Always marrying function with form, Tanner Goods has just released a new bag that easily transitions from the office or class to the market, brunch and back again. Made from durable, waxed 18-ounce twill canvas and vegetable-tanned Meridian English……
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Opening today at the Bronx Academy of Arts and Dance, as part of the BAAD! Ass Women 2017 festival, the Zinister Zine Fair focuses on self-published works by people of color and/or those who are a part of the LGBTQ+ community. More than just a zine……
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Ricky Adam as a documenté les années 1990 punk à Belfast, centrées autour du collectif Warzone. En tant que jeune photographe, il a immortalisé des moments de manière très spontanée et réaliste. Ces images reflètent alors l’esprit punk dans son essence : le ‘do it yourself’. Un livre a été publié recueillant ces photographies, Belfast Punk, chez Damiani.
Order a copy today of Never Too Busy to Cure Clutter by Unclutterer’s Editor-in-Chief Erin Rooney Doland.
Do you have a problem with losing things? If so, you’re far from alone, as Kathryn Schulz wrote in “When Things Go Missing” in The New Yorker:
Passwords, passports, umbrellas, scarves, earrings, earbuds, musical instruments, W-2s, that letter you meant to answer, the permission slip for your daughter’s field trip, the can of paint you scrupulously set aside three years ago for the touch-up job you knew you’d someday need: the range of things we lose and the readiness with which we do so are staggering. Data from one insurance-company survey suggest that the average person misplaces up to nine objects a day.
I’m a pretty organized person, but I’ve certainly misplaced things. I recently left my iPad behind in the front desk of the organization where I volunteer on Monday mornings. I noticed it was missing on Monday night and knew where I must have left it, but I had jury duty early the next day and couldn’t go pick it up. Fortunately, a neighbor did that for me.
I’ve also sometimes left a sweater or jacket behind after working with a client. And just recently I misplaced a Visa bill and had to call to ask what I owed so I could make the proper payment.
Looking back at these instances of misplaced items, I can see where I went wrong and define strategies to avoid such problems in the future.
I know this might seem obvious, and I’m normally good at having homes for my things. For example, I don’t lose my glasses or my keys because they always go in the same place. But exceptions to the rule can cause me problems.
I realized that when I take off a jacket at a client’s home or office, I often place it wherever is convenient at the moment: on the back of a chair, on a doorknob, etc. From now on its home is going to be right next to my purse. (I never forget my purse! And I couldn’t get far if I did, since it has my car keys.)
I have a place for bills to be paid, but I set my Visa bill down somewhere else “just for now” rather than taking the 20 seconds to put it away properly. Bad idea! I know that, but we all mess up occasionally. Misplacing the bill was just a reminder not to get lazy about putting things away properly. This is especially important with things like papers which can so easily get buried.
When I first started my volunteer work I thought it might be handy to have my iPad with me. Since then I’ve realized it doesn’t really help, so now I leave it at home. I can’t leave something behind if it didn’t come with me in the first place! The fewer things I carry when I’m out and about, the less chance there is I’ll lose something.
Post written by Jeri Dansky
In the next movie in our Bolon at Heart video series, Cappellini director Giulio Cappellini reveals how the Italian brand is experimenting with a new material by Swedish flooring company Bolon to upholster furniture.
Bolon is famous for its woven vinyl flooring, but at Stockholm Design Week last month the Swedish brand presented a series of experimental furniture pieces upholstered with Bolon material.
One such piece was a version of a product called Anemos, a coffee table with four retractable seats that Italian designer Antonio Facco originally designed for Cappellini in 2015.
“At the moment we are experimenting with some new materials from Bolon on our furniture,” Cappellini explains in the movie, which was filmed at the Italian furniture brand’s showroom and factory in Milan.
“We experimented with this new Bolon material on the Anemos table and seats by Antonio Facco.”
The original Anemos comprises a wood table and four padded seats with curved wood backs, which slide underneath the table to create a unified, monolithic form.
Cappellini and Facco wanted to create a version of the product with fully upholstered seats and chose to experiment with a new hybrid material developed by Bolon called Villa La Madonna.
