Martin Jakobsen has created a range of glassware for bartenders in search of unique props, including a drinking glass shaped like a pumpkin and a vessel designed for smoking cocktails.
Czech designer Jackobsen designed and made the two pieces in his studio, and intends them to be used by “open-minded bartenders seeking something special”.
The first, named CuCu, is a drinking glass inspired by the slumped shape of a summer squash in a vegetable patch. A drinking straw is inserted through the glass top, which curves gently upwards.
Jakobsen describes the CuCu glass as an “experiment in glass technology”, basing the design on finding new ways to style food. As each glass is handmade, each one looks slightly different.
CuCu is joined by Duplex – a glass designed specifically for cocktails that use dry ice, which Jakobsen notes are a current trend in the drinks industry.
Resembling a set of two round laboratory flasks, the Duplex features an inner drinking glass suspended within a larger outer a glass that can be used for dry ice. Each glass has its own opening – one for liquid and one for smoke.
“A few years ago I came up with the idea of unconventional glassware for bars, hotel, restaurants, I work primarily with the spherical shape and its variations,” the designer told Dezeen.
Other quirky takes on cocktail glasses and barware include a minimal cocktail set by ÉCAL graduate Emilien Jaury that is based on traditional glassblowing techniques, and a range of laboratory-style glassware by Tom Dixon designed to make the process of preparing hot drinks look like alchemy.
Le photographe allemand Florian Wenzel présente un étonnant récit visuel de son voyage de 40 jours à travers les paysages magnifiques de la Nouvelle-Zélande. Wenzel, qui a travaillé avec des clients tels que Canon et Parajumpers, capture parfaitement la beauté sauvage de ce pays étonnant. Des montagnes aux sommets recouverts d’arc-en-ciel aux bateaux qui traversent des eaux tranquilles, la photographie de voyage de Wenzel nous transporte avec succès dans un autre monde. Plus de son travail ici et Instagram.
Photographer Jose Manuel Ballester provides an intimate look inside the Norman Foster Foundation in Madrid for his book Spaces, detailing the architect’s vast collection that ranges from a car owned by Le Corbusier to a model of Apple Park.
Founded in 1999, the Norman Foster Foundation supports the development of the new generations of architects, designers and urbanists via interdisciplinary programmes and projects designed to encourage them to research the future of cities.
North view of the pavilion, with the Voisin G7 Lumineuse car once owned by Le Corbusier and Storm Prototype II by Iñigo Manglano-Ovalle, both reflected in the vitrine and ceiling. The photographs, on loan from the Le Corbusier Foundation, show the car in the context of his architecture
Holding over 74,000 objects dating from 1950 to the present day, the Foundation’s archive, library and study spaces are housed in a historic former residential palace on the Calle Monte Esquinza.
Details of maquettes for Foster + Partner’s Apple Park, with a model of the final version in the foreground
A pavilion built in its courtyard was designed by Norman Foster’s studio within the foundation.
Made from glazed walls that support a fibreglass roof, the single-storey structure is used for programmes and events, as well as housing a collection of items that have personally inspired Foster throughout his career.
The Heritage Gallery, with models showing the evolution of the design for the eagle in the Reichstag in Berlin, Germany (1999)
Jose Manuel Ballester‘s book, published by the Norman Foster Foundation, includes a foreword written by Norman Foster himself and over 120 pages of colour photography of the foundation, which opened in June 2017.
An inside view of the Heritage Gallery, including the intervention model of the Great Court of the British Museum in London, UK (2000) on the left, and models of the Reichstag renovation to the right
Ballester was given free reign of the expansive archives, photographing displays of design objects and architectural models, framing what Foster described in his foreword as “unpredictable perspectives” of the collection in situ.
Framed drawn proposals for projects from the 1970s line the walls of the archive, including pieces from collaborations between Foster and Fuller
“First, I wanted to register the spaces as a whole,” Ballester told Dezeen. “And second, I focused on the most relevant works of Norman’s extensive career and how they appear within the circuit traced by the foundation, always keeping its context and in the same way with the most appreciated objects that the foundation houses.”
A detail of Foster’s drawing for the Samuel Beckett Theatre, designed with Buckminster Fuller, alongside a selection of student-era drawings and early projects
A cloud-like metal sculpture by American artist Iñigo Manglano-Ovalle hangs over a car once owned by architect Le Corbusier, which Ballester frames surrounded by their reflections in the ceiling and glass vitrine.
