Daniel Arsham est un sculpteur américain qui donne à chacune de ses oeuvres une perspective et un relief. Jouant souvent avec les trompe-l’oeil, son travail se situe au clivage entre un art sculptural pur mais aussi des installations monumentales. Avec des matériaux solides, il arrive à rendre compte de la fluidité et la légèreté d’un drapé. Il aime représenter des silhouettes dissimulées mais aussi détourner des objets iconiques.
Graham turned the foliage into sets of eyelashes to highlight the falsities of cosmetics that are labelled as “natural” – which she claims often don’t contain many naturally sourced ingredients.
To make the Natural lashes, she picked up grass and needles of evergreen trees from the ground at her local park and in her garden.
The strands of plants were stuck together with a natural glue made from eggs and snow, which was also used to attach the lashes to the eyelids.
As part of her Graphic Design course at London’s Kingston University, Graham photographed a model wearing the lashes and printed the images in a magazine to look like a beauty product campaign.
Graham pointed out that the only unprocessed ingredient in a “natural” set of lashes made by a well-known UK pharmacy is water, and that the classification of beauty products in this way does not reflect what goes into them.
“A product only has to contain one per cent natural elements to be labeled as a natural product,” said Graham.
“The term ‘natural’ has never been specified, so often companies who have sourced their products from natural elements label them as natural,” she told Dezeen. “However, they conveniently leave out the chemical manipulation that occurs afterwards as the once-natural elements are blasted with artificial properties.”
The designer believes that the lashes, which last for less than 24 hours before they wilt, could be used for a variety of occasions, from music festivals to couture fashion shows.
The project echoes the work of Japanese artist Takaya, who uses raw vegetables and flowers to make decorative headpieces.
Aside from the cost of the eggs, Graham’s lashes are free to make and she wants to encourage others to create pairs themselves.
“With the ever-growing DIY culture infiltrating cosmetics I do believe that these lashes could catch on as a trend,” Graham said. “People are now encouraged to go into their gardens and gather plants and mud to make face masks, so why not eyelashes?”
She would also like to make a new range when the plants change colour towards the end of the year.
“I want to create these lashes again but in the autumn so that I could use beautiful oranges and reds,” said Graham. “These lashes have seasons and would appear differently depending on the time of year. Almost like fashion trends, they are always changing and never constant.”
Graham intends to extend her line to include beauty products for the lips and skin.
“I don’t want this project to stop at lashes,” she said. “I want to create a whole range of natural cosmetics that are convincing enough to be used. I have looked up beetroot recipes for lipstick and sand/chalk mixtures for fake tan. This is only the beginning of my natural venture.”
This dog-friendly guesthouse and residence in the South Korean province of Chungcheongnam features doors decorated with canine illustrations and a sloping playground overlooking the rural landscape (+ slideshow).
Mungzip guesthouse and residence – which translates from Korean as Bow-wow House – was designed by Seoul studio Design Band YOAP for a woman in her early 30s plus her husband, mother and troop of pet dogs.
The family wanted to relocate to the countryside in the west of South Korea to set up a dog hotel for tourists exploring the region with their four-legged friends.
The couple also needed to escape from a “vicious circle of debt” caused by escalating real-estate prices in Seoul.
“All through her life the client has always been with her dogs, but she often had trouble with finding good accommodation for her and her dogs while traveling,” explained the architects. “She dreamed of a small but comfortable place for all the dog lovers.”
“The beautiful location, her decision to break a social convention, and a unique programme of a special guesthouse for dog lovers – all these conditions fascinated us and the project went fast.”
The clients purchased a plot of land on a hill above the town of Sowon-myeon Padori in Chungcheongnam Province for their new home and business.
The architects devised a timber-framed residence for the site, and split it into three parts to provide separate quarters for the couple and guests, and an annex for the client’s mother.
The guesthouse is situated on the lowest part of the slope to lessen the impact of noise and privacy on the family residence that is set on the hillside above.
A small house-shaped residence and terrace on the roof of the guesthouse makes up the annex, while the couple’s house and their shared living space angles away onto the slope. This angled volume screens a private garden to the rear.
