Daniel Kovalovszky a réalisé une série intitulée Green Silence. Dans celle-ci le photographe résidant à Budapest saisit l’immobilité et le silence d’un monde et d’une nature sans civilisation. Au delà d’une simple série, il s’agit d’une réelle expérience de la part du photographe qui a vécu en immersion dans les bois parmi les arbre.
Dezeen promotion: The buildings of London, Bristol and New York inspired the latest collection by Italian tile company Ceramica Rondine, designed to look like different types of brickwork.
Ceramica Rondine‘s Brick Generation collection comprises three ranges of brick-effect porcelain stoneware.
The first, named London, is intended to evoke the appearance of old-time England. It references London stock bricks – the handmade clay blocks fired in kilns during the 20th century – that were used to build most of the city.
The collection is available in three sizes, and comes in a colour range of earthy tones, including beige, charcoal and brown.
“With its authentic, shaded surfaces, London is the perfect tile to bring a brand new, urban, metropolitan touch to the floors and walls of the home,” said the brand.
A second British city, Bristol, informed the next range in the collection. The aim was to reflect its “cosmopolitan atmosphere” through the tones and shades of each tile.
“This collection offers a concentrate of innovation,” said the company. “It is not only a perfect reproduction of post-industrial-style bricks, but is also a versatile option, ideal for both floors and walls”.
The final collection, based on New York, is aimed at the new, younger generation of homeowners.
Described by Rondine as a “vintage brick”, the collection is the smallest tile from the company’s new range. It comes in white, almond black and grey shades.
According to Ceramica Rondine, it could be used to “recreate all the urban allure of the elegant facades of Brooklyn Heights or the Upper East Side”.
Alongside the city-inspired collections, Rondine has also unveiled a range of pale, dusty-hued tiles designed by Andrea Castrigano. Called Urban and Colors, it comes in shades of white and dark blue.
To find out more about each of the collections, visit Rondine’s website.
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Architecture firm Sasaki has designed this hydroponic vertical farm for Shanghai, where leafy greens will be grown on rotating loops housed in a huge greenhouse.
The local studio designed the urban farm as part of the Sunqiao Urban Agricultural District, which will be built on a site between Shanghai’s main international airport and the city centre, and divided by a canal.
The aim of the vertical system is to offer a space-saving and economical alternative to provide food for the growing population of China’s largest city, home to nearly 24 million people.
It will focus on producing leafy greens like kale, spinach and lettuce, which are a staple of Shanghainese diet. These will be grown along a series of looped rails arranged side by side in the greenhouse.
The structures will rotate to offer a fair distribution of natural light from the sawtooth roof. Water sourced from a rainwater collection tank will be used to grow the plants hydroponically, while the nutrients will be gathered from the waste of fish houses in the aquaponics room.
“Shanghai is the ideal context for vertical farming,” said Sasaki. “Like many global cities, land prices are high, which makes building up rather than out the economically prudent choice.”
“Even more significant is the Shanghainese diet, which typically consists of up to 56 per cent leafy greens,” the architects continued. “Leafy greens are also an excellent choice for hydroponic and aquaponics growing systems.”
“They thrive in the simplest of setups, and don’t need a lot of extra attention,” they said. “They grow quickly and weigh little, both of which make them an economical and efficient option.”
The complex will also integrate research and public outreach programme offices. These will include a science museum, waterfront fitness trail, plaza, digital amphitheatre and educational facilities.
“While one goal is to position Shanghai as a leader in urban food production, Sunqiao is more than simply creating vertical food factories,” the studio explained.
“Providing a robust public realm that merges indoor and outdoor agricultural experiences, the Sunqiao experiment presents a new idea for urban life by celebrating food production as one of the most important functions of a city.”
Elevated walkways with vines growing up columns will lead around the farm and above a market for selling the produce, as well as educational facilities for teaching children.
Another greenhouse in the scheme will be landscaped with pathways between tropical wetlands. An elevated walkway will loop around a circular tower, called the Vertical Seed Library, which will showcase a variety of seeds in cabinets on its exterior.
The Sunqiao Urban Agricultural District follows a series of proposals for vertical farms as an alternative to traditional land-intensive farming.
Other examples include Rogers Stirk Harbour + Partners’ concept for a bamboo-framed vertical farm and Spark’s model for Asian retirement communities that double as city farms.
The post Sasaki designs hydroponic vertical farm for Shanghai appeared first on Dezeen.
Sarah El-Taki explore les pays post-communistes de l’ancienne Yougoslavie, la Bosnie, la Serbie et la Croatie. La photographe explique sa vision de l’architecture communiste sur TRIP Magazine : « Ces bâtiments sont ce qu’il reste d’une idéologie qui est devenue part d’un sentiment nostalgique pour l’ancienne génération. Les trous de balles sont encore visibles, nous rappelant qu’il y à peine 2O ans, une guerre avait lieu ici ». Une série forte qui nous montre une partie de l’Europe encore méconnue.
