Limited to 150 vehicles, Land Rover is celebrating its 70th anniversary by reissuing the Defender Works V8. Land Rover Classics will produce the collector’s edition machines, though the power and speed will be a true reflection of present day capabilities……
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Five young architecture studios based in the Big Apple have been selected for this year’s New Practices New York awards, set up to promote the city’s best up-and-coming talent.
Agency–Agency, MABU, NHDM, Only If Architecture and PRO have all been named as 2018 winners of the awards, which are awarded biennially to studios headquartered in New York, which launched 10 years ago or sooner.
The honourees were announced last week at the city’s Center for Architecture, which organises the awards with the American Institute of Architects‘ New York (AIANY) chapter.
They were selected by a jury that comprised Beatrice Galilee of The Met’s architecture and design department, Jeffrey Inaba of Inaba Williams, Andrés Jaque of Office for Political Innovation, Hilary Sample of MOS Architects, Rosalyne Shieh of Schaum/Shieh and Dezeen’s US editor Dan Howarth.
The theme of this year’s awards was Consequences, and entrants were asked to demonstrate ways in which they were thinking about the environmental, urban and social impacts of their work.
The jury looked at whether the firms are pushing boundaries of architecture in three main discourses – aesthetical, social and disciplinary – and chose winners that showed they were covering at least in two of these categories, if not all.
All the studios put forward work of different scales, along with self-initiated research projects that deal with current issues facing our cities.
Agency–Agency, led by Tei Carpenter, presented research into waste management using candy-coloured renderings, while MABU proved its dedication to thoughtfully reusing materials in unusual ways, across a range of adaptive reuse projects on the city’s periphery.
Both NHDM and Only If showed visually and theoretically coherent bodies of work at a wide range of scales, from exhibition studies to social housing, and PRO impressed with completed projects ranging from rebuilding hurricane-damaged neighbourhoods to interiors for improving mental health.
The Centre for Architecture will host an exhibition of the winners’ work, designed by Studio Lin, from 12 April 2018. It will remain on display through this year’s AIA Conference on Architecture, which will be hosted in New York from 21-23 June 2018.
Read on to find out more about the winning studios, with descriptions provided from AIANY:
Agency–Agency
Founded by Tei Carpenter, the practice seeks out an expanded agency for architecture’s role in society, engaging both buildings and the systems beyond buildings. The practice is currently involved with three types of design work: non-profit, client-based built projects; competition-winning speculative designs; and self-initiated sponsored research fuelled by a sense of optimism and the possibility for public engagement. Methodologically, the practice combines research, teaching, and design to engage in discussions within the discipline and more broadly.
MABU/Matt Burgermaster
MABU’s work focuses on the material, spatial, and environmental leftovers of others. Both by choice and by coincidence, much of the firm’s work re-imagines buildings produced by a modernity that has exhausted itself. The things we discard don’t just go away, nor are the trash heaps of history only filled with old junk. In this new era where everything has been altered by human activity, the MABU chooses to recognise old buildings as material and cultural resources.
NHDM/Nayhun Hwang and David Eugin Moon
NHDM is a collaborative practice for design in research in architecture and urbanism, founded in 2010 by Nahyun Hwang and David Eugin Moon. The practice strongly believes in the agency of architecture to articulate and address complex social, political, cultural, and environmental issues. Contemporary cities and their extended geographies serve not only as subjects of investigation but as sources of critical inspiration and fertile testing grounds for experimentation and transformation.
Only If Architecture
Only If is a design practice for architecture and urbanism founded in 2013 by Karolina Czeczek and Adam Frampton, AIA. Their work is based on an intimate engagement with construction processes, local policies and conditions, and cultural and community organisations. The firm translates urban techniques to an architectural scale to rethink qualities of duration and change. Only If believes that, rather than imposing additional complexity, the role of the designer is to envision simple gestures and forms to impose structure, coherence, and identity.
PRO (Peterson Rich Office)
Founded by Miriam Peterson and Nathan Rich, PRO advocates for an expanded role for design that crosses disciplinary boundaries. PRO believes that design professionals are able to play the role of imaginative mediator, consensus builder, and trusted ally to multiple stakeholders simultaneously. This privileged role, one often overlooked by traditional firms, is not easily played by those outside of the practice.