A view of the library in the Norman Foster Foundation in Madrid
A view of Foster Lab showing cross-section maquettes, with Chateau Margaux winery mock-ups mounted on the wall and refurbishment options for the Foundation’s coutyard pavilion
Views of different gallery spaces and the pavilion reveal the huge volume of architectural models and drawings in the collection, including and the 1999 redesign of the Reichstag in Berlin.
One gallery is given over entirely to models from all of the airports Foster has worked on.
Cars and models of planes line the west wall of the pavilion
Drawings from Foster’s student days are presented alongside drawings from a 1970s collaboration with architect Buckminster Fuller on the Samuel Beckett Theatre, a subterranean project beneath an Oxford college in England that was never realised.
Mostly Ballester shot the scenes as he found them, using Phaseone IQ 80 and Canon EOS 5 D Mark iV cameras, and occasionally his smartphone.
The north view of the Norman Foster Foundation headquarters in Madrid, Spain, including the study centre and new pavilion, which was designed by Norman Foster in 2016
“Normally I take photos as I find the objects because it was very important to respect the position at the foundation, but the foundation has a great number of activities, changing continuously, that’s why I had to adapt to the circumstances,” he said.
“The number of objects is so diverse as regards as Norman’s legacy and those objects that have been significant to him, that’s why I had to use different cameras and a varied number of lenses.”
View of the main foyer from the pavilion through the door, with cabinets containing artworks and geometric design objects to the right
The book provides an insight into the Foundation’s archive, which provides is a unique resource and is central to its mission.
The headquarters were established as a separate entity from Foster + Partners in order to provide a permanent home for the archive, and to create a study centre for the student and graduate beneficiaries of the foundation to base themselves in Madrid.
Glass panels on the corner of this residence pivot aside, opening the double-height living space to its waterfront site in Virginia.
<img class="alignnone size-full wp-image-1186831″ src=”https://static.dezeen.com/uploads/2018/02/contemporary-river-house-3north-architecture-virginia-usa_dezeen_2364_col_10.jpg” alt=”Contemporary River House by 3north” width=”2364″ height=”1576″ />
Located in Matthews County, the simple Contemporary River House encompasses 800 square feet (75 square metres) and is positioned on sloping terrain leading down to the water.
“The objective was to create a streamlined, minimalist space that included an open living area, modestly sized master suite, and thoughtful storage options,” said 3north, a studio based in Richmond and with offices in San Francisco.
The home is reached via a long driveway, which leads to a parking courtyard framed by the house and an adjacent barn. “Here, the waterfront is deliberately obscured, creating a slow reveal that delivers its payoff inside, where a 17-foot (5.2-metre) glass wall frames a striking river view,” the firm said.
The ground floor is divided into a double-height kitchen, living and dining room on one side, and a bedroom and bathroom on the other. One corner is fully glazed, with pivoting doors at the base that allow the entertainment space to extend outdoors when open.
This area is covered by the broad roof that extends beyond the building’s external walls. “The porch is covered by the roof’s 16-foot (4.9-metre) overhang, which triples the home’s living space and facilitates entertaining,” said 3north.
A flight of metal stairs leads up to the master suite, which occupies the partial second floor, and has its own ensuite. A few steps away from the house, the architects located a swimming pool and a freestanding pool house. This contains separate guest quarters, providing visitors with more privacy.
Materials used inside follow the home’s minimalist aesthetic. White wooden planks clad the walls, matching the roof’s exposed structural joists. The architects chose concrete for the floors, while the natural wood of the kitchen cabinets provides contrast to the muted tones.
Black siding panels, laid horizontally, form the exterior cladding. “When viewed from the river, the black siding gives the impression that the house is receding into the landscape,” the team said.
General contractor: Connemara Corporation Structural engineer: Fox + Associates PC cabinetry: Freeburger Custom Cabinetry Stucco: James River Stucco Painting: HJ Holtz & Son Pool: Ultimate Pools
As we near the end of our series celebrating Palm Springs’ mid-century architecture, coinciding with the city’s Modernism Week, here’s a look at the chalet-esque houses that Charles DuBois designed to stand out from their neighbours.
