In early June Cool Hunting visited the GM Design Center when the then still unnamed Escala was being assembled for the first time, spending the day with a deep dive into all aspects of the car and the many, many people involved in bringing it to life—interior and exterior design, fabrication, communications, and the many talented craftspeople in the studio who bring the wood, leather, metal and fabric elements to life by hand.
The Escala represents the best of the company’s talents coming together to showcase the brand’s vision. What struck us was how the project’s core team, including some of the youngest and newest talent, worked hand-in-hand with some of the company’s most experienced. That collaborative creation was honest, inspired and occasionally spirited.
Carrie Crawley, Strategic Design Manager
Cadillac exterior designer Frank Wu working on the clay model for the Escala.
Taki Karras, Cadillac’s Exterior Design Manager, walked us through the car, noting that the Escala completes the experience trilogy, and that despite the time between the design of the concept cars that it was important to capture the spirit of the brand and the physical proportions. “What you’ll notice on the front view of the car, the big difference between where we have been in the past and where we are now is with the graphics on the front in terms of the lighting signature,” he says. “On this vehicle we’re introducing a bit of a horizontal element into the Cadillac design language, and what that does is allows us to get your eye to walk all the way around the car and have more harmony in the design.” Adding, “We really wanted to play up proportion first and foremost as your first read, then this clean beautiful surfacing with very high-tech details that give a modern aesthetic.” He commented on one of those tech details, the use of OLED lighting, which allowed the designers to place lighting where they couldn’t previously, noting the unique tail lights and their laser etching. You can’t help but notice the sculptural element that supports the front doors, which he notes creates a “beautiful piece of restrained artwork that has a functional purpose.”
The wheels and tires received equal attention as well. Cadillac worked with Michelin to create the 20″ tires, which feature the Cadillac chevron in the original tread design. The wheels have a milled aluminum piece on top, allowing the spokes to reach the center and to hide the lug nuts. The components for the wheels were all designed and milled in house.
Simplicity is always harder than it looks, and the Escala’s exterior and interior lines took a lot of effort to achieve. One major evolution for the interior is the adoption of curved OLED displays, which permit the screens to float and become part of the design instead of needing to be designed around. Kraska excitedly notes that “The OLEDs afford this flexibility and shape for us… designer freedom, and it is like heaven.” They allow the displays to be wrapped in leather, even embossed with the Cadillac crest—a nice touch. “Luxury doesn’t have to shout or scream, it can whisper,” she notes.
Cadilla Goddess
The displays (smaller versions of which appear on the rear of the front seats for back seat passengers) provide insight into how the brand is thinking about information design and user experience. The Cadillac Goddess, designed by William Schnell in 1930, debuted as an elegant radiator cap. After a lengthy pause she’s back, this time etched into the glass in the controller that operates the car’s information and entertainment systems.
Read the full story—including more about the modeling, interior, material choices and assembly—on designing the Cadillac’s Escala on Cool Hunting.
In the mid-week edition of Kevin Roderick’s always informative compilation of LAObserved media notes, there was this factoid:
Monday’s print Los Angeles Times had just 32 pages, which a long-time watcher of the page count (a former editor) called the all-time low. There were few ads in the entire paper…
It’s not just Los Angeles of course that is dealing with this phenomenon. Across the country, the gradual demise of newsprint lingers in the summer air. For example, here is what 75-year-old Martha Stewarttold Ad Age in an interview published the day after the Aug. 29 L.A. Times edition:
“A year ago I told someone it would be very hard for me to give up my daily New York Times. Because I really love reading my New York Times in the car. I now get up at 5 o’clock to read my New York Times online. Maybe it has do with politics and what’s going on, and maybe it’s why I can’t wait for the news in the car. But it certainly is a different world.”
Tronc suitor Gannett well understands where it is all going. Last month, they completed their acquisition of ReachLocal, a digital marketing services company that is expected to add hundreds of millions of dollars to 2017 digital revenues. And, in statements connected to the release of their 2016 second quarter earnings, Gannett cited as one of the risk factors ‘an accelerated decline in general print readership and/or advertiser patterns as a result of competitive alternative media or other factors.’
So that your phone’s battery doesn’t drain super-fast, it’s best to keep it healthy. NY Mag has a few tips for keeping your phone happy, and one is to charge it once it dips to 50% in power. This is because if you always use up 100% before charging……
Le studio Cess basé à Madrid excelle dans l’art digital, au point de nous faire saliver avec cet alphabet gourmand! Entièrement réalisé avec les logiciels Zbrush et Cinema 4D, découvrez le plat correspondant à chaque lettre…
With houses in London now selling for as much as £26 million, the RIBA Stephen Lawrence Prize shortlist offers some slightly more attainable inspiration for anyone with the time and energy to build from scratch.
