Marvelous Prisma Photography

Alexis Dubourdieu utilise des prismes (bague composée de miroirs sur l’objectif) ainsi qu’une pellicule au grain fort pour donner à voir un univers merveilleux unique. Dans le champ de l’abstraction, ses photographies tendent à modifier notre perception du réel. Avec cette série réalisée entre 2012 et 2017, il produit au lieu de reproduire, pour créer la désorientation chez le spectateur. Prisma est une magnifique série, à retrouver intégralement jusqu’au 15 Avril au PCP Laboratoire photographique.





Jaime Hayon's work celebrated in first Spanish retrospective

An exhibition of work by Jaime Hayon is currently taking place as part of Madrid Design Festival,  marking the first time that the Spanish designer has had a retrospective staged in his own country.

Put together by local curator and journalist Ana Domínguez Siemens, the retrospective exhibition is being presented at Fernán Gómez Villa Cultural Centre in Madrid on the occasion of the city’s inaugural design festival, which runs throughout February.

Called Jaime Hayon: From the Imaginary to Real, the exhibition is the first retrospective of the Madrid-born designer’s work to be staged in his home country.

As well as showcasing some of his most famous designs, such as the Monkey Table and skeletal Magis chair, the retrospective aims to take visitors behind the scenes of Hayon’s work to reveal the inspirations and processes that go into creating his art installations and products.

“His work encapsulates an optimistic, pleasant, positive and happy aesthetic, tinted at times with his inquisitive sense of humour and a good dose of irony,” said curator Ana Domínguez Siemens.

“We have tried to express the least known side of the production process, with the ambition of revealing and explaining how products move from fiction into reality.”

Organised across what Domínguez Siemens refers to as “small cabinets of curiosities”, are sketchbooks, old catalogues, books and objects that reveal Hayon’s thought processes

“Specifically, the sketchbooks are extremely eloquent of the designer’s identity and of how his brain works,” she said.

“They show the freedom with which he expresses himself, that he identifies as Mediterranean, Baroque and digital, and speak of the maximalism and grand gestures inherent to his being and that he later shapes and tames to serve up in the right doses.”

Hayon often works with wood, glass and pottery and is known for his use of bright colours, sinuous shapes and bold patterns.

He opened his studio in 2000 and has since worked across a number of disciplines including product design, interior design and illustration.

“Hayon is a serious and rigorous, organised and methodical, designer, who resolves matters of function and the use of the objects he designs effectively and with great attention to detail.” says Domiguez Siemens.

“However, he is also a creator who explores the blurry boundaries between design and art through pieces in which heeding a specific function is absolutely not the main objective.”

Recently, Hayon installed a spinning set of totems at Atlanta art museum, and teamed up with British designer Jasper Morrison to launch a fashion label called Jijibaba.

Jaime Hayon: From the Imaginary to Real is on show at the Fernán Gómez Centro Cultural de la Villa in Madrid until 28 February.

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Stefano Boeri Architetti to design 24-hour schools in Albanian capital

Stefano Boeri Architetti has designed three schools in Albania‘s capital city, Tirana, that will remain open around the clock to double as community hubs.

While schools typically are shut to the public after classes end, Italian studio Stefano Boeri Architetti has proposed making use of the buildings 24 hours a day, 365 days of the year.

After school hours, the three red-brick and white cement buildings that reference existing Italian architecture in Tirana, are intended to be used as cultural venues or to host meetings.

“The school must be open to a new rhythm of life. It must be an active place in all the hours of the day, every day of the year, for everyone, at all ages: grandparents, young people, local associations, creative enterprises, institutions,” said studio founder Stefano Boeri.

The schools will be constructed within the Tirana Master Plan conceived by Grimshaw Architects to cover an area of 15 square kilometres in the north-west of the city.

The largest of the educational buildings, the Kodër-Kamëz School, will combine a nursery, pre-school, middle school and high school facilities across a 11,898 square metre plan.

Don Bosco School will also have a nursery and pre-school education, as well as a middle school and high school in a single building, with a floor plan of 9,812 square metres.

Finally, Shqiponja School will host a nursery, pre-school education and a middle school in a 7,898 square metre building.

The heart of one school will be a planted courtyard-cum-playground, while visuals for another show pockets of greenery dispersed throughout a building with green roofs.

Milanese architect Stefano Boeri and his team are best known for his plant-covered architecture called Vertical Forests, and the plans for the schools show the buildings surrounded by verdant grounds.

