Inspired by vintage mountaineering and travel bags with the modern day customer in mind, Stone & Cloth has re-imagined their their line of bags for their new Summit Collection—which launches on Kickstarter today. Now—in addition to the backpacks……
Continue Reading…
Le cabinet d’architecture brésilien Arquitetos Associados a réalisé une sculpture ondulante de 80 000 chevilles en bois pour le plafond du restaurant Olga Nur, situé à Lourdes, en France. Chaque pièce en bois a été coupée différemment pour distinguer les tailles des chevilles et diversifier la perception de l’espace.
Photos by Gabriel Castro.
Pour l’agence Wunderman Division Blast Radius, l’artiste Rémy Boiré, en collaboration avec le directeur artistique Sebastien Cuypers et Adrien Castel aux commandes de la modélisation 3D, a imaginé une sculpture à partir d’une paire de Converse blanche conçue avec une imprimante 3D. Cette oeuvre a été réalisée pour récompenser un fan de Converse, tiré au sort.
Credits vidéo :
Direction: Thomas Savary.
Sound Design – Mixage: Thomas Lozano.
Musique : Monterosso.
Production: ARPEL Films.
Future Makers: today we’re launching a new collaboration with Autodesk exploring the future of making things. In the first movie in the series, Dutch designer Anouk Wipprecht tells us about the digital tools she used to create a collection of interactive 3D-printed dresses for Audi.
Wipprecht‘s 3D-printed fashion collection for Audi, which was unveiled during Berlin Fashion Week in July, consists of four dresses that integrate technology found within the German car brand’s new A4 saloon car.
Two of the pieces feature parking sensors, which cause the dress to flash when people get within a certain proximity.
“They’re able to sense the surroundings,” Wipprecht explains. “So as soon as people approach, my dresses react.”
For another dress Wipprecht incorporated 60 watt LEDs from the car’s headlights, which emit a blinding flash when triggered.
“I took the LEDs of the car and placed [them] within the dress, so this flashing light goes off and its just shining in your face and just blasting you away,” Wipprecht says.
The final dress features an angular white surface, which is designed to be used as a backdrop for projection mapping to give the illusion that it is constantly in motion.
“It’s the idea that you are able to have this dress that is always changing,” Wipprecht explains. “I would really like fashion to be an interface that can have that kind of behaviour.”
Each of the dresses references the form of the Audi A4, such as the distinctive diamond shape of the grille, and is 3D-printed in plastic.
Related story: Iris van Herpen uses 3D printing and magnets to form Spring Summer 2015 fashion collection
Wipprecht used 3D software Autodesk Maya to design each of the dresses. By 3D scanning the models’ bodies and tweaking the designs around that data before printing them out, she was able to ensure each dress fitted the model perfectly.
Wipprecht says that the accessibility and affordability of digital tools, and advanced manufacturing technology such as 3D printing, enable designers to work faster and be much more experimental.
“I can invite my model in the morning, I can scan her in, I can design in the afternoon and I can print it out in the evening,” she says. “I think that’s something that really helps your design process to be much more rapid and much more explorative.”
She continues: “You’re able to just do something because you just want to try it out and it makes developing things and innovation much more easy and much more playful. That is something that gets me super excited.”
Wipprecht has built a reputation for integrating fashion into technology in interesting ways. In 2012, she worked with fellow Dutch designer Daan Roosegarde to create a series of dresses that become transparent when the wearer’s heartbeat increases.
Wipprecht’s 3D-printed Spider Dress features a series of moveable legs, which defend the wearer’s personal space if someone gets too close, while her Smoke Dress envelopes the wearer in a cloud of mist.
“Fashion is about expression and communication and I want to make that more electronic,” she says.
Wipprecht believes that the proliferation of digital design tools means the boundaries between different design disciplines are much more fluid than they used to be.
“I think we’re living in a super interesting era because normally you would have a fashion designer or an engineer or an architect, but now our generation is being really pushed to be it all, to be really interdisciplinary,” she explains.
“With digital design the cool thing is you’re creating a building or a car or a dress, you do it with the same design tools and you’re doing it with the same software.”
Future Makers is a collaboration between Dezeen and Autodesk exploring how designers are harnessing new digital tools and advanced manufacturing technology to pioneer the future of making things.
Subscribe to Dezeen’s YouTube channel for the latest architecture and design movies.