All six projects on the Stephen Lawrence Prize shortlist – including a school, a travelling artists’ studio, a London house extension and a multi-house mews development – were built in the UK for £1 million or significantly less.
The annual prize was launched in memory of Stephen Lawrence, a British teenager and aspiring architect who was murdered in 1993. It is intended to encourage fresh architecture talent and reward projects with a construction budget of less than £1 million.
This mews terrace in Hampshire was designed by London-based Ash Sakula architects as a prototype for affordable, sustainable housing construction. The pitched roofs of the three, two-storey houses are clad with wooden shingles, matching the end wall of the development. Find out more about Exhibition Mews »
Local studio Tsuruta Architects designed this house extension in London to “retain a sense of memory” of the building’s past. The sloping roofline of the old extension is highlighted by the use of a pale brick for the new rectilinear addition. Find out more about House of Trace »
Mellor Primary School, Mellor, by Sarah Wigglesworth Architects
Located on the outskirts of a village in the Peak District, Mellor Primary School’s addition by Sarah Wigglesworth Architects includes a new classroom, library and an extension to the existing hall. It includes decks to facilitate outside play and learning, as well as a Habitat Wall for local wildlife made from salvaged materials.
Modern Side Extension, London, by Coffey Architects
Coffey Architects designed this side extension for a house in London to both appease conservation officers and introduce a more modern aesthetic to the period property, which can be easily replicated for similar homes. Aluminium bi-folding doors provide access to the garden at the rear, while brick is used as the main material to help the design through the planning process.
The two charred-timber cabins with wheels built into their bases together form a travelling artists’ studio designed by Feilden Clegg Bradley for an arts education programme. Large windows at the taller end of each structure allow embers of the public to observe resident artists at work, while providing wide views out for the occupants. Find out more about The Observatory »
Tin House, London, by Henning Stummel Architects
Henning Stummel‘s solution for a private house on a site completely overlooked by surrounding properties was to create a series of metal-clad pavilions around a central courtyard. Each of the volumes contains an individual room, with a roof that angles up to a roof light in the centre.
I’m not proud, but I’ve always thought of tubas as obese trumpets you wear. Not for lack of respect, (I played a wind instrument! I actually like polka! Some of my best friends were in marching band!) but they’re silly looking. I was fine treating them like a baritone bowl of spaghetti until I stumbled onto the how-it’s-made video below, which forced me to admit that they’re also cool, and their construction is fascinating.
Forgive me, but I’m going to assume you know as much about the tuba as I did, which was nearly nothing past its “definitely an instrument” status. The tuba is a wind instrument in the brass family. It is powered by pushing vibrating air straight from the mouth through its amplifying metal wiggles. Tone is affected by the vibrations of the players’ own lips, and articulated by valves that divert air through secondary tubes. These smaller tubes augment the effective length of the tuba, and are meticulously designed to shift the tone’s pitch in specific increments.
Like most instruments, tubas vary in size and shape for different styles of play, and to convey different fundamental pitches. The longer the tuba the lower the sound. Put clumsily, the total length of a tuba’s central tube determines its pitch, a bit like the amount of remaining beer sets the tone when you blow into the bottle.
A sousaphone is a type of tuba. Don’t fight me on this.
After bouncing around the harmonics chambers, the notes are projected blattlily out of the bell section and into the world. The wide horn affects tone and projection, and ensures even symphonies have comedic members.
While (like our blessed internet) tubas really are just a series of tubes, they’re also (like our blessed internet) created with TON of nuanced precision. This video is the best I’ve found of the subtle tube transitions and construction, and made me wish I had one to pour over and toot on.
Barbara Friedmann’s 14-year run at Elle Decor has come to an end. Friedmann first joined the magazine in 2002.
Friedmann has served as Elle Decor’s vp and publisher since 2008. She previously served as the title’s vp of marketing. Prior to joining Hearst, Friedmann worked for Hachette Filipacchi Media, U.S.
A Hearst spokesperson said of Friedmann’s departure, “We thank Barbara for her commitment to making Elle Decor the powerhouse brand it is today.”
Kate Kelly Smith, senior vp, publishing director of Hearst’s Design Group will assume business oversight for the magazine.
Jules Perron est directeur artistique. A la place de chasser les Pokémons de façon virtuelle, il décide de les mettre en scène en pleine nature. Entremêlant l’art, l’environnement et les Pokémons, le photographe s’est amusé à mélanger des univers très différents. Une série de photographies à découvrir ci-dessous.
Dezeen promotion: installations, pop-up shops, events and 200 interior design brands will return to designjunction during this year’s London Design Festival (+ slideshow).
The programme of events will take place across four areas at designjunction’s new location in London’s King’s Cross.
Designjunction will take place across four locations at London’s King’s Cross, including The Canopy
From 22 to 25 September, Granary Square will be populated with eight giant monopoly-style houses that will host conceptual installations and live activity by design brands, as well as daily design clinics.