The post New York’s best emerging architecture studios of 2018 revealed appeared first on Dezeen.
Eco-minded designers have admitted to feeling guilty about creating products that help deplete resources and cause pollution at our Good Design for a Bad World talks in Eindhoven.
“Should we feel so guilty or not by what we’re doing? Oh yeah!” said panelist Eline Strijkers, co-founder of Dutch sustainable architecture and interiors studio DoepelStrijkers.
But she added: “As long as you try to add value with what you’re doing and really try to make a change and to make projects with meaning and no bullshit, I think we add value and it’s okay to create [stuff].”
Strijkers, who aims to follow the principles of the circular economy in her projects, was responding to questions by moderator Marcus Fairs, who asked the panel how they felt about the “designer’s paradox”.
The phrase describes the contradiction inherent in trying to improve the world while designing products that consume resources and may well end up contributing to pollution.
Addressing the “designer’s paradox”
The question came a day after designer Babette Porcelijn revealed that the stuff designers create is the biggest cause of climate change, ahead of usual suspects such as transport and agriculture.
Dave Hakkens, the young Dutch designer behind the Precious Plastics recycling project, said: “You wanna make something because you’re a designer and you’re educated to make things, but very often you realise that making something is not always the best solution.”
“So sometimes it’s more about changing someone’s mindset or giving them other ways how to live their life which could have more impact instead of creating something new,” he added.
Precious Plastics provides machinery, which people can order online, that turns waste plastic into new materials.
“For the plastic project, we’re really focusing on giving people the tools to do it, so we’re more focused on sharing the knowledge of how to recycle plastic, but in terms of we don’t really make anything,” Hakkens said. “Our stuff is just digital.”
“But that said, other people that start recycling they also need to make something out of it. Then you start thinking, what do I need to make? I know I can now turn this trash into something but what is the something gonna be? And I think that’s a challenging question, yeah, because on the one had we already have enough.
Sustainability is too expensive for young designers
Bernhard Lenger, an Austrian designer who uses design to address global issues, said that he also grapples with the designer’s paradox.
“The difficult thing especially as a young designer is that you want you use materials which are not bad for the environment but you can’t afford them,” said Lenger.
“Especially if you’re a student, you have to work with the materials you can afford and that’s a strange thing.”
Lenger spoke about This is Ecocide, a project designed to draw attention to the lack of international laws outlawing environmental destruction.
For the project, Lenger teamed up with environmental lawyer Polly Higgins to create a public awareness campaign around the issue.
“I wanted to build a stage for This is Ecocide but if I really wanted to make it 100 per cent sustainable I couldn’t do it,” Lenger said. “People always asked me, why did you use plastic for this piece? I was just like, why is the plastic guilty of being bad rather than using this plastic to create a better future in the sense? The material doesn’t have any guilt.”
The profit motive means corporations can never be green
The panel were divided over whether the corporate world can transform from a destroyer to a protector of the environment.
Lenger argued that corporate CEOs are obliged to maximise profit, and could therefore lose their jobs if they pursue environmental strategies that impact revenues. Only the introduction of new laws can force corporations to change, he said, which is why designers should strive to get laws changed via projects like This is Ecocide.
Hakkens, who worked with Google on his sustainable Phonebloks mobile phone concept, was also sceptical. “They care about making a profit,” he said. “At some point that’s gonna interfere [with their environmental ambitions]. I would say it’s always better if solutions come from the people.”
Strijkers was more optimistic however. “We work for big clients like [telecoms company] KPN or [bank] ABN AMRO and they have a really, the ambition to participate in the new economy. And they see that it can bring them much more, and that they cannot continue in the way they do now. It’s not window dressing.”
The pollution talk was the fourth of five Good Design for a Bad World talks held during Dutch Design Week in Eindhoven last October. The talks discussed whether design can help solve the big problems in the world.