Originally designed for a collection of experimental rugs that Bolon unveiled at Stockholm Design Week, the material combines strips of vinyl with other textiles such as wool and polyester.
“We wanted to create a new version of Anemos, softer than the original,” explains Facco. “We decided to use the Villa La Madonna material because we really loved the square texture.”
Facco says that because the material is much more hard wearing than traditional upholstery fabrics, he was able to retain the unified look of the original product by using the material on the tabletop as well as the seats.
“At the beginning, our idea was to use the material just for the seats, but we learned that it could be very interesting to have it also on the top of the table,” he says.
“This new material could give you the possibility to unify walls, floor and furniture in a space.”
Cappellini has worked with Bolon for a number of years. He used Bolon flooring in an installation for Stockholm Design Week in 2008, as well as in Cappellini showrooms around the world.
However, this is the first time he has tried to use Bolon’s material to upholster a piece of furniture.
So far the Italian furniture company has only produced one prototype version of Anemos upholstered with Bolon’s material. But Cappellini says he is serious about continuing to develop furniture with the Swedish brand in future.
“We are at the beginning of this process,” he says. “This is an experimental project for Bolon and an experimental project for Cappellini. But from this prototype, maybe in one year, we can arrive to have a real, final product produced with Bolon.”
This movie was filmed by Dezeen for Bolon in Milan, Italy. It is the sixth in a 12-part series exploring Bolon’s history, design and technology.
Watch all the movies at: www.dezeen.com/bolonatheart
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A modular sofa called Homework, a recycled wombat, and a bedside table that doubles as a drinks trolley feature in Alexander Lotersztain‘s new furniture brand targeting the millennial generation.
Called Les Basic, the brand will launch at New York’s International Contemporary Furniture Fair in May with a debut collection of seating, tables, outdoor furniture, lighting and accessories.
Lotersztain, who also runs lighting and furniture brand Derlot, created the brand in response to data showing the demographic born between 1980 and 2000 are living substantially differently to generations before.
This included research by Goldman Sachs describing millennials as “social, connected and intensely mobile” people who, although adept with fast-paced technology, have been much slower to get married and have children.
To suit their lifestyles and values, Lotersztain gave Les Basic an aesthetic he describes as “anti-loud”. He created simple pieces that can evolve over a long use cycle, but added in “details that have the potential to surprise and or create some sort of comfortable wonder”.
“These values are very closely related to millennial values of responsibility and balance between our tech world and something that still connect us emotionally,” said Lotersztain. “The products are adaptable, modular and to a degree ‘hackable’. They are products that allow you to be connected but not feel dependant.”
For instance, the Whitsunday outdoor seating features a leg detail that becomes a bag hook or base for a side table. The Troika shelving system is made up of stacking modular parts that can be easily added or taken away to suit the environment.
A slimline modular sofa system called Homework features built-in power outlets and wooden surfaces that function as side tables or desks, while the Valet functions as a bedside table, drinks trolley, display, mobile office or individual dining setting.
A wombat is also part of the collection. The minimal stuffed toy is a way of realising the company’s sustainability focus – it is made of textile offcuts from Les Basic’s upholstered products, and a percentage of every sale goes to the RSPCA in Australia.
Noting the blurring of boundaries between personal and work life, and an increased interest in wellness, Lotersztain says the collection is about balancing technology and practicality with emotional wellbeing.
“Les Basic is about ‘slow living’,” he says. “A way of counteracting our digital fast-paced addiction. It’s about quality, connection to natural, noble materials, and authenticity. It’s about paring back to find something we value, something meaningful.”
In the long term, Lotersztain wants to develop Les Basic into a broader lifestyle brand that will “grow with its audience”, suggesting its product range may evolve to suit the generation as it ages.
Lotersztain is not alone among designers in targeting the millennial demographic with modular and sustainable design.
Hannabi’s Urban Nomad is designed to act as a full-height sofa, two seating mats or a single bed, while at Milan design week IKEA and Tom Dixon are launching the modular Delaktig, aimed at adaptability and future-proofing.
The post New furniture brand Les Basic by Alexander Lotersztain wants to help millennials slow down appeared first on Dezeen.