The post Anouk Wipprecht integrates parking sensors and headlights into 3D-printed fashion collection appeared first on Dezeen.
Sheltered beneath an oversized roof, this tiny timber cabin by AA graduate Nozomi Nakabayashi stands on stilts among the oak trees of a wood in Dorset, England (+ slideshow).
Nakabayashi was commissioned to create Hut on Stilts for a writer after graduating from the Architectural Association‘s Design and Make programme last summer.
The small treehouse-like structure is elevated above a patch of woodland. It was designed and constructed by Nakabayashi, with the help of a small team.
The eight-square-metre cabin is split into two levels and is kitted out with a wood-burning stove, writing desk and a bed hidden beneath the floorboards.
“Hidden amongst a small oak woodland, Hut on Stilts stands high above ground as a small magical get away space to spend the night, to ponder and to inspire ideas for the client, who is a writer,” said Nakabayashi.
An elevated observation deck forms the base of the building, which is raised approximately four metres above the forest floor on reclaimed telegraph poles.
The stilts lift it up into the tree canopy to give the writer views of a nearby lake and passing wildlife.
“The brief was to build a small overnight-stay structure for a writer in a small woodland,” Nakabayashi told Dezeen.
“The site of the Hut on Stilts is in a small patch of woodland looking over a lake in distance, and the client wanted an elevated space with a view, to rest and ponder upon his ideas.”
“The site is located right behind a lake and the client wanted an elevated structure to enjoy the view to the lake, the deer passing by and the hills,” she added.
“We also wanted to create a space which felt comfortable, but different from the everyday experience of being on the ground.”
Inside, a wood-burning stove sits in an alcove and a polycarbonate writing desk is wedged between the eaves and walls to maximise the 2.5 by 2.5-metre plan.
A section of the plywood flooring in front of the stove can be peeled back to reveal a cavity containing a bed.
The cabin is clad and insulated with a combination of locally sourced red cedar and cork panelling, while the structure is made from Douglas fir and features a wide window made from recycled glass.
Related content: see more cabins
Nakabayashi prefabricated the structure offsite and completed the cladding and interior on location with the aid of battery-powered tools.
She developed these skills while working on the Big Shed project – a faceted timber workshop set on the AA’s campus in nearby Hooke Park.
“With the AA’s Big Shed project, the experience of living on site and creating the project gave me a specific sense of a complete process of conceiving a building,” she said. “This hinted at a new way of practicing architecture and gave me a yearning to want to build the Hut on Stilts.”
“I consciously took the extreme role of becoming the builder of the project and this was to be able to experience the project physically from its idea to its completion,” she added.
“Beyond the practicality of being able to control the design by being the maker, I became the inhabitant of the space – this was really important in enabling me to feel and experience my own design as a process.”
Photography is by Henrietta Williams.
Project credits:
Lead designer: Nozomi Nakabayashi
Design and building team: Nozomi Nakabayashi, Mark Torrens, Marco Bencivenga, Manvir Hansra, Federico Forestiero, Elizabeth Cunningham
The post Nozomi Nakabayashi creates writer’s hut on stilts in the Dorset woods appeared first on Dezeen.
Australian design brand Page Thirty Three has released a range of homeware, including objects that owners are encouraged to “complete” themselves.
Everyday items are transformed into what the brand calls “modern-day monoliths” in the Tactile Equations range of products, which combines stone sourced from Page Thirty Three‘s home country with brass elements.
The five-piece line comprises a table, an oil burner, an incense burner, a lamp and a candle holder, each of which warrants a degree of owner participation to either complete or rearrange the item.
“Page Thirty Three’s objects are playful, they encourage a tactile response, or aesthetic equation to master in order to finish the piece,” the brand said. “This personalisation enhances the emotional connection between user and object.”
The collection’s Stratosphere lamp is made from hand-polished Australian Bluestone with machined brass ends. A cylindrical bulb is encased in the outer layers of stone, which splits into halves that can be rearranged to adjust light levels. The lamp can be stood on its end and also laid horizontally.
Bluestone is also used in the Superstructure oil burner, which includes a brass dish held in a platform attached to a flat circle of stone.
An incense burner features a spun-brass cone that rests in a granite base. Powder-coated steel candle holders interlock with each other, with the option to be used individually or joined together to create a cluster.
The collection’s largest piece is the Zig Zag table, composed of an electroplated brass base with blackened pine inserts and described by Page Thirty Three as “angular but not angry”. Functioning as a puzzle, the table requires the pine pieces to be added in order to create a flat useable surface.