The Crossing, an exhibition space stretching from the Granary Building to the entrance of Central Saint Martins university, will feature a series of immersive installations.
Eight monopoly-style houses will be installed in Granary Square to accomodate design installations
British brand Tala will use its new LED lights to create a 12-metre-high rainforest-like structure, while Native Union will showcase its latest technology products.
A two-storey temporary structure named Cubitt House will host more than 100 international furniture and lighting brands during the festival, as well as a secret garden.
The Cubitt House pavilion will house more than 100 international furniture and lighting brands during the festival
The Canopy is a temporary shopping venue offering a range of products including fashion, accessories, technology, textiles and stationery.
The Crossing, which is an exhibition space stretching from the Granary Building to the entrance to Central Saint Martins, will feature a series of immersive installations
Hundreds of products will also launch during the event, including a backless bench by Barber & Osgerby and Isokon Plus, and a new silverware collection by Christopher Jenner and Elkington & Co.
On 21 September, Designjunction and Dezeen will present an open-air design party, including pop-up bars and live DJ sets, which will take place from 8 till 10.30pm.
British brand Tala will use its new LED lights to create a 12-metre-high rainforest-like structure for the event
Dezeen readers can receive a 50 per cent discount for tickets by visiting the designjunction website and registering use the code DEZEEN.
Read on for more information from the event organisers:
The sixth edition of the critically-acclaimed designjunction returns during the London Design Festival, this time taking over an exciting new location, King’s Cross.
A selection of designers, including Tom Dixon, Kenneth Grange and Ross Lovegrove, will recreate the Caspar stool by Modus
Two-hundred interior design brands, hundreds of product launches, 70 design-led pop-up shops, 12 street food vans, eight giant monopoly houses and four exhibition spaces will all take place in one show.
As always, designjunction will showcase the latest in cutting-edge interior design from world-class international brands and boutique pop-up shops. The show will be presented across four areas against the industrial backdrop of King’s Cross.
Designjunction plays host to Dyslexic Design – an exhibition which celebrates the connection between dyslexia and the creative industries
Granary Square will be populated with eight giant monopoly-style houses, playing host to conceptual installations, high calibre creative projects and live activity from a selection of leading design brands. Look out for a water-inspired installation from luxury bathroom and spa brand Dornbracht, alongside daily design clinics.
Cubitt House: The Trade Destination will present more than 100 of the world’s most renowned furniture and accessories brands. Cubitt House will also play home to lightjunction, an area dedicated to high-end decorative lighting brands. One of the most exciting features will be the entrance, with a 70-metre-long by seven-metre-high super structure facade designed by Satellite Architects, featuring more than 4,000 individual Grid cubes.
Key brands at Cubitt House include Haberdashery, Brokis, Another Country, Modus, Northern Lighting, Channels, String, Bolon, Sony, TON, Isokon Plus, Morgan and Rubn.
Other events include an open-air design party and a secret garden behind The Cubitt Pavilion
The Canopy: The Shopping Destination a temporary pop-up venue for 70 retail brands, will sell everything from fashion and accessories to technology, textiles and stationery. Situated beneath a stunning wrought iron structure, The Canopy boasts designjunction’s signature raw aesthetic. Expect to find a selection of boutique brands, independent designers and online retail stores. Key shops include Cherchbi, Void Watches, Future and Found, Tom Pigeon, Dyke and Dean, One We Made Earlier and Another Studio.
A range of products will be available for purchase, like the King’s Cross Gasholder no 8 by Jo Angell
The Crossing, running through the centre of Central Saint Martins, will house immersive installations including a striking reception area and exhibition space created from Dinesen flooring. Young British brand, Tala will present their new LED bulbs in a 12-metre-high rainforest styled installation, whilst Native Union will showcase their latest technology products. Other exhibitors in the crossing include Kirkby Design, Blackbody and Transport for London.
Highlights at #djKX
The World’s Biggest Design Party
From 8 till 10.30pm on Wednesday 21 September, designjunction and Dezeen join forces to present the world’s biggest, open air design party. Expect live DJ sets throughout the night from familiar faces including Alexis Taylor, from Hot Chip, alongside several pop-up bars, and street food from The Real Food Festival.
Hundreds of product launches
Look out for several new launches from new exhibitor Design House Stockholm, which all boast their signature stripped-back style. Heritage brand Elkington & Co presents a new silverware collection with London-based designer Christopher Jenner. Isokon Plus launches the Portmouth backless bench designed by Edward Barber and Jay Osgerby, whilst wood-bending TON present new chair Leaf.
As will the Copenhague Chair by Future and Found
Charity project: Who’s Casper?