OMA has used sprayed concrete, polycarbonate and movable walls to transform four warehouses on Dubai‘s Alserkal Avenue into a cultural centre.
The 1,250-square-metre Concrete events venue is OMA‘s first completed project in the United Arab Emirates, where the Dutch firm has an office.
The building provides the Alserkal Avenue area with a flexible location to host large-scale public events, art exhibitions, performances and conferences.
“In Concrete, we are not introducing a new shape but instead were able to infiltrate an existing building with an arts institution,” said OMA founder Rem Koolhaas.
“This building is totally produced in Dubai; it is not a foreign ideal, and that I think is significant.”
Most of the existing facades are sprayed with a mix of concrete with glass and mirror aggregates, creating a reflective rough texture intended to make the venue stand out in the context of Alserkal Avenue.
Polycarbonate cladding replaces the original front facade of the building, bringing the view, daylight and outdoor activities into the interior space.
At either end of the walls two large doors can be opened so that the interior space merges with the The Yard, which is the district’s main outdoor public square.
“The Gulf is an important region for OMA, and we are happy to have been able to collaborate with an organisation like Alserkal Avenue, whose vision is so similar to our own,” said project lead and OMA partner Iyad Alsaka.
“With this project we wanted to keep the interior as neutral and flexible as possible, while transforming the existing exterior so that it would stand out from the surrounding buildings.”
All the services were consolidated on one end of the building, allowing the entrance and event spaces to be situated closer to the courtyard.
Inside, four eight-metre-high movable walls will rotate and slide to allow for different configurations depending on the type of event.
To maintain a fluid space, all the major interior equipment has been integrated into the ceiling, leaving the walls and floors free of any components.
Two linear skylights have been positioned above the movable walls to allow either thin blades of light or full daylight, depending on the configuration.
OMA were brought on board to design the space in order to provide the area with a “home” for cultural events and to encourage more creative talent to gravitate towards the avenue.
The Alserkal Avenue is located in the Al Quoz neighbourhood, which is becoming one of the region’s foremost arts and culture districts.
Since the avenue was established in 2007, it has become home to a community of contemporary art galleries and alternative art spaces, as well as design, media and industrial studios.
The United Arab Emirates city has seen a wave of development following its recovery from the 2008 financial crisis, which halted many of the ambitious building and infrastructure projects – leaving many towers half-built and highways unfinished.
OMA is among several leading firms designing buildings in Dubai, with Zaha Hadid Architects, Foster + Partners and Calatrava all recently opening offices in the city.
The firm’s more recent projects include an industrial-style exhibition centre in an old Shanghai shipyard and a cross-shaped library in Normandy.
Photography is by Mohamed Somji, courtesy of Alserkal Avenue.
Project credits:
Client: Eisa Bin Nasser Bin Abdullatif Alserkal EST
Partner in Charge: Iyad Alsaka Project Architect: Kaveh Dabiri
Project team: Yoonhee Bae, Aras Burak, Shabnam Hosseini, Mohammed Jabri, Alejandro Noe, Guerrero Ortega, Christin Simonian, Mayar Soliman
Lighting Design: Licht Kompetenz
Local architects: CVTEC
Acoustics: Acoustic Logic
SMEP: Blue Camel Design
Contractor: Blue Camel Design
The post OMA’s first project in Dubai is a cultural centre with moving eight-metre-high walls appeared first on Dezeen.
Dezeen is giving away five copies of Where They Create: Japan, a book documenting the workspaces of some of Japan’s leading creatives, including Kengo Kuma, Nendo, Tadao Ando and Toyo Ito.
Where They Create: Japan, by photographer Paul Barbera, shows the inside 32 studios and offices, belonging to a variety of Japanese architects, designers and artists.
Featuring photographs and interviews, the book also reveals the workspaces of Schemata Architects, Kenya Hara and Sou Fujimoto.
The images reveal that Ando’s self-designed studio in Osaka is lined with walls of books, while Hara has a museum-like office.
It also features the meticulous workspace Nendo has created in a Kenzo Tange-designed building. Ito’s surprisingly messy studio – a stark contract to the clean lines and form of his work – is also included.