Talk held in a building that explores circular design
The talks took place in a purpose-built structure called The People’s Pavilion, which was itself an experiment in trying to adhere to the principles of the circular economy.
“The building you’re in is actually a giant experiment,” explained Dutch Design Foundation‘s Tim Vermeulen during the talk.
“It’s a living lab, it’s our attempt to build a 100 per cent circular building in a very thorough way, said Vermeulen, explaining that all the materials for the building were borrowed and would be returned at the end of Dutch Design Week.
“No screwing, no drilling, no glueing, no sawing,” he said. “All the materials are left untouched. It’s just a new way of looking at building so to say, so you’re not the owner of the bricks or the pylons or the wooden beams, you’re just a temporary caretaker of them.”
Movies of all of the talks, including this one, are available to watch in full via our Good Design for a Bad World page, along with edited versions.
The post “Should we feel guilty for causing pollution? Oh yeah!” admit green designers appeared first on Dezeen.
Readers aren’t happy about the use of the phrase “parasitic pods” to describe a housing concept for homeless people, in this week’s comments update.
War of words: commenters shared their disappointment about the terms used to describe this concept by creative agency Framlab, for hexagonal homes attached to the sides of New York buildings.
Nick Anaclerio was exasperated: “Boy do we really need to give soulless elitists another reason to characterise the urban poor as ‘parasites’?”
“Yeah, not sure how they thought the word ‘parasitic’ was okay to use in this context,” agreed Alison S.
“In my view, banksters deserve this accolade,” stated a rebellious Takki.
“It might not be the best but at least it’s a start for something. This design was probably inspired by parasitic plants as they survive by getting help from other plants, it has nothing to do with looking down on homeless people,” fired back Zaber Ahmed in defence of the term.
“The language of this will have to change in order to be successful. I don’t think it’s a bad idea in itself. It’s a clever way to address a problem that needs multiple solutions working in tandem.” Matthew Sonnenfeld argued pragmatically.
This reader used irony to express their disappointment in the project:
Are Framlab’s parasitic pods a feasible answer to New York’s homelessness problem? Have your say in our comments section ›
Out of place: Sean Griffiths’ opinion piece for Dezeen, comparing some architects’ focus on place-making to social cleansing, annoyed some readers, while others saw some validity in the argument.
felt the thought piece was revealing, but maybe not how intended: “This says to me more about the insecurities of architecture rather than the ‘dangers’ of placemaking. The wonderful complexity of places is, of course, impossible for the architect to control.”
“Architects concerned about this issue might need to evaluate the motives of their clients before taking on jobs?” asked a non-plussed Carol Jane Williams.
“I think that there is a hope in many architects’ minds that if a physical structure is well-considered enough, that the social and behavioural structures will follow suit in order to properly inhabit the place,” argued an optimistic Jacob Volanski.
But Beau Frail could see where Griffiths was coming from: “Placemaking is people-making and must include public space created by communities. Place-making isn’t about architect-making, city official or developer making.”
One reader had a simple yet philosophical response.
Read the comments on this story ›
Water under the bridge: Alan Dunlop’s proposal for a bridge between Northern Ireland and Scotland, in response to the recently proposed “Boris Bridge”, had the support of the Democratic Unionist Party and some readers this week.
“I will state categorically that I abhor the DUP. Their backing aside, I think that a bridge between the north of Ireland and Scotland would surely benefit the two regions economically, socially and culturally,” admitted Mr Walnut Grey.
Rory was less sure: “Insanity before you even factor in the physical geographical conditions let alone the weather in that area.”
But Peter Cosgrove felt the project would be useful post-Brexit: “Some hypocrisy I see; folk that want stronger ties to Europe but reject closer ties with the UK mainland.”
This reader was ready to start construction.
Read the comments on this story ›
Floral tribute: readers seemed to agree with local Parisian artists who had written an open letter to Jeff Koons to express their dismay at his use of “product placement” for a terror attack memorial in Paris.
Mister Sterling felt the installation was totally unsuitable: “I totally agree with the Paris artists. The French don’t memorialise like we Americans do. And this memorial makes zero sense. It is cynical.”