Boeri recently attracted attention for his suggestion that planting could be used as a deterrent for vehicle-led terrorism, proposing a system of tree barriers that will be adopted in the Italian city of Florence.

Viennese studio Coop Himmelb(l)au, Dutch office MVRDV, and Danish practice BIG, are all also working on projects in Tirana.


Project credits:

Client: PPP Agikons Construction Company – Municipality of Tirana
Architecture: Stefano Boeri Architetti
Partner: Stefano Boeri
Project director: Francesca Cesa Bianchi
Project leader: Carlotta Capobianco, Jacopo Colatarci, Julia Gocalek,
Team: Jona Arkaxhiu, Orjana Balla, Daniele Barillari, Moataz Faisal Farid, Yulia Filatova, Paolo

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Snowboarding Olympic Gold Medalist Chloe Kim and Jimmy Fallon Photobomb Fans

Jimmy helps snowboarding Olympic gold medalist Chloe Kim photobomb unsuspecting fans taking pictures at Rockefeller Center and unveils her Kellogg’s Corn Flakes cover…(Read…)

Musician Performs an Impressive Continuous Solo on a Really Odd Triple Neck 6-String Bass

Playing a Trriple Neck Bass Guitar… 6 strings in total, but on three necks… One neck is fretless.. This is one of the craziest instruments ever!..(Read…)

Forget the Fidget Spinner, Meet the Fidget Pen

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The person who invited the fidget spinner must have been distracted with they were designing. After all, how is someone who struggles with focus supposed to remember to carry around an extra object with them just so they can focus?! Ok, maybe it’s not that serious of a problem… but it does only makes sense that fidget functionality is married into some of our existing devices! The Fidget Pen is a perfect example.

Integrated into the end of the pen, a finger fidget mechanism allows users to turn the wheels, press buttons and feel the intaglio to their subconscious heart’s content! Because it doubles as a writing utensil, it will have twice the chance of staying with the user. At your desk, it’s a perfect addition to your other utensils and a handy way to get your fidget fix!

Designer: Inyeop Baek

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Playing in the Shadows

Ce court film d’animation créé par Dan Hoopert s’est inspiré d’une capsule de mobilier d’extérieur créée par Ronan et Erwan Bouroullec, intitulée Palissade. En jouant avec les formes, les ombres et les lumières, Dan donne lieu à un ballet rêveur et fascinant. Un très beau travail, très créatif.







Piuarch transforms abandoned aircraft factory into Gucci's Milan headquarters

Italian office Piuarch has converted a former aircraft manufacturing facility in Milan into fashion brand Gucci‘s new headquarters, adding a glazed tower wrapped in metal sunscreens to the rows of the brick-clad hangars.

Gucci Headquarters by Piuarch

The complex of warehouse buildings close to the city’s Linate airport was originally completed in 1915 to house the final assembly plant of the Caproni aircraft company. It was used throughout the first and second world wars, before the company ceased operations in 1950.

Piuarch‘s adaptive reuse project retains the industrial character of the existing buildings, while repurposing them to accommodate Gucci‘s offices, showrooms and spaces for hosting fashion shows.

Gucci Headquarters by Piuarch

The rows of restored brick-clad structures also contain facilities for the company’s graphic design team, alongside photo studios and a canteen and restaurant.

The brick gables are punctured by large windows and glazed doors that provide a direct connection to a central pedestrian axis and allow natural light to flood into the reconfigured interior spaces.

Gucci Headquarters by Piuarch

“Set out in a regular pattern across the site and featuring modular structural bays, the abandoned industrial warehouses with exposed-brick facades generate, thanks to their spatial layout, a seamless interaction between the inside and outside,” said the architects.

Gucci Headquarters by Piuarch

A hangar where Caproni bombers were once assembled was renovated to create a 3,850-square-metre space that is now used to host Gucci’s runway shows.

This enormous hall is linked to a roofed portion of the central street, which creates a sheltered outdoor space at the heart of the complex.

Gucci Headquarters by Piuarch

Other landscaped areas including a tree-lined square, communal garden, patios and green walls offer alternative gathering places for staff and visitors.

Black steel fascias that follow the ridged roofline complement the steel frames around the glazing, creating a contemporary contrast to the aged masonry.