The Swiss Miss Houses were built in the Vista Las Palmas neighbourhood of Palm Springs, which was undergoing development in the 1950s by builder Joe Dunas and the Alexander Construction Company – the local firm also behind Donald Wexler’s prefabricated homes.
Modernist American architect William Krisel had completed a number of homes in the area with his famed “butterfly” roof, and flat roofs that had become typical to designs in Palm Springs during the mid-20th century. But when Dunas tasked Krisel to design homes that could be distinguished from this trend, he apparently rejected the offer.
The builder then turned to architect Charles DuBois, one of modernist architecture’s lesser-known figures.
Photograph by Dan Chavkin
Fulfilling the developer’s wish, DuBois designed his collection of Swiss Miss Houses as low-lying, one-storey residences sliced by dramatic A-frame roofs that rise straight from the ground.
The pitched frames span the full width of the residence, creating covered porch areas at the entrance and shaded terraces at the rear facing towards the pool.
Photograph by Dan Chavkin
Inside each house, the structure forms a double-height spaces for the main living areas, while the rest of the facilities occupy the single story volumes on either side.
While drawing a strong distinction to the surrounding modernist homes, there is much debate about where DuBois gained his influence for the design. The shingle-clad gabled roof is often said to resemble those above ski chalets in Switzerland, designed to enable snow to drop off.
Another interpretation is that DuBois employed the roofline to follow a trend for Polynesian-influenced design, which emerged in popularity in America during the post-war period. More commonly featured in bars and restaurants, the style known as “tiki” proliferated as American serviceman returned from stints in the South Pacific.
The Swiss Miss houses also have much in common with typical modernist buildings. An abundance of glazing and the use of natural materials to blend in with the surroundings – like stone used for chimney stacks – are both traits shared with the movement.
There are reportedly 15 Swiss Miss Houses remaining today in Palm Springs’ Vista Las Palmas, which was home to some of Hollywood’s biggest stars during the 1950s. Marilyn Monroe, Dean Martin, Peter Lawford, Joan Collins and George Hamilton are among the celebrities who resided there.
The neighbourhood has also become a popular tourist attraction due to its eclectic mix of modernist designs in the desert city.
Photograph by Tom Blachford
Palms Springs is often regarded as a mecca for mid-20th century architecture and celebrates its status during the annual Modernism Week.
To coincide with this year’s event, running from 15 to 25 February 2018, we’re featuring the most important buildings in the city each day – including works by famed modernist architects John Lautner, E Stewart Williams and Albert Frey.
Photography is by Jim Riche, unless stated otherwise.
1. “Black Panther” Pays Homage to Several African Cultures Marvel’s “Black Panther” costume designers Ruth Carter and Hannah Beachler pay homage to several African cultures through their work in the film. It was a process aided by extensive research……
Space Copenhagen has re-introduced original features and furniture as part of a comprehensive refurbishment of Arne Jacobsen‘s iconic Royal Hotel, which is nearing completion in the Danish capital.
The project involves the renovation of 259 guest rooms and suites, the lobby and meeting rooms, as well as the introduction of a new restaurant at the hotel, which originally opened in 1960.
The building designed by Danish architect and designer Arne Jacobsen for the airline Scandinavian Airlines System (SAS) was Copenhagen’s first skyscraper, and is one of the most familiar and celebrated examples of Danish modernist architecture.
Now known as the Radisson Blu Royal Hotel, it is also famous for being Jacobsen’s gesamtkunstwerk – a project where he oversaw every aspect of the design, from the architecture to the furniture, and even the cutlery used in the original restaurant.
The redesign by Space Copenhagen – a studio established in 2005 by Signe Bindslev Henriksen and Peter Bundgaard Rützou – seeks to modernise the interior while celebrating the existing spaces.
“The hotel is a true landmark for design aficionados around the world,” said Bundgaard Rützou and Bindslev Henriksen.
“Our intention is to preserve its extraordinary character, but we don’t want to turn it into a museum – we want to bring it to life for a new generation.”
Many of the hotel’s original features and furniture are reintroduced in the new interior, including examples of the Egg chair, Swan chair and Drop chair, which Jacobsen designed for the hotel.
Space Copenhagen worked with the manufacturer of the furniture, Danish brand Fritz Hansen, to update the pieces using fabric from Kvadrat‘s range with the designer Raf Simons, and combined these classic designs with a new mirror and chair it created for another Danish firm &tradition.