“Koon’s new brain fart for inflating ugliness – kindly ‘gifting the idea’. And he wants people of France to give him a nice public spot and pay for this?” fumed MM.
Tom from Finland was defiant in his opinion: “A successful piece of art by Jeff Koons, whether you like it or not.”
One reader could just about believe it:
Read the comments on this story ›
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The post “The language of this will have to change in order to be successful” appeared first on Dezeen.
The Treehole is a modern communication device that earns its namesake from an age-old legend that goes something like this: if you happen upon a tree with a naturally formed hole, you can lean in close and whisper to it your deepest secrets — your secret will be kept safe and live within the tree forever! Pretty cute, eh? Inspired by this folktale, Treehole presents a modern way to store and share your “secrets” with the one you love.
It’s designed to be installed in any room in the house where it can connect to wifi. Using its simplistic interface that’s shaped like a tree, you can lean in leave a secret message for your loved one OR use your smartphone to record something remotely. It’s perfect for the shy guy or anyone looking to spice things up! When they see that its indicator light is flashing, they’ll know they have a secret something waiting for them. All they have to do is press the center button to play!
Designer: Ryan Yeung
The beauty of art and design is their ability to inspire and spawn new creations born from old, like a phoenix rebirthing. Now if you ever thought that wallet design could take influences from architecture, it would sound outwardly absurd, but just look at the RIN Wallet and you’ll see how design influences carry seamlessly from one form/discipline to another.
The wallet comes with a textured exterior who’s free-flowing organic patterns aren’t just great to hold, they even create a slight bit of friction in one’s pocket, allowing you to feel as the wallet slips in or out. The visual and tactile detail, therefore, adds not just to the beauty of the wallet, but also becomes a feature integral to safety. The organic pattern draws inspiration from textured walls often used in modern interiors and exteriors, creating a play of light that gives it a flavor of contemporary architecture, and in turn creates something absolutely new.
Open the wallet and you’re greeted with a criss-cross of lines that give the wallet a third dimension. Looking like a two-point perspective grid, the lines are stamped into the leather, adding texture to the wallet that feels more real and unique than the grains of the leather. It gives the wallet a sense of depth as the human eyes perceive it as a three-dimensional plane.
This one-of-a-kind aesthetic is achieved by melding together three types of leather and the craftsmanship behind them. The textured exterior comes made in EPI leather while the diagonal lines on the inside are heat pressed into supple calf leather. Binding these two together is the third, Italian Leather that lends a traditional touch to the wallet. On the inside, the RIN is lined with polyester and even comes with special RFID pockets for your cards. The bifold can hold 8 or more notes and cards, and stands at a sleek 1cm thick. Ensuring your wallet always remains sleek and light, the RIN even comes with a separate coin barrel that holds your metal currency. The barrel can be fastened to your belt hoop thanks to a carabiner clip, allowing you to have change ready when you need it, but without adding unnecessary bulk to your back pocket or slowly damaging the shape of the wallet.
The RIN comes in four distinctive color combinations that add to its modern flavor. Designed to be not just useful, but also memorable, the RIN takes inspiration from an unusual place, but displays its execution with sheer ease, making it a wallet that looks absolutely a class apart, but only because it literally is!
Designer: Chris Paragas
Click here to Buy Now: $47.00 $75.00 *For only 24 hours*
Each wallet is meticulously hand-painted with a special wax coating to prevent edges from fraying with long term use.
Other bi-fold wallets accommodate more cards by stacking layers of leather, thus making the wallet unnecessarily bulky. By integrating a card slot to the main leather panel, we are able to cut down the use of leather by 70%, while still allowing the user to organize and hold just as much cards as any traditional bi-fold design.
With the RIN bi-fold, we combined 3 distinct leathers: the classic and natural finish of imported Italian leather, the free-flowing contoured design of epi-leather and the geometric heat-pressed calfskin to conceive the perfect distribution of a minimalist, yet complex aesthetic.
To protect your RFID enabled credit cards, we embedded a metal fabric within the outer leather panel of the wallet. Both compartments can be utilized to hold RFID enabled credit cards, movie tickets, receipts or any other personal belongings.
