ListenUp: Hope Sandoval: Let Me Get There (feat. Kurt Vile)

Hope Sandoval: Let Me Get There (feat. Kurt Vile)


In advance of her 4 November Until The Hunter album release, singer Hope Sandoval (of Mazzy Star acclaim) has just shared a video for lead single “Let Me Get There.” Sandoval directed the video: a serene, occasionally eerie visual treatment featuring……

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Aga Khan Award for Architecture 2016 winners announced

Iran’s largest pedestrian bridge, a pink rubberised park by BIG and Zaha Hadid’s first building in Lebanon are among the six winners of this year’s $1 million Aga Khan Award for Architecture (+ slideshow).

The three other winners of the triennial architecture award are a labyrinthine community centre and a perforated brick mosque, both in Bangladesh, and a library in a Beijing hutong.

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Issam Fares Institute, Beirut, Lebanon by Zaha Hadid Architects

The architects of each project will receive a share of a $1 million (£700,000) fund, which makes the Aga Khan Award for Architecture one of the world’s most lucrative architecture prizes

The six projects – located in Bangladesh, Denmark, China, Iran and Lebanon – were selected from a shortlist of 19 projects unveiled in May 2016.

They were chosen by a committee including architects Emre Arolat, David Adjaye and Dominique Perrault, and His Highness the Aga Khan.

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Tabiat Pedestrian Bridge, Tehran, Iran by Diba Tensile Architecture, Leila Araghian and Alireza Behzadi

The Aga Khan Award for Architecture was set up by His Highness the Aga Khan in 1977 to acknowledge and encourage projects that address the needs of Muslims the world over.

A ceremony will be held for the winners of the 2016 award at the Al Jahili Fort – a World Heritage Site in Al Ain that itself received the Aga Khan Award for Architecture in 2007 following a significant renovation.

Here’s some more information about each winning project from the competition organisers:


Superkilen, Copenhagen, Denmark, by BIG, Topotek 1 and Superflex

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A meeting place for residents of Denmark’s most ethnically diverse neighbourhood and an attraction for the rest of the city, this project was approached as a giant exhibition of global urban best practice.

In the spring of 2006 the street outside the architects’ Copenhagen office erupted in vandalism and violence. Having just gone through the design of a Danish mosque in downtown Copenhagen, BIG chose to focus on those initiatives and activities in urban spaces that work as promoters for integration across ethnicity, religion, culture and languages.

Taking their point of departure as Superkilen’s location in the heart of outer Nørrebro district, the architects decided they would approach the project as an exercise in extreme public participation. Rather than a public outreach process geared towards the lowest common denominator or a politically correct post rationalisation of preconceived ideas navigated around any potential public resistance, BIG proposed public participation as the driving force of the design.

An extensive public consultation process garnered suggestions for objects representing the over 60 nationalities present locally to be placed in the area.

The 750-metre-long scheme comprises three main zones: a red square for sports; a green park as a grassy children’s playground; and a black market as a food market and picnic area.


Tabiat Pedestrian Bridge, Tehran, Iran by Diba Tensile Architecture, Leila Araghian and Alireza Behzadi

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The two-to-three level, 270-metre-long curved pedestrian bridge of varying width has a complex steel structure featuring a dynamic three-dimensional truss. Two continuous deck levels sits on three tree-shaped columns, with a third where the truss meets the column branches.

It was an imaginative leap beyond the basic competition brief of designing a bridge to connect two parks separated by a highway in northern Tehran, without blocking the view to the Alborz Mountains.

The structural elements are based on a latent geometrical order rotated and repeated in three dimensions. The result is a spatial structure large enough to create an inhabitable architectural space, where people congregate, eat and rest rather than just pass through.

Multiple paths in each park were created that would lead people on to the bridge. Seating, green spaces and kiosks encourage people to linger on a site where greenery has been preserved by the minimal footprint of the bridge, whose curve offers a variety of viewing perspectives.