The furniture takes pride of place in the refurbished lobby, where the architects removed an existing bar and retail space to give greater emphasis to the reception desk and create new areas for guests to relax or work.
Original marble floors have been reinstalled across the ground floor, alongside wood and marble wall panels.
The space was opened up to create a seamless flow between the lobby and the restaurant and bar, with floor-to-ceiling wooden screens used to create subdivisions.
A suspended spiral staircase that is one of the most recognised features of the original interior design has been restored by re-introducing details such as leather-wrapped handrails.
An illuminated halo suspended from the ceiling on the mezzanine floor above the staircase introduces a contemporary element that accentuates the drama of this space.
The hotel’s guest rooms aim to make the most of light and views provided by the horizontal bands of windows wrapping the building.
The architects re-introduced deep marble windowsills to emphasise the transition between the room and view. They also developed the Amore Mirror series, which are used inside the rooms to echo the horizontal sequence of windows.
The rooms are intended to be warm and homely, with upholstered beds and furniture including the Fly Sofa designed for &tradition complementing Jacobsen’s original pieces.
The restaurant and bar on the ground floor have been redesigned to create a more informal atmosphere, featuring flexible seating and less known Jacobsen designs such as the Mayor sofa and Giraffe dining table.
Nine meeting rooms on the first floor aim to provide warm and formal spaces with a domestic feel. The rooms are furnished with the restored Egg and Swan chairs, which introduce colour and texture to the otherwise muted interiors.
Currently, the renovation of the lobby, bar and restaurant, meeting rooms and a number of guest rooms is complete, with the remaining guest rooms and additional renovations set to be finished in spring 2018.
London industrial design agency Morrama has created an aluminium straight razor aimed at millennials, in hopes of reducing waste plastic produced by disposable counterparts.
The Angle razor uses recyclable, disposable blades, and is designed to offer an alternative to disposable razors – 2 billion of which are thrown away each year, according to Morrama.
“Although straight razors are favoured by professional barbers and are widely regarded as giving a cleaner, closer shave, we noticed that there has been little innovation in the area since they were first developed in Sheffield, UK in 1680,” said design manager Andy Trewin Hutt.
“Angle has everything that you would expect to find in a traditional straight razor but we’ve updated the ergonomics and the functionality to make a more versatile and more compact shaving tool for personal use.”
Described by the studio as a “straight razor for millennials”, Angle’s minimal design features a weighted handle that creates a balanced pivot point at the thumb and forefinger for control.
The form of the paddles is designed to bring the user as close to holding the razor blade as possible for a precision trim.
In addition, the studio notes that using a single blade has been proven to reduce skin irritation and ingrown hairs while multiple blades can cause damage to the upper surface of the skin.
The replaceable blades cost less than 10 pence, which – according to the designers – makes Angle significantly cheaper to use than a traditional straight razor, which requires the use of sharpening tools.
Morrama has calculated that someone shaving 3 times-per-week using cartridge razor blades at £3.05 each would spend £79.30 per year or £4,758 a lifetime.
In contrast, the disposable blades, which cost 10 pence each and can be used twice, would cost £7.80 per year or £468 a lifetime for the same amount of shaves.
“We love the ceremony around shaving with a cut-throat razor, and wanted to honour that,” said the studio. “As used in barbershops across the world, the disposable blade straight razor is the choice of professionals – the Angle Razor allows you to recreate the barbering ritual at home.”
In the past, Morrama has worked with startups to bring other people’s products to market. The Angle razor is the London-based agency’s first own-brand product design.
Other designers who have created shaving products include Brooklyn studio Good Thing, who teamed with grooming brand Harry’s last year to unveil a collection of unusual shaving brushes, which include designs made from bobbly cast aluminium, towered stacks of magnets and a wobbly metal ball.
Les organisateurs du Underwater Photographer of the Year Contest viennent d’annoncer les photographes et images lauréates de 2018, avec notamment la nomination de Tobias Friedrich en tant que photographe sous marin de l’année. Les catégories, larges et variées, récompensent un grand nombre de participants.
Alexandre Tissier est un directeur artistique parisien spécialisé en communication et en projets digitaux. Sa dernière série, réalisée pour la campagne de teasing des MTV Video Music Awards 2018. De Eminem à Drake en passant par Cardi B, tous les nominés ont droit à leur visuel pop et créatif.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
© Tobias Friedrich / UPY2018