Related content: see all of our stories about homeware
“Just as ancient cultures realised the importance of enhancing the human and earth bond, Tactile Equations seeks to bring this to our modern world,” the brand said.
Page Thirty Three was founded in 2010 by Ryan Hanrahan and Bianca Riggio, and designs artwork and homeware including furniture, lighting and accessories, with all pieces designed and made in Australia.
Other emerging Australian designers include Glen Baghurst, who launched his first collection of furniture and products at the 2015 Stockholm Furniture Fair.
The post Page Thirty Three launches customisable Tactile Equations homeware collection appeared first on Dezeen.
TypeCon 2015 was definitely an experience that I wish was not over in so few days. Not only did I make new friends, rub elbows with giants in the graphic design and typography circles, but I had a wonderful experience learning more and feeling like I was in university again.
I was fortunate to take the expressive brush lettering workshop with calligrapher Stephen Rapp. In this day-long workshop, we were provided with supplies, a few notes, and one on one demonstrations on how to achieve a variety of calligraphy strokes. So many questions were asked, and Stephen provided excellent tips and feedback on pressure, ink flow, and chair position to yield beautiful results.
If you weren’t able to go to a workshop, there was still a chance to try your hand at cranking out some letterpress around metro Denver. There were 30 of us on the party bus as we made a series of stops to add pieces to our letterpress sheets. It may have been the only field trip that was educational, fun, and involved free brews while mingling with the very gracious hosts at Matter, Genghis Kern, Foil + Dies, and Now It’s Up To You Press.
Last but not least, there was a brief eulogy presented by Akira Kobayashi for Hermann Zapf who passed away in June this year. Akira tells of his early days as a graphic designer, he was given the book “About Alphabets” and it has remained a great source of inspiration to the care and meticulous process of Zapf’s typefaces and calligraphy work. Creator of fonts such as Optima and Palatino, Zapf’s work surpasses trends and his legacy will continue to set an example for new type designers of tomorrow.
It’s tough to pick just three highlights! There were so many spectacular speakers and events that I enjoyed, but I managed to narrow it down to these:
Douglas Wilson gave this great, lighthearted talk on ‘The Beautiful Island of San Serriffe,’ a completely fictional island that made its debut in an April Fool’s edition of The Guardian, a British newspaper. The newspaper dedicated seven pages of articles to this island that included news of its culture, geography, and economy. The island is jam-packed with hilarious typesetting puns: Upper Caisse and Lower Caisse are the names of the two islands; Gill Sands Beach; and the dictator of San Serriffe is General M J Pica. I was laughing through the entire talk. Here’s an article about the prank.
The very first speaker of the program, Mary Mashburn, set the bar high with her talk titled ‘Life Lessons from Globe Poster.’ Countless jazz, blues, and go-go musicians came to Globe Poster in Baltimore to have them design and print their show posters. The Globe Poster Collection is now housed at MICA and students are in the process of sorting through and using the thousands of pieces of type to make new pieces.
And finally, I was very inspired by the works of Ernst Schneidler and his students that Rob Saunders shared with us. Ernst was an influential teacher of letter arts in the 20th century and now much of his work is housed at Letterform Archive, founded by Rob.
UPPERCASE provided complimentary magazines for attendees. Thank you to TypeCon for in turn providing passes to these two correspondents. Want to subscribe to UPPERCASE? Use the code “typecon15” for a subscription discount. Code expires on September 1.
Lulu Mickelson began charting her course in community organizing early on, when riding her chartreuse beachcomber to school in Santa Monica, California. Surrounded by the clogged freeways outside of LA, she noticed the bike racks at her large public……
Continue Reading…
Whether it’s an abstract take on the classic pattern or a bright colorway, flashy fabric or unexpected texture, there are plenty of non-traditional ways to wear camouflage—for all genders. Inspired by nature and adopted by military uniforms, camouflage……
Continue Reading…
We always love starting our week with some fresh eye candy and who better to help us with that than Vonnegut Kraft. Brooklyn-based duo, Katrina Vonnegut and Brian Kraft strike the perfect balance between contemporary technological manufacturing and a tradition of hand-made craftsmanship with their range of furniture and lighting.
How gorgeous is the colour combination of the crescent lounge? Lying on it would definitely chase our Monday blues away. Happy Monday everyone!
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.