Bait Ur Rouf Mosque, Dhaka, Bangladesh by Marina Tabassum

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After a difficult life and the loss of her husband and near relatives, the client donated a part of her land for a mosque to be built. A temporary structure was erected. After her death, her grand-daughter, an architect, acted on her behalf as fundraiser, designer, client and builder to bring the project to completion.

In an increasingly dense neighbourhood of Dhaka, the mosque was raised on a plinth on a site axis creating a 13-degree angle with the qibla direction, which called for innovation in the layout.

A cylindrical volume was inserted into a square, facilitating a rotation of the prayer hall, and forming light courts on four sides. The hall is a space raised on eight peripheral columns.

Ancillary functions are located in spaces created by the outer square and the cylinder. The plinth remains vibrant throughout the day with children playing and elderly men chatting and waiting for the call to prayer.

Funded and used by locals, and inspired by Sultanate mosque architecture, it breathes through porous brick walls, keeping the prayer hall ventilated and cool. Natural light brought in through a skylight is ample for the daytime.


Issam Fares Institute, Beirut, Lebanon by Zaha Hadid Architects

Zaha Hadid's Issam Faires photography

The American University of Beirut (AUB) held an invited competition for the design of a structure to accommodate a modern-day think tank on its lush middle campus – one that was in harmony with the rest of the university, especially mindful of the surrounding greenery, and to preserve as far as possible existing sightlines to the Mediterranean.

The building had to fit into another stage in the implementation of a master plan for AUB, whose upper campus overlooks the water and whose lower campus is located on the seafront.

The architect responded to the project brief by producing a design that significantly reduces the building’s footprint by “floating” a reading room, a workshop conference room and research spaces above the entrance courtyard in the form of a 21-metre-long cantilever in order to preserve the existing landscape.

The 3,000-square-metre building is defined by the routes and connections within the university; the building emerges from the geometries of intersecting routes as a series of interlocking platforms and spaces for research and discourse.

The massing and volume distribution fits very well with the topography, and the nearby Ficus and Cyprus trees are perfectly integrated with the project. The building’s construction is a continuation of the 20th-century Lebanese construction culture of working with fair-faced concrete.


Cha’er Hutong Children’s Library and Art Centre, Beijing, China by ZAO, standardarchitecture and Zhang Ke

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Cha’er Hutong is a quiet spot one kilometre from Tiananmen Square in the city centre. Number 8 in this neighbourhood, located near a major mosque, is a typical da-za-yuan (big messy courtyard) once occupied by over a dozen families.

The courtyard is about 300-400 years old and once housed a temple that was then turned into residences in the 1950s. Over the past 50 or 60 years, each family built a small add-on kitchen in the courtyard. Almost all of them have been wiped out with the renovation practices of the past years.

In redesigning, renovating and reusing the informal add-on structures instead of eliminating them, it was intended to recognise them as an important historical layer and as a critical embodiment of Beijing’s contemporary civil life in hutongs that has so often been neglected.

In concert with the families, a 9-square-metre children’s library built of plywood was inserted underneath the pitched roof of an existing building. Under a big Chinese scholar tree, one of the former kitchens was redesigned into a 6-square-metre miniature art space made from traditional bluish-grey brick.

Through this small-scale intervention in the courtyard, bonds between communities have been strengthened and the hutong life of local residents enriched.


Friendship Centre, Gaibandha, Bangladesh by Kashef Mahboob Chowdhury of URBANA

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The centre was created to train staff of an NGO working with people inhabiting nearby chars, or riverine islands. Offices, a library, meeting rooms, and prayer and tea rooms are included in pavilion-like buildings that are surrounded by courts and pools.

The centre is also rented out for meetings, training, and conferences for income generation. The local hand-made brick construction has been inspired by the monastic aesthetic of the 3rd century BC ruins of Mahasthangahr, the earliest urban archaeological site yet found in Bangladesh.