Josselin Cornou est un photographe français installé en Australie. Il a récemment été sacré meilleur photographe français aux Sony World Photography Awards, dont nous vous avons présenté dernièrement les lauréats.
Il a eu la chance de parcourir l’Antarctique le temps d’un voyage, et d’y découvrir l’étendue de la faune présente mais également l’immensité de ces terres. L’artiste nous offre de magnifiques fenêtres sur les icebergs, pingouins ou phoques, des étendues désertes, certaines recouvertes d’un manteau blanc, d’autres presque dénudées. Un reportage magnifique, qui nous fait aussi prendre conscience de l’importance de protéger ces merveilles de la nature.
Following the news that Balenciaga has released its own take on the IKEA Frakta bag, the Swedish furniture giant has devised a guide to help customers differentiate the 40p tote from its £1,705 counterpart.
The graphic was designed by IKEA‘s advertising agency partner Acne for the brand’s website and social media channels. It outlines four ways customers can tell whether their blue Frakta bag is the “real deal”.
Among these tell-tale signs are two instructions – shake it to see if it rustles, and throw it in the dirt to see if it can be rinsed off with a gardening hose.
Its multifunctional capabilities are also highlighted, and most obviously its price. At £1,705, Balenciaga‘s version of the tote is 4264 times more expensive than the 40p original.
“It’s not every day you hear about a world-renowned fashion house copying the design of a blue plastic bag,” said Acne. “So when Balenciaga did just that, IKEA put together a swift response – giving customers some tips on how to know that their Frakta blue bag is the real deal.”
Balenciaga’s Arena bag was likened to IKEA’s Frakta shopping bags, thanks to its similar blue hue and double shoulder straps.
However, the luxury fashion house’s take on the tote is made from blue, wrinkled, glazed leather. It also zips shut at the top, a feature lacking from the original bag.
When news of the similar design broke, IKEA – somewhat unexpectedly – said it was “extremely flattered” by the comparisons made.
“We are extremely flattered to seemingly be an inspiration for the latest catwalk designs for Balenciaga,” said Stella Monteiro, sales leader for IKEA UK and Ireland.
“Our IKEA Frakta tote is one of our most iconic products which are already owned and loved by millions – now the many people truly can get the designer look for less.”
IKEA‘s popular Frakta bags were originally designed by siblings Marianne and Knut Hagberg. They are made from synthetic material polypropylene, making them suitable for uses ranging from waste disposal to storage for clothes.
Last year, Danish design brand Hay redesigned the iconic blue and yellow bag as part of a newly announced collaboration with the Swedish furniture giant.
The post IKEA responds to Balenciaga’s take on blue tote with spot-the-difference guide appeared first on Dezeen.
Andy Martin Architecture gutted this five-storey Georgian townhouse in Belgravia, adding glass pavement lights to the ground floor to allow natural light to filter down to the basement.
Andy Martin’s locally based firm was tasked with bringing extra light into the residence of their clients, who wanted to introduce elements of their Sardinian heritage into the central London home.
The resulting perforated surfaces that can be found throughout the residence lend the project the name Perf House.
The glass lenses of the circular pavement lights – a common feature on London streets – and the perforated steel wall that runs through the centre of the residence give a sense of transparency to the narrow building.
The re-imagining of the dark Georgian basement and four other storeys includes a variation of industrial materials: raw concrete and blackened steel are combined with refined glass, timber and plasterwork to create a restrained palette.
“We didn’t want to do another white space, but the dimensions are so petite that it was important to keep the space restrained – the rawness of these few materials was to have only a moderate spatial impact,” Martin told Dezeen.
The dappled light that escapes through the small paving windows brightens the basement area, which houses the kitchen as well as an open-planned living and dining area.
“The shape of the openings was firstly the most important feature, they were to be apertures controlling the light, in a way focussing it and redirecting the light. Both the floors and walls make one aware of the natural and artificial light in the house,” said Martin.
Various glass surfaces act as transparent room dividers across the house: on the ground level, an open living area is divided by a ridged glass and steel framed french window.
Upstairs, a glass wall separates the bedroom from an en-suite bathroom, although a continuous timber storage unit creates cohesion between the two rooms.
The lower-ground level features floor-to-ceiling sliding windows that open onto a decked terrace lined with bamboo.
A steel staircase with solid balustrades projects out over the basement level. Upon reaching the first floor, the steel plates that form a wall between the staircase and the room transform into a perforated surface and the stairs shift from steel to timber.
The London-based firm has worked on a number of projects in the city, including a barrel-vaulted conservatory in west London and a bulging brick ceiling in a Marylebone restaurant.
