What Marvel Movies Look Like Without Special Effects

Part of the reason Marvel movies work so well is that their visual effects are so seamless that we can rarely tell the difference between the parts of a scene that are real, and those that have been digitally enhanced. But looking at the behind-the-scenes action for each movie, it becomes clear just how differently the MCU might look if not for the talented artists who turn each shot into stunning and impossible action fare. Here’s a look at how some of your favorite Marvel movies would have looked without the magic of special effects…..(Read…)

First Footage Of Deep-Sea Anglerfish Pair

Anglerfish, with their menacing gape and dangling lure, are among the most curious inhabitants of the deep ocean. Scientists have hardly ever seen them alive in their natural environment. That’s why a new video, captured in the waters around Portugal’s Azores islands, has stunned deep-sea biologists. It shows a fist-size female anglerfish, resplendent with bioluminescent lights and elongated whiskerlike structures projecting outward from her body. And if you look closely, she’s got a mate: A dwarf male is fused to her underside, essentially acting as a permanent sperm provider…(Read…)

Thermal Video Of Gasoline Fumes

This demonstration will hopefully expose you to the dangers of smoking while at the pump…(Read…)

The Fifth Element Weather Machine $54,000

“The Fifth Element is an intergalactic horological weather station enabling accurate weather forecasting even when the power goes down. Four (UFO) elements: clock, barometer, hygrometer, and thermometer combine in a mother ship (with Ross, the alien pilot) to create an entity much larger than the sum of its parts: The Fifth Element.” Cool design! It is priced at around $54,000!!..(Read…)

Picture of day:  Zebra Flight

Made by French digital artist Julien Tabet…(Read…)

Headland House by Atelier Andy Carson features cantilevered rooms looking out to sea

A series of extruded volumes face specific views of the coastline and farmland surrounding this house in New South Wales, Australia.

Headland House by Atelier Andy Carson

Sydney-based studio Atelier Andy Carson designed Headland House for Beau Neilson – the daughter of art patron Judith Neilson and billionaire Kerr Neilson – and her husband.

The couple’s brief for the property stated that it should provide an elegant, comfortable residence for all conditions, with a two-bedroom guest house also on the site.

Headland House by Atelier Andy Carson

The house is positioned on top of a hill on a 150-acre site where a ridge connects the Illawarra escarpment to the sea. From its elevated position, it looks down towards Werri Beach and Gerring Bay.

Green pastures and paddocks for dairy cows extend along one side of the property, while another side is lined with rugged cliffs.

This eastern boundary was given to the community by the owners to allow public access to the headland and the final section of the Gerringong to Kiama Coast Walk.

Headland House by Atelier Andy Carson

The building comprises a group of metal-clad volumes that wrap around a protected courtyard, with fingers at each end extending toward specific views of the ocean and agrarian landscape.

“The 180-degree views and breathtaking backdrop called for a respectful celebration of the location,” said a statement released by Atelier Andy Carson.

“Instead of providing the same view throughout the house, the design creates considered framed glimpses of what lies outside.”

Headland House by Atelier Andy Carson

The four-bedroom main house extends in an L-shape around the courtyard. The remaining edges of the sheltered outdoor space are flanked by a timber-clad garage and a robust stone wall.

The courtyard contains a pool, a lawn and a patio areas lining the two volumes containing the open-plan living area and bedrooms.

Headland House by Atelier Andy Carson

At one end of the living space, a full-height glazed wall and balcony look out towards the beach. This space occupies a funnel-like protrusion that cantilevers over the hillside and is supported by angled pillars.

The end of this gabled structure is fully glazed and incorporates operable copper louvres that can be adjusted to any angle, or opened fully to optimise the view from inside.

Headland House by Atelier Andy Carson

A covered outdoor passage connects the communal spaces with a separate block containing the bedrooms, including a master suite accommodated in a second protruding volume.

Headland House by Atelier Andy Carson

The nearby guest house is clad in corrugated black metal and features a gabled form intended to recall a typical farm shed.

The guest house’s simple plan accommodates a dining area that aligns with large decks on either side, allowing its occupants to follow the sun or find shelter from the strong sea breezes.

Cantilevered homes are being building all across the world. In Japan Masato Sekiya created a holiday home that cantilevers over a river bank, while in Peru Cheng + Franco Arquitectos designed a house with three Corten-clad volumes balanced above a grassy bridleway.

Photography is by Michael Nicholson.


Project credits:

Architect: Atelier Andy Carson
Project team: Tom Potter, Catherine Bailey-Smith, Alvin Tsang
Head contractor: Bellevarde Constructions
Structural engineer: Ken Murtagh
Landscape architects: Peter Glass & Associates
Surveyor: Allen, Price & Scarratts

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Moebe creates flexible shelving system held together by wooden wedges

Copenhagen studio Moebe has designed a storage system that can be assembled without tools and uses wooden wedges to hold its shelves in place.

Moebe, which said it takes an “intelligent and simple” approach to design, designed the flexible system to fit any setting. The designers wanted it to be built without the need for screws and tools.

Moebe creates flexible shelving system that is held together by wooden wedges

Shelves are held together by a set of wedges, which slot up into precisely angled holes in the timber slabs. Rounded steel uprights hold the shelves in place, allowing them to be placed at any height.

As the wedge is pushed in from below, any additional weight on the surface only makes the joint tighter and more stable.

The uprights come in three heights and can be linked together to be extended in both width and height.

Moebe creates flexible shelving system that is held together by wooden wedges