Structural elements are made of reinforced concrete and finishes include timber and stone. The naturally ventilated structures have green roofs. The centre is located in an agricultural area susceptible to flooding and earthquakes, and whose low-bearing soil has a low bearing capacity. As a result, an embankment has been constructed with a water run-off pumping facility.

Constructed and finished primarily of one material – local hand-made bricks – the spaces are woven out of pavilions, courtyards, pools and greens, corridors and shadows.

The Friendship Centre is divided into two sections, the outer Ka block for the offices, library and training classrooms and the inner Kha block for the residential section. Up to 80 people at a time can be trained here in four separate classrooms. Simplicity is the intent, monastic is the feel.

The post Aga Khan Award for Architecture 2016 winners announced appeared first on Dezeen.

Dezeen Jobs: latest jobs update

Dezeen Jobs architecture and design recruitment

See the latest from our recruitment site Dezeen Jobs, including positions at Glithero, 20th Century Fox and Micha Weidmann Studio, which created Dezeen’s website and visual identity. This is also the last chance to apply for roles with the Metropolitan Museum of Art, Caruso St John Architects, Hassell and more…

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An architect or project manager is required at Dorin & Coppel’s growing team in London. More ›

Sales and marketing assistant
at London Rocks Jewellery

A vacancy for a sales and marketing assistant is available at London Rocks Jewellery’s growing team. More ›

Technician/technologist
at Robert Doughty Consultancy

Robert Doughty Consultancy is looking for an architectural technician/technologist to work at its practice in Lincolnshire, UK. More ›

Product designer
at Orluna

Orluna is looking to hire a product designer to join its team in Watford, UK. More ›

Project manager
at Kevin Kennon Architects

An opportunity for a project manager is available at Kevin Kennon Architects in New York. More ›

Part-II architectural assistant
at Neil Davies Architects

Neil Davies Architects is looking for a Part-II architectural assistant to join its London practice. More ›

Assistant professor, landscape architecture
at UBC School of Architecture

The University of British Columbia School of Architecture and Landscape Architecture is welcoming applications for an landscape architecture assistant professor position it has at its faculty in Vancouver, Canada. More ›

Landscape architecture instructor
at UBC School of Architecture

The University of British Columbia is also looking for a landscape architecture instructor to join its growing faculty in Vancouver, Canada. More ›

Editorial internship
at Dezeen

Dezeen is offering a paid editorial internship at its studio in Hoxton, east London. More ›

Junior architect
at Arpad Baksa Architect

A vacancy for a junior architect is available at Arpad Baska Architect in New York. More ›

Chinese-speaking architect
at More Architecture

An opportunity for a Chinese-speaking architect is available at More Architecture in Shanghai. More ›

Architect
at AR Design Studio

A vacancy for an architect is available at AR Design Studio in Winchester, UK. More ›

Assistant/associate professor
at Nanyang Technological University

Nanyang Technological University is welcoming applications for an assistant/associate professor position within its product design faculty in Singapore. More ›

Home improvement designers
at The Opun Group

The Opun Group seeks home improvement designers to join its studio in London. More ›

Senior project interior architect
at Anna Casa Interiors

Anna Casa Interiors is on the hunt for a senior project interior architect to work at its studio in London. More ›

Administrative assistant
at Design Team

Design Team is looking for an administrative assistant to join its studio in Clapham, south London. More ›

Junior interior designer
at DesignLSM

DesignLSM seeks a junior interior designer to work at its studio in Brighton, UK. More ›

Middleweight interior designers
at DesignLSM

Opportunities for middleweight interior designers are available at DesignLSM in Brighton, UK. More ›

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Renault replaces doors with a sliding roof for Trezor concept car

French car manufacturer Renault has unveiled its latest concept car, which features a red windscreen and a roof that “opens like the lid of a jewellery box” (+ movie).

Renault Trezor concept car

Unveiled at this year’s Mondial De L’Automobile Paris, the Renault Trezor is an all-electric, two-seater car with autonomous driving capabilities.

Its design follows in the footsteps of the company’s 2010 DeZir concept and previews features likely to be seen in future Renault models.