“The private house was split into two masses for the married couple and her mother, and the axis were rotated,” explained the architects.
“This minimised the overlapped volume of each program, and naturally lessened the noise problem.”
Illustrations of different dog breeds mark the doors of the four individual guest suites that form the base of the residence.
Floor-to-ceiling windows decorated with kennel-shaped outlines are designed to give both dogs and their owners views over the countryside.
The glazing opens onto an elevated terrace and playground on top of a stone retaining wall. It is surrounded by wooden fencing with only vertical fence posts – avoiding any horizontal beams that could help canine guests to escape.
Tiles and laminated flooring in each of the suites and the shared kitchen ensures muddy paw-prints can be easily cleaned.
Architecture: Design Band YOAP Design team: Hyun Bo Shin, Inkeun Ryu, Doran Kim, Minhee Kang Construction team: Song Dong-sun/Mangchisori Structure engineering: Yongwoo Engineering, Hammer Sound Building equipment: Jungyeon Engineering
For years we’ve praised GoPro, whose tiny, ruggedized cameras have arguably altered videography more than drones and smartphones. While drones provide interesting overhead angles and iPhones provide serendipitous footage through sheer ubiquity, the folks that strap GoPros to their torsos and hit the record button are usually about to do some crazy sh*t.
So it goes with this video, where an unnamed Jedi Knight decided to turn his GoPro on before assaulting a rocky outcropping swarming with Imperials. And there’s some unexpected business at the end when the Walker shows up:
On 1 November 2013, Occipital received $1,290,440, by way of Kickstarter, to fund the production of their Structure Sensor. Functional models began shipment in June 2014 and ever since, the brand, its software and accompanying iOS app have been……
En 2014, Sylvain Pellan, un artiste 3D travaillant pour les jeux vidéos et basé en Angleterre, a voyagé aux îles Canaries, et tout particulièrement à Lanzarote où il a croisé des reliefs impressionnants aux tons cuivrés et terreux. Des dégradés de couleurs allant du orange au sablé se dessinent sur les dunes et la roche.
Pour le festival Sculpture by the Sea au Danemark, l’artiste indien Arankumar H G a construit une sculpture faite de 70 000 bouchons de bouteilles en plastique, appelée Droppings and the Damn. Comme témoignage contre la pollution, il a collecté tous ces bouchons à travers le monde et les a rassemblés à l’aide de fils de fer pour générer une forme ondulante et massive. Il a alterné les couleurs du plastique pour donner une impression de mosaïque et de relief.
A large window inside the new showroom and offices of London watch brand Uniform Wares, designed by Feilden Fowles, offers visitors a glimpse at the watchmaking process (+ slideshow).
London studio Feilden Fowles‘ design for the street-level office in Shoreditch incorporates the British watchmaker‘s showroom, assembly workshop and design studio.
“We wanted the design of the space to communicate all aspects of the watchmaking process,” studio co-founder Edmund Fowles told Dezeen.
“The ability to develop and prototype the watches in-house remains at the centre of their rigorous and highly crafted design approach,” he said.
A full-height window looks into the watch-testing room from the minimally furnished showroom at the front of the space.
“The prototyping workshop is placed provocatively in the centre of the plan,” said Fowles. “The crafting and assembly of the prototype watches, and the beauty of the equipment and precision tooling, is so visually engaging that we were keen to bring this feature of the space to the fore.”
Beside the glazed panel, a dark timber partition pivots open to allow access to the design studio behind. A smaller door set within the wooden wall hinges open independently for moving between the two spaces more discreetly.
Towards the back of the office space are rows of large workstations and Tyde desks – designed by the Bouroullec brothers for Swiss furniture brand Vitra.
Fowles said that the furniture and fittings were selected to complement the clean and minimal aesthetic of the Uniform Wares brand.
Before the renovation of its new space, Uniform Wares brought in London design studio Manouvere to work on the branding direction.
The changes they implemented – aimed at emphasising the brand’s “quiet luxury” and appeal to both sexes – were also incorporated into the interior design by Feilden Fowles, which used a monochromatic material palette reminiscent of Uniform Wares’ assembly facility in Switzerland.
