiling of black glass reflects the water, intended to create the illusion of infinite space.
Other rooms in this 465-square-metre building include a dining room, a kitchen, a library and study, and three bedrooms, all distributed across two storeys. The 115-square-metre annex contains a two-level studio apartment.
“The programme moves from the utilitarian and open spaces at the centre of the site to more contemplative, private rooms buried in the existing trees at the far ends of each building,” added the designers.
“The internal ‘river’ carves a mysterious, internal cave through the structure that separates the public spaces from the more introspective, with views across water, through fire and expanded in reflections.”
Waddesdon Manor was first built in the 19th century as a weekend home for the Rothschild family. Today the estate is administered by a charitable trust overseen by Jacob Rothschild, whose penchant for contemporary art and architecture has led to works by David Hockney, Richard Long and Sarah Lucas being installed in the building and grounds.
In 2011, Rothschild also added an archive building to the site, designed by London studio Stephen Marshall Architects.
In a similar vein, the Flint House has been furnished with a selection of contemporary, classic and bespoke pieces. Examples include a solid chalk dining table and a pair of marbled urns.
Flint House was one the 37 winners of the RIBA’s 2015 awards, and is also shortlisted for best house in the World Architecture Festival awards.
Photography is by James Morris.
Project credits:
Client: Lord Rothschild
Architects: Skene Catling de la Peña
Project team: Charlotte Skene Catling, Jaime de la Peña, Theodora Bowering, Amaia Orrico, Tomoaki Todome, Samuel Chisholm, Tom Greenall, Jordan Hodgson, Daniel Peacock
Collaborators & Consultants: Marc Frohn
Client advisor: Colin Amery
Landscape and garden designers: Mary Keen, Pip Morrison
Interior designer: David Mlinaric
Structural engineers: eHRW Engineers Haskins Robinson Waters, Adam Redgrove, Stephen Haskins
Mechanical and electrical engineers: Max Fordham Associates – Kai Salman-Lord
Civil engineers: Infrastructure Design Studio – Martin Jones
Quantity surveyors: Selway Joyce Partnership – Nick Tarrier, Ed Smith, Hui Meng
Flint consultant: The Flint Man – David Smith
Lighting consultants: Spellman Knowlton
Lighting design: Claire Spellman, Christopher Knowlton
Ecology consultant: Bernwood
Environmental conservation services: Chris Damant
The post Flint House features rugged stone walls that gradate from smoky grey to chalky white appeared first on Dezeen.
Grid, made up of 10 metal frames that as a free standing bookcase or as a room divider can be used.The ‘boards’ have different widths and ..
To all those who don’t believe a sophomore performance can be as good, if not better than the original, prepare to be challenged by the 2015 Core77 Conference. We took the best parts of our inaugural conference last year and added more of just about everything to deliver a better, more interactive experience called DESIGNING HERE/NOW.
Our day long conference is comprised of presentations by luminaries from across the spectrum of contemporary design. They will focus on four main themes: In COLLABORATION NOW, they will showcase a series of creative partnerships that have led to exceptional new work. In MAKING NOW, they will delve into the production processes behind a variety of design projects, from furniture and lighting to sculptural fountains and socially-minded crafts. In BUSINESS NOW, they will turn our attention to the challenges and opportunities facing design entrepreneurs. And in THE FUTURE NOW, they will speculate about the near and distant future of software, user experience and product development.
These are just a few speakers on our growing list of presenters. Our growing list of presenters includes Ivan Poupyrev of Project Jacquard, Nadine Schelbert of WET Design, Ryder Ripps of OKFocus and Mickey McManus of MAYA. During the conference they will pose questions like, “What happens when the things we design wake up?” and explore impactful topics such as the use craft to diversify conversations in society.
All this will take place at the historic Vibiana at the core of Downtown Los Angeles. It’s one of Los Angeles’ few remaining nineteenth century landmarks and was completed in 1876. The space will accommodate more than twice as many attendees as we hosted last year so we look forward to filling it with lively conversation and exchange of ideas.
We’ll see you at the the Vibiana on October 23rd. The conference is complimented by a cocktail party the night before at the Broadway Bar and a Farewell Picnic the day after. Both gatherings are about you, members of the design community. You all have stories, insights, projects, and an assortment of wonderful idiosyncrasies to share with each other and us. Rounding out the conference experience is a trio of Field Trips that will give you guided insider tours to where some of the most interesting design innovation is happening today in L.A.
The 2015 Core77 Conference won’t be the same without you there, so check out the conference schedule, block out October 22nd through the 24th and get your tickets before they sell out. See you in L.A. this fall!
Self-proclaimed “troublemaker ” Joshua Harker creates intricate 3D-printed works that near the border of impossibility, and he has been able to do so by taking the road less traveled by artists before him. Taking advantage of technology that’s……
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New York-based New Zealand Artist Owen Dippie has painted a mural of four Renaissance Artists, Leonardo, Raphael, Michaelangelo and Donatello, as the Teenage Mutant Ninja Turtles. Painted on a wall running along a railway track in Brooklyn, Dippie has taken the four Renaissance men and given them masks as worn by the Ninja Turtles who were named after them.(Read…)
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.