Click here to Buy Now: $47.00 $75.00 *For only 24 hours*
Just after the release of B&O Play’s entry-level speaker, the M3, we spoke with Jakob Kristoffersen, the brand’s Concept and Design Manager. The speaker was an expansion into new territory for the brand, but it embodied all that we love about Bang……
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London-based Aaron Taylor is super-smooth and slick on his new track, “Jaded.” Taylor not only oozes vocal soul, he also wrote, produced and played keys for the song. Part cautionary tale, the lyrics focus on staying authentic and hopeful in the cut……
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Leeds United Football Club has abandoned its new crest, which was revealed last week, after more than 77,000 people signed a petition calling for the club to rethink the design.
The controversial redesigned crest features a torso with a fist placed against the heart – depicting a gesture known as the “Leeds salute” that is widely associated with the club.
Despite consulting over 10,000 people, the first change to the club’s badge since 1999 received an overwhelming negative response. This lead to to the club appearing to rethink the new design, the day after it was unveiled.
Now Leeds United has abandoned the design and is calling on fans to submit creative designs for a new crest.
“We would like to thank our loyal fan base for the overwhelming engagement on the future of the club crest,” a statement on the club website said.
“We have seen a great number of designs and ideas, and to ensure every fan can have their say, we are calling on supporters to share your inspiration for the new crest.”
Following consultation, fans will be able to vote on a shortlist of designs, with the new crest set to be unveiled by the end of February 2018.
“Using your ideas as inspiration, a small shortlist of refined designs will be chosen by fan panels and then go to a democratic vote amongst all our season ticket holders and members on Wednesday 21st February, with our new crest announced by the end of the month,” said the club.
However, in a move that may anger designers, these designs would then become the property of Leeds United according to the statement.
“Supporters understand that by submitting creative, this [any submissions] will become the intellectual property of Leeds United,” it reads.
This will be the 11th time that Leeds United has changed its crest in the 99-year history of the club.
Other football clubs that have recently redesigned their crests include Italian team Juventus, which unveiled a minimal crest that became the subject of widespread criticism.
The post Leeds United scraps redesigned crest and launches search for new design appeared first on Dezeen.
This 599-metre skyscraper in Shenzhen by architecture firm Kohn Pederson Fox is punctuated by “sky lobbies” and crowned by an observation deck offering the loftiest views in the city.
Located in the Futian business district, the glass and stone skyscraper is the headquarters of Chinese insurance company Ping An.
The Ping An Finance Centre has 100 floors of offices for the company’s 15,500 employees, as well as an observation deck – which is expected to receive 9,000 visitors daily.
At 599 metres, it is the fourth tallest building in the world – falling behind Dubai’s 828-metre Burj Khalifa, the 632-metre Shanghai Tower and the 601-metre Makkah Royal Clock Tower in Mecca.
Chevron-shaped columns define the four corners of the skyscraper, which narrows towards the faceted enclosure of the viewing deck at its summit and broadens where it meets the street below.
The tapered form of the stone and glass building is designed to reduce wind load on the structure by 40 per cent. Stainless steel piers have also been implemented to help the structure withstand Shenzhen’s typically wet climate, and deter lightening strikes.
Shops and a large conference lobby occupy the five levels that stagger away from the building to form the podium level.
Hoping to create an “amphitheatre-like” atmosphere, Kohn Pederson Fox (KPF) completed this area with a central atrium and glazed walls to fill it with natural light.
The Ping An Finance Centre was completed in December 2017, following seven years of construction work.
At 599 metres, it falls just shy of entry to the megatall category – which includes buildings of 600 metres or more.
KPF is behind some of the world’s tallest structures. Last year the firm completed a 530-metre skyscraper in Guangzhou, which is the second-tallest skyscraper in China, and later the 555-metre high Lotte World Tower in Seoul, which ranks overall as the world’s fifth tallest building.
KPF is also currently planning the construction of the 68-storey Brooklyn Point Tower, which will be the New York borough’s second-tallest building.
The post KPF’s Shenzhen skyscraper is now fourth tallest in the world appeared first on Dezeen.
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