Renault Trezor concept car

The car’s hallmark is its roof, which lifts up from the bonnet to provide passengers access to the red leather-lined interior.

“The Trezor’s one-piece clamshell roof lifts much like the lid of a jewellery box to give access to the interior,” said Renault.



“This style of entry is a throwback to the world of classic racing cars, wherein drivers felt as one with their machines.”

Renault Trezor concept car

Inside the car, red is the predominant colour. Leather is used to upholster low-level seats, and the wooden dashboard was designed in partnership with French cycle manufacturer KEIM.

The dashboard includes a rectangular steering wheel inspired by those used in Formula 1 cars, as well as three screens – two of which are touchscreen displays.

Renault Trezor concept car

A luggage compartment is also incorporated into the dashboard, with made-to-measure cases held in place by leather straps.

The car’s bodywork is crafted mainly from silver-coloured carbon and features contrasting surface finishes with striking red glazing.

Renault Trezor concept car

At the rear, Renault applied hexagonal panels to give the Trezor a sports-car look. On the bonnet, similar honeycomb-shaped air intakes echo the design of the back of the car.



On the left-hand side of the car, the fuel hatch has been replaced by an analogue gauge that indicates the vehicle’s charge level.

Renault Trezor concept car

The Trezor runs on two batteries, each of which has its own cooling system optimised by the air intakes incorporated in the bonnet.

It goes from 0 to 62 miles per hour in less than four seconds and offers a choice of three driving modes: neutral, sport and autonomous.

Renault Trezor concept car

When the car is in autonomous mode, the exterior lighting changes to inform other drivers.

The steering wheel also extends in width to allow the driver a panoramic view of the dashboard. The driver and passenger are able to use the touchscreens to watch a film or play a game.

Previous Renault concept vehicles include the Twin’Z, created by British designer Ross Lovegrove, which features colourful LED patterns over the glass roof and down its windshield edges.

Another is the drone-equipped Kwid Concept car, capable of spotting slow-moving traffic in the distance.

The post Renault replaces doors with a sliding roof for Trezor concept car appeared first on Dezeen.

Zaha Hadid's final furniture collection for David Gill is based on mid-century antiques

Zaha Hadid‘s final furniture collection for London’s David Gill Gallery is made of walnut and leather, a reference to antique furniture from the 50s and 60s (+ slideshow).

UltraStellar is the last furniture collection that Hadid created for her long-term gallerist and close friend David Gill before she suffered a fatal heart attack in March at the age of 65.

UltraStellar by Zaha Hadid Architects
The UltraStellar furniture collection, the last designed by Zaha Hadid for David Gill Gallery before her untimely death, includes a walnut table

The collection – finished by her practice, Zaha Hadid Architects – references mid-century furniture through its use of wood rather than Hadid’s typical material of choice, clear acrylic.

Walnut, chosen for its colour, is curved into Hadid’s famous fluid and sinuous lines. The designer aimed to create sturdy pieces that appear lightweight.

UltraStellar by Zaha Hadid Architects
The table is made up of four parts that each have a deep ripple at their centre

“My partner was inspired by seeing some of the timber antiques from the 50s and 60s,” explained Patrik Schumacher, who worked closely with Hadid on UltraStellar.



“We’ve been looking at furniture for a while and looking recently at carbon fibre and trying to achieve more lightness and robustness at the same time,” he continued. “We realised that timber can be very strong and very light.”

UltraStellar by Zaha Hadid Architects
The large dining table features an oval-shaped top with a lenticular glass eye at the centre

“The beautiful surfaces are continuously twisting and moving and they are always double-curved, so they are very organic.”

The coffee table is made up of four parts that wrap a large hole in the middle. Each part also has a deep ripple in its centre, revealing the floor below.

UltraStellar by Zaha Hadid Architects
The accompanying dining chair has arched armrests and tapered legs, with leather detailing that extends to the bottom

“The idea of making the holes in the tables is to make a certain sense of lightness, to have more visual connection with the structure of the legs when you sit down,” explained Schumacher.