Who’s Casper? asks a selection of high profile creatives – including Tom Dixon, Kenneth Grange and Ross Lovegrove – to anonymously customise a Casper stool, designed by Michael Sodeau and manufactured by Modus. Match the designer to the stool using #WhosCasper, and bid on your favourite. All proceeds go to Movement on the Ground – a charity which responds to humanitarian crises across the world.
By keeping each design anonymous, Who’s Casper? aims to challenge the emphasis put upon name, reaffirming the significance of personhood and individuality regardless of colour, religion, race, nationality, gender, ethnicity or status.
London-based One We Made Earlier will also present their range of necklaces
Micro-exhibition: Dyslexic Design
Designjunction plays host to Dyslexic Design – an exhibition which celebrates the connection between dyslexia and the creative industries. The project, in support of the British Dyslexia Association, will showcase more than 10 dyslexic designers’ work over five days during the London Design Festival. The house on Granary Square will be transformed into a spectacular micro-exhibition by celebrated interior designer Ab Rogers.
Hidden at the back of Cubitt House will be a secret garden. The space will be furnished with Deadgood’s brand new Naked collection by Magnus Long and Gala Wright alongside a vast array of stunning flowers and plants provided by Bloomon.
King’s Cross Creative Quarter
Designjunction has launched the King’s Cross Creative Quarter, a celebration of design, food, culture and creative businesses. Look out for special offers at some of your favourite local places including room deals at St Pancras Renaissance Hotel, 10 per cent off an ice cream and Ruby Violet, free interior design advice from Houzz and exclusive discounts at select local restaurants in the area.
Six buildings have been shortlisted for architecture’s most unwanted award – the Carbuncle Cup 2016 for the UK’s worst new building (+ slideshow).
The Broadgate redevelopment by Make in London and an extension to a Methodist church by Intelligent Design Centre are among the projects on the shortlist, which was unveiled this week by Carbuncle Cup organiser and architecture website BD.
One unlucky winner will be named as the UK’s worst new building of the year next week.
5 Broadgate office building by Make. Photograph by Thomas Lane
Make’s 5 Broadgate office building is the most high-profile project on the list, having involved the controversial demolition of part of the 1980s Postmodern Broadgate development by Arup Associates and Peter Foggo.
The demolition was described as a “great tragedy” by one of the nominators, while the new building was compared to “a flak tower that gives nothing back to the city”.
Another London building on the list is the Lincoln Plaza housing tower by BUJ Architects, which was described by one nominator as “an open invitation to commit suicide” thanks to its irregular stacked-box form and jutting rectangular balconies.
Lincoln Plaza housing tower by BUJ Architects. Photograph by Ike Ijeh
The Saffron Square development in Croydon by architect Rolfe Judd, which features a housing tower clad in multicoloured panels, also came under fire for its “car crash of a facade”.
“Croydon may be laying claim to being south London’s Silicon Valley but if it keeps on producing buildings like this the grass may well be greener elsewhere,” said the citation.
“The building screams of the same bland, belligerent mediocrity that is the insidious moniker of ostensibly polite and ubiquitous background architecture everywhere,” said the Carbuncle Cup citation.
RHWL Architects‘ One Smithfield in Stoke on Trent, which will be the local council’s new offices, rounds off the shortlist.
Poole Methodist Church extension by Intelligent Design Centre
“Regeneration has been long been hijacked as a vehicle for poor architecture and this is a classic example,” said the Carbuncle Cup judges.
“An aesthetic mutation between the nostalgic 1980s brain games of Connect 4 and Blockbusters might not seem like a natural breeding ground for architectural malevolence but this building proves what happens when colour goes rogue,” they added.
Awarded annually by BD and based on public nominations, the Carbuncle Cup has become one of Europe’s most controversial architecture prizes thanks to its focus on naming and shaming the architects behind “bad” buildings rather than awarding “good” ones.
It is intended as a counterbalance to the Stirling Prize, which is awarded by the Royal Institute of British Architects each year to recognise an outstanding new building.
This year’s shortlist was selected from the public nominations by a judging panel that included BD editor Thomas Lane, architect and BD architectural critic Ike Ijeh and architect Ben Flatman, who is a BD columnist.
One Smithfield by RHWL Architects
Julian Robinson, director of estates for the London School of Economics and commissioner of the Stirling Prize-shortlisted Saw Swee Hock Student Centre by O’Donnel & Tuomey, was also among the judges.
“This year’s six finalists may present a variety of different buildings in all shapes and sizes but they are all united by the same old characteristics with which we all now all too familiar,” said Ijeh.
“Contextual incongruity, myopic cladding, woeful detailing, mind-numbing mediocrity, clumsy massing, incoherent form and of course poor planning are just some of the woes on gruesome display.”
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.
Carrie Crawley, Strategic Design Manager
Cadillac exterior designer Frank Wu working on the clay model for the Escala.
Cadilla Goddess