Gucci Headquarters by Piuarch

A six-storey tower covered with a grid of steel sunscreens creates the most notable modern intervention on the site.

The tower’s louvred facades prevent too much direction sunlight from reaching the glazed facades, while the exposed steel surfaces help to tie the scheme together and lend the complex a unique presence in the surrounding cityscape.

Gucci Headquarters by Piuarch

Piuarch’s previous work with fashion brands includes a flagship store in South Korea for Givenchy, featuring panels of moulded steel that form a rippling enclosure around the upper storeys.

Photography is by Andrea Martiradonna.


Project credits:

Architectural design: Piuarch
Structural design: FV Progetti
M&E design: Studio Tecnoprogetti

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The perfect iPhone’s imperfect geometry

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I’ll admit, I hate the notch. I see it as a necessity, and I acknowledge its presence (with red-hot hatred), and I’m sure you do too, but I promise you from this moment onward, you’ll look at it differently. Very differently.

What’s the notch? Or even the screen for that matter? A couple of straight lines meeting at right angles which are then rounded off, or beveled to look aesthetic. That’s what your eyes will have you believe, and honestly, as an industrial designer, that’s the most obvious solution. But when has Apple ever been the company to do the ‘obvious’? Interaction Designer Brad Ellis (and a few designers before him) picked up on a certain detail while closely analyzing Apple’s official design resources. Not a single radius was a true radius, and the notch you look at was in fact, an inverted trapezoid.

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That right there above you, is the screen schematic for the iPhone X. Below you is the screen schematic placed beside its most simplified form, aka, the form you’d build before applying radii. Let’s move on.

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Look closely at the image below and the gif below. There is a difference in curvature, and Apple moves very far from simple fillets/radii. What you’re looking at is a Squircle, a shape that Apple has increasingly begun adopting as an alternative to basic fillets. They do this not only because they’re a company devoted to the art of aesthetic beauty, but also to stand out from the rest. The Squircle, unlike two lines with a curved corner, is much easier on the eyes. “A ‘secret’ of Apple’s physical products is that they avoid tangency (where a radius meets a line at a single point) and craft their surfaces with what’s called curvature continuity.”, says Industrial Designer, Mark Stanton. Squircles can be found on most of Apple’s products today, from the corners of their Macbooks, to the iPad, to the iPhone, to even the Apple Watch. It made its digital debut in iOS7, when icons started employing the Squircle instead of the rounded rectangle. You’ll find some images below to show you the subtle yet rather important difference.

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Now onto the notch. Inverted trapezoid, as I called it earlier. The notch on the iPhone X employs zero vertical lines. In fact, the line you think is vertical, is actually at a 3.3° tilt (so if you’re a UX designer, make sure you watch out! P.S. be sure to use only Apple’s official design resources for your work!), thanks to Apple’s need to be visually pleasing. Because of the curve falloff, one curve doesn’t complete before the next one starts — they blend seamlessly into each other. As a result, no tangent line on this edge actually hits a perfect vertical.

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The Squircle, it can be argued, is probably the reason why Apple’s products look so visually pleasing. The highlights on the corner of the iPhone’s Piano Black variant follow through beautifully with visual continuity that one takes for granted, but is actually the result of a lot of sweating at Apple’s design labs. While I admit that the notch on the iPhone X is far from ideal, Apple’s work with geometry and details is definitely worth taking a page from. It has consistently pushed out products that embody a certain ethos of being a class apart, and has streamlined that approach to reflect in not just the hardware, but also the software. The result? Products that look subconsciously simple and beautiful but are often far from it… and now you know why!

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Image Credits: Brad Ellis & Mark Stanton
You can read the original piece by Brad on Medium and Mark’s breakdown on Hackernoon

A camera and ‘touch-screen’ for the blind!

What a remarkable product the 2C3D is (I’m in love with the name too!). This camera for the blind helps them get a tactile sense of visual data. Taking inspiration from pin art toys, the device is a depth-sensing camera that converts visual data into tactile data, representing forms like faces with a great deal of accuracy. Allowing the visually impaired to touch what they see without actually touching them, the 2C3D is a rather nifty tool to allow the visually impaired to recognize faces, objects, and even perform more nuanced functions like read expressions, lips, etc.

The 2C3D camera also allows the blind to capture images of subjects, saving visual data as a 3D file that can be felt again later, much like flicking through a photo album, but with the magic of depth! Such an incredible little device!

Designer: Oren Geva

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