UltraStellar by Zaha Hadid Architects
The chair has been adapted into a love seat that allows groups of people to sit together

Described as “structurally ambitious”, the largest piece in the collection is the dining room table. It has two irregularly shaped, thick legs that support the oval-shaped top.

At the centre of the table is a lens-shaped glass eye.

UltraStellar by Zaha Hadid Architects
There are two versions, including a back-to-back version designed for four people to sit together

The dining chair features arched armrests and tapered legs, with leather detailing that extends to the bottom of the chair legs.

The design has also been adapted into love seats, which are connected by twisted armrests and allow groups of people to gather together.

The Lisse Chandelier, which was first shown as a prototype at 2014’s London Design Festival, also forms part of the collection. Swooping wings of metal and crystal join at a central point, overhanging small clusters of LED lights.

UltraStellar by Zaha Hadid Architects
The benches feature armrests that are twisted

Zaha Hadid Architects also extended the Liquid Glacial collection of furniture for the exhibition with two consoles and a sterling silver bowl that has a large ripple at the centre.

On show for the first time is an acrylic coffee table titled Luna. It is based on an original design by Hadid that was first created in marble in 2014.

UltraStellar by Zaha Hadid Architects
The Lisse Chandelier has wooping wings of metal and crystal that join at a central point

Hadid first began working with David Gill Gallery in 2007, when her studio created a landscape of dune-shaped furniture for the Venice Art Biennale.

Following the Hadid’s death, the CEO of David Gill Gallery, Francis Sultana, curated an exhibition showcasing the architect’s less-known works.

UltraStellar by Zaha Hadid Architects
Also on display are additions to the Liquid Glacial collection, which includes a sterling silver bowl that has a large ripple at the centre

At the time of the exhibition, Sultana paid tribute to Hadid as “one of a kind” and a “pioneer, visionary, intellectual, leader, revolutionary”.

The UltraStellar exhibition at David Gill Gallery in London will run from 3 to 29 October 2016.

Photography is by Martin Slivka.

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Carquero Arquitectura restores ancient Matrera Castle with contemporary elements

A+Awards: Spanish firm Carquero Arquitectura received a 2016 Architizer A+Award for this restoration of a crumbling hilltop castle near Cádiz.

After standing for around 1,000 years, Matrera Castle partially collapsed following a long period of abandonment, leaving only a couple of walls remaining.

Restoration of Matrera Castle, Spain by Carquero Arquitectura

Carquero Arquitectura was tasked with rebuilding the monument to reinforce the existing structure and prevent further collapse.

Rather than replicating the original stonework, the studio filled in the missing sections with a contemporary addition to create a distinction between old and new.

Restoration of Matrera Castle, Spain by Carquero Arquitectura

Lime plaster similar to samples found on the site was used to render the new portions of the structure, creating a stark contrast with the darker stone.



“The proposal aims to avoid the aesthetic mimicry that involves falsification or loss of value of authenticity and, in parallel with the practice in intervention of movable heritage, its historical value is enhanced,” said Carquero Arquitectura.

Restoration of Matrera Castle, Spain by Carquero Arquitectura
Only a couple of walls remained after Matrera Castle partially collapsed following a long period of abandonment

The renovation project, which took five years, was heavily criticised by Spanish heritage bodies and locals when it was completed in 2015.

However, the project was lauded in the Architecture + Preservation category at the A+Awards 2016, and also received a Popular Choice recognition from a public vote.

Restoration of Matrera Castle, Spain by Carquero Arquitectura
Carquero Arquitectura was enlisted to rebuild the monument and reinforce the existing structure

Organised by Architizer, the awards promote and celebrate the year’s best projects and products. Their stated mission is to nurture the appreciation of meaningful architecture in the world and champion its potential for a positive impact on everyday life.

Find out more about the A+Awards »

Entries are now being accepted for the next A+Awards, with a discount available for submissions before 4 November 2016.