The collaboration between the studio and Uniform Wares was a family affair – Edmund Fowles and Uniform Wares co-founder Oliver Fowles are brothers. The duo also worked with a variety of different designers to complete the project.
“Collaboration was also a key driver throughout the design process, as Uniform Wares was keen to showcase other designers’ work through the space,” Edmund Fowles said.
“We designed in partnership with leading product designers,” he added, listing the designs featured in the store as “a mirror designed in collaboration with Minimalux, a bureau and showroom display assets by Felix de Pass, leather accessories by Kuni Awai, and a lab coat by Adrien Sauvage that mimics the coats worn by watchmakers in the brand’s Swiss partner factory.”
Uniform Wares has been manufacturing watches since 2009, when Oliver Fowles set up the company alongside James Feck. Every watch from the collection is designed in the London studio, and a selection is stocked at Dezeen Watch Store.
Dutch design studio RAAAF has unveiled plans to expose the subterranean landscape beneath a demolished sugar factory in Groningen, creating a new public space amidst a forest of columns.
Amsterdam-based RAAAF will expose just one small section of the former sugar silo – an approximately 14-hectare site featuring thousands of underground pillars.
The aim is to create a new public space for the city, which could be used for exhibitions and installations, movie screenings, performances, and both public and private events. Named After Image, it will sit 12 metres below ground level.
“After the radical demolition of the sugar factory, only a seemingly desolate concrete area remained,” explained studio founders Ronald Rietveld, Erik Rietveld and Arna Mackic. “We discovered that beneath the surface of the site, where in the coming years new functions will be searched for, a colossal city of pillars is hidden.”
“By revealing this world of pillars, the soul of the site will reappear four years after the demolition and the site will be historically readable,” said the trio. “Revealing the foundation of just one silo, an enormous concrete cathedral appears 40 feet below ground level that can function as a public space for the next 50 years.”
The Suiker Unie sugar factory was demolished in 2011, and the site will eventually be developed for housing. The city council approached RAAAF to consider uses for the site in the interim, expected to last between 15 and 20 years.
“The first thing we did was get hold of the old construction drawings of the area,” Mackic told Dezeen. “We found a drawing of the foundation pillars and we discovered that the entire area is covered with thousands of these underground pillars.”
“We chose a strategically good spot to reveal some these pillars, a spot where a 60-metre-high silo was located. Now, with our intervention, it is a spot that could function very well as a public space.”
But this project could be completed by 2017, according to Mackic. He also suggests that it could be retained as a meeting place for any future housing community built on the site.
“It is really great that we can make a public space with existing elements, in an area where almost everything is demolished,” said Mackic. “The foundation pillars were always there, but no one was really aware of it. Nothing like this is ever done before.”
In separate instances I’ve seen deer, a brown bear, and a family of turkeys all crossing the road in upstate New York. Nothing is worse than driving around a curve and suddenly seeing something furry moving across your lane. In each instance I was able to hit the brakes in time, with the bear being the one I came closest to hitting, and all of these occurrences happened during daylight hours.
It might’ve been worse at night, as car headlights point straight ahead, which isn’t very helpful when you’re rounding a dark curve. The engineers at Ford’s Research and Innovation Centre in Aachen, Germany are working on this problem with two solutions.
First off, their Camera-Based Advanced Front Lighting System uses GPS coordinates, cameras and software to understand the configuration of the road ahead. The GPS coordinates key in to existing map information and the cameras actually recognize both lane markings and road signs; the result is that the headlights “know” when you’re at an intersection, curve, roundabout etc. and cast light in the relevant directions, giving you a better view of what’s around you.
But it’s the second feature, called Spot Lighting, that’s really cool. An infrared camera in the car’s grill looks out for heat signatures, i.e. living creatures, activates a separate light to track and illuminate them, and even activates a secondary separate light to draw a stripe alongside them. It’s sort of like you’ve got someone with night-vision goggles riding shotgun, painting any creatures in the vicinity with a pair of powerful flashlights.
Here’s how these systems look in action:
While it appears the road-mapping trick is nearly market-ready—”We expect this technology to be available for customers in the near term,” the company writes—the Spot Lighting feature is still in the pre-development phase.
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