“Japanese creatives and designers have long captured international audiences and is gaining new momentum especially in fashion design, architecture and the arts,” Barbera explains in the book’s preface. “Thus it only felt natural to make it the focus of this book.”
“Travelling to Japan is like travelling to the future or another planet, distinct from its Asian neighbours yet also strangely familiar,” he continued.
Five readers will each win a copy of the book, published by Frame, but it can also be also be purchased online for €29.
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Competition closes 11 April 2017. Winners will be selected at random and notified by email, and their names will be published at the top of this page.
The post Competition: win a book showcasing the studios of Japan’s best-known architects and designers appeared first on Dezeen.
Passengers flying on US airline Delta will be able to eat their in-flight meals from tableware by designers Patricia Urquiola, Ronan and Erwan Bouroullec, and Humberto and Fernando Campana from next month.
Italian brand Alessi asked some of its best-known designers to create serviceware sets for Delta.
Each has adapted existing items from the company’s range into bespoke interpretations, which will be available in the airline’s premium cabins.
Spanish designer Urquiola revisited her Orloff bowl, produced from a single, round sheet of metal without the use of welds. It informed a set of faceted containers with similar characteristics.
“I am very attracted to surfaces and their interaction with reflected and diffused light,” Urquiola said.
“This collection’s characteristic facets, along with its silver finish, play with light in a way that results in reflections and chiaroscuro effects that are both elegant and amusing.”
Brazil’s Campana brothers designed both a water and a wine caddy using thin sticks of bent aluminium, as an extension of their 2004 Blow Up collection.
“Back in 2004 we partnered with Alessi to explore ways of fusing industrial processes with the traditional techniques of Brazilian craftsmanship,” the duo said. “We selected aluminium rods to be assembled together randomly to create several types of light and airy three-dimensional pieces.”
The Bouroullecs, from France, created the Ovale glassware and ceramic dinnerware that comes in a variety of subtly different shapes.
“There is a few symbolic projects that designers romantically dream to do – tableware for an airline company is one of them,” said the brothers.
Also part of the collaboration, Milan-based Stefano Giovannoni‘s Mami cutlery range for Alessi has been resized to better suit in-flight dining.
“The Mami cutlery set is part of a series of projects characterised by smooth flowing lines in the maternal code,” said the designer, who also created a napkin ring with his KK cut-out doll icon.
A heart-shaped teaspoon by Italian designer Miriam Mirri joins Giovannoni’s set of cutlery. The design – in red plastic, or stainless steel to match the rest of the items – has been scaled down from a larger spoon, first created for a couple to share ice cream from the same scoop.
“The form grew out of overlapping two teaspoons in a way that two people could enjoy the same spoonful of ice cream without invading the other’s part, like a game between lovers,” she said.
“[This version] is not big enough for sharing, but I still believe that finding a heart in your cup each morning helps bring some sunshine into your day.”
Finally, Italian designer Kristiina Lassus contributed versions of her rounded A401 coffee pots.
The partnership between Delta and Alessi was first announced in November 2015, and the designs are finally being rolled out in Delta One and First Class cabins on 1 April 2017, then in Delta Premium Select later in the year.
“The Alessi for Delta collection is part of our continued investment in delivering a world-class, global culinary experience that will elevate our customer in-flight dining experience to new heights,” said Allison Ausband, Delta’s senior vice president of in-flight service.
Previous airline-designer collaborations include Marcel Wanders for KLM and Marimekko for Finnair.
Photography is by Buzz.
The post Alessi taps Urquiola, Bouroullecs, Campanas and more for Delta Airlines in-flight serviceware appeared first on Dezeen.
Tea time is perhaps the most quintessential of English customs. Designed just for the Brits, “Blendin” is a modern twist on this age-old tradition that makes it easy to enjoy tea anytime, anywhere.
Rather than take trips back and forth between the kitchen, users can move this convenient rolling system wherever they desire. With a built-in reservoir and heating system, it keeps tea fresh and piping hot. Roll it to the den, dining area, or outside and simply return to the charging station when finished!
Designer: Youyoung Gwak
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