Enter the 2017 A+Awards »

Restoration of Matrera Castle, Spain by Carquero Arquitectura
Site plan – click for larger image
Restoration of Matrera Castle, Spain by Carquero Arquitectura
Elevations – click for larger image

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Business Insider Hangs With Chelsea Handler

From a zeitgeist point of view, Chelsea Handler’s Netflix show has yet to approach the level of John Oliver’s weekly investigations and James Corden’s carpool excursions. But it’s early; the talk show is just four months old.

When Handler welcomed Business Insider senior TV reporter Jethro Nededog to the Sony Pictures lot, she told him that she feels things had “clicked” six weeks into the production of her program, which streams three nights a week. Nededog’s article features a chronological set of photos taken by a Netflix supplied photographer, Neil Jacobs, and these pictures offer a great window into Handler’s staff, set and daily routine.

It’s also interesting to read Handler’s comments about transitioning to a show without advertisers and commercial breaks. Check out the full feature here.

With Gravity Sketch, You Can Easily Draw 3D Models…Right in Front of You

When we last spoke to the Gravity Sketch team in March of 2014, they had just unveiled their prototype for a 3D sketchpad.

At the time, Oluwaseyi Sosanya, Guillaume Couche, Pierre-Yves Paslier and Daniela Paredes Fuentes were all students at the Royal College of Art and Gravity Sketch was their vision for the next evolution of sketching. Looking at the rise of augmented and virtual reality, the students saw an opportunity to create a tool for designers by designers, that allowed users to sketch in 3D.

The team’s initial idea for Gravity Sketch had users wear virtual reality glasses to draw objects in space above a handheld glass platform. By moving the platform, users could manipulate and develop their drawing, much like one might build out a sculpture.

Two years later, the team is ready to bring Gravity Sketch to the masses—with a few changes.

For one, there’s no hardware. Zilch.

After presenting their prototype, the team joined the school’s incubator, Innovation RCA, where they were urged to abandon their physical prototype in lieu of a digital solution. “We came up with some promising directions in terms of hardware, but soon we had to accept the fact that software would be our strongest play, as many AR and VR devices were not yet commercially available,” says Sosanya.

Shifting their focus to software inadvertently made the product more accessible to many who might not be able to cough up the dinero necessary for a translucent glass platform interface. It also forced the team to really define what made their program different from any other 3D modeling program: its capacity for touch and gesture input.

The team prioritized developing the software in such a way that it could use a touchscreen as input, using touch and gesture to shape designs. The team launched Gravity Sketch iOS, an iPad application, in March of this year, as a way to gather user feedback and further hone in on what they were looking for in terms of tools and features.

“We took a lot of time to craft a really natural user experience for the iPad with the aim to get users with little to no CAD knowledge to download and get involved,” Sosanya says. Not ones to forget their RCA education, the team emphasized a user-centric approach to the design, including ample field testing and user research at every step of the process.

“We would go to cafes (or on the tube), sit next to people and start sketching on the iPad in 3D. As soon as we would catch their attention or they would lean over ever so slightly we would catch them and start to introduce the tool, if they could create something reasonable in three minutes or less we knew we had designed a tool or feature properly. If they would smile while using the software sketching some strange shapes we knew we were on the right track,” Sosanya says.

Those tests helped inform what certain gestures would mean and how users could naturally interact with the software. “Users often find it hard to answer questions around the usability, as they have little to no benchmark of what certain AR and VR experiences should feel like,” Sosanya says. “To mitigate this confusion, we like to have more analog engagements with our users. We do things like play charades with fellow artists and designers to get them to explain how they may scale something up or make a copy of something. We then take these gestures and interactions into the digital space, and from there we start testing the technology and gathering feedback.”

From those tests, the team also heard resounding feedback asking when the product would be available on desktop. “We were a bit hesitant to release something on the desktop, as we felt that the user experience wouldn’t be the same if you were using a mouse, however if the user had a Wacom tablet we could produce a killer experience,” Sosanya says.