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Along with this “Maman Je T’aime” (Mama, I love you) tote bag, comes a CV + EMC bandana—both of which call out and support Every Mother Counts. The non-profit organization endeavors to make pregnancy and childbirth safe for everybody. The bandana is……
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Your food storage solutions should be as varied as your diet! Designed with this concept in mind, the Saving Storage Bag does just as the name suggests. It saves your food and keeps it fresh while also saving space and reducing plastic waste.
Whether it’s long carrots or tiny peas, this design makes it possible to customize your bag size with one easy and simple operation. Simply dispense the bag from the compact unit, stop at the length suitable for your food type, and press the “push” button to seal the bag. Voila! You’ve got a bespoke bag that you can take to-go or save for later!
Designer: Shenzhen Stom Industrial Design Co.
Networking industrial machinery could transform manufacturing says German designer Clemens Weisshaar, in this talk Dezeen filmed for lighting company EWO.
Speaking to Dezeen editor-in-chief Marcus Fairs at a talk called The Future is Now at Vienna Design Week last year, Weisshaar explored the concept of Industry 4.0, a term coined in 2014 by German industry leaders to describe networking industrial production.
“Industry 4.0 is actually a German invention,” Weisshaar explains in the movie.
“It describes what happens when you connect machines to supply chains and everything else. It’s the industry of the future – networked machines that talk with each other, and interact with people and other machines. The civilian version of it is called the Internet of Things. The industrial version is Industry 4.0.”
Weisshaar says that much of his work, which he undertakes together with fellow designer Reed Kram as design studio Kram/Weisshaar, explores the possibilities of these advances in industrial production.
“How do we design tools that help us design in much closer contact with machinery?” he says.
Weisshaar gives the example of Kram/Weisshaar’s Breeding Tables project, first conceived in 2003, which involved creating a custom piece of software to enable the designers to create an indefinite number of different tables, which could all be industrially produced.
“Breeding Tables was about growing structures in the computer, using algorithms that actually know how manufacturing machines work,” he explains.
“We programmed a CAD application that only lets you draw things that the machine afterwards can produce. It’s a kind of all-encompassing tool that eliminates a lot of the obstacles along the way when you produce things.”
Weisshaar and Kram wrote the Breeding Table application for themselves to use, but the duo’s work also explores how access to expensive industrial machinery could be democratised.
Weisshaar gives the duo’s 2010 Outrace project as an example, an installation during London Design Festival in 2010 comprising six industrial robotic arms, which visitors could program to write light messages in the air.
“We wanted to hand over control of these massive machines to the public. You could send a message to the robots by SMS or email and the robots would draw your message with these light brushes. 36 cameras around the plinth recorded these letters and if you played back those 36 images you got a scrolling message.”
“That was a proof of concept that, yes you can hook up robots to the internet and yes, you can get people involved.”
Kram/Weisshaar built on the concept with the studio’s 2015 project Robochop, which enabled people to sculpt a foam block using a robotic arm with a wire cutter attached.
“Robochop was the first time we said, ‘let’s make objects, let’s get people to actually design things,'” Weisshaar says.
“On your phone or computer or tablet you use a 3D interface that allows you to cut foam blocks virtually. Your finger movement will be translated into robot programs and ultimately into robot movements, and you are able to manipulate a foam block.”
He adds: “Somebody from industry will see this as a perfect technology demonstrator of what Industry 4.0 is. You have user input, you deliver an idea or specification through the internet to an industrial plant and ship it to the customer in the end.”
However, Weisshaar says the project also highlights the potential dangers of connecting industrial robots to the internet.
“When we did Robochop, we had it up for less that one week and people tried to hack it,” he says.
“They tried to drive the robots into the floor so they destroyed themselves. If everything is on the internet, everything becomes vulnerable to attack. So there’s a lot of potential there, but there are also a lot of threats.”
Weisshaar says that the experience shows just how important it is to build secure networks and systems.
“Even for a technology demonstrator [like Robochop], you need to put measures into place, otherwise the whole thing can spin out of control,” he says. “It’s all about building systems that are really safe.”
The Future Is Now talk was hosted by EWO, a lighting company based in South Tyrol, Italy. Kram/Weisshaar is working with EWO to develop smart street lighting systems that can sense cars and pedestrians, and adjust the light output accordingly.
“EWO make public lighting systems that you can configure with a variety of circuit boards, high-powered LEDS and a whole range of different optics you can attach to them to build the lamp you want,” Weisshaar explains.
“We added a little bit of intelligence into this system. It’s basically a little computer that lives in the lamp that is able to understand what is happening under the pole this light is mounted on. If there is nobody there, you don’t really need a street light.”
This talk was filmed by Dezeen for EWO in Vienna.
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