The team reached out to Wacom earlier this year and have been working on a version of the software that would use their technology. Simultaneously, the HTC Vive was officially released in April 2016, pushing the team to complete the VR component of the experience, which will be supported on both HTC and Oculus controllers.

“We began working on these devices in parallel and have developed to a point where we feel that more hands on deck would really push this software to the next level,” Sosanya says. “We decided that a Kickstarter campaign would be that perfect way to present our most aspirational development yet and get the funding to take it to the market.” Sosanya, Paredes and new collaborator Daniel Thomas are part of the team of designers and engineers that are now bringing Gravity Sketch to Kickstarter, as they look to raise the funds to complete the project.

Folks who back Gravity Sketch on Kickstarter at around £25 (roughly $32) can be among the first to get a license with full access to Gravity Sketch desktop and VR, £20 less than the retail rate post-launch. With just shy of $5,000 raised at press time, the team still has a long way to go over the next month to reach their £50,000 ($64,887) goal.

As for that initial gleaming plank of glass, maybe all hope isn’t lost. “We are holding back on the hardware element for now, but we have a lot of prototypes and tests that may show their face in due time,” Sosanya says.

This Week: Contemplate the Relationship Between Art and Design, Sharpen Your Sense of Smell and Explore Art Extracted From the LA River

Jumpstart your week with our insider’s guide to events in the design world. From must-see exhibitions to insightful lectures and the competitions you need to know about—here’s the best of what’s going on, right now.

Monday

Travel to Asia Without the Time Difference During: Asia Week San Francisco

Asia Week San Francisco brings together the world’s leading Asian art dealers, auction houses, museums, cultural institutions, and the academia, for a week of festivities celebrating Asian art and culture.

San Francisco, CA. Festival runs through October 8, 2016.

Tuesday

Contemplate the Relationship Between Art and Design at: Favorites II 

FAVORITES II features works from various levels of artists and designers, ranging from important protagonists of their time to young designers that expand on past concepts to create their own artistic position. The exhibit highlights the tension between old and new designs and underlines the challenge of continuously questioning the interaction between art and design. 

Germany. On view through October 8, 2016.

Wednesday 

Get Inspired at: ICFF Miami

ICFF Miami brings luxury global designers, architects, developers, high end showrooms and retail influencers to Miami, a leading market for residential development and investment. The show will showcase what’s next and best in interior design, but with an energy and style all its own.

Miami, Florida. Trade show runs from October 5, 2016 to October 6, 2016.

Thursday

Connect with LA’s History at: Eat the River

Eat The River is a two-month long, site-specific intervention into the LA River’s history and landscape. Artist Frédérick Gautier spent two months in Los Angeles interacting with the site and producing a series of 100 three-dimensional ceramic objects derived from the traces, cracks, holes, and imprints cast and drawn from the remnants of the site’s physical history.

Los Angeles, CA. On view through October 20, 2016.

Friday

Bring the Kids to: ManyWaysOfSeeing: Making “Scents” of the World

Sharpen your sense of smell and discover the mystery of fragrances during this workshop with scent specialist, Sandy Blandin. During the workshop, Blandin will demonstrate methods to help you connect smell with emotions, memory and imagery.

Singapore. October 7, 2016 at 2:00 PM.

Saturday/Sunday

Learn and Party at: Brera Design Days

Design Days is a festival focused on the design and innovation of digital technology. During the day, the festival will host a series of discussions, exhibits and workshops focused on a variety of topics, including smart cities, hybridization, visual scenarios and interaction design. At night, you can look forward to live dj-sets and a bar.

Milan, Italy. Festival runs through October 9, 2016.

Check out the Core77 Calendar for more design world events, competitions and exhibitions, or submit your own to be considered for our next Week in Design.

Link About It: The World's Best Logo

The World's Best Logo


While there are many brands whose logos are burned into our minds—for better or worse—none of them were easy to create: “crafting such a deceptively simple symbol is a massive undertaking, so it’s no surprise that the majority of the world’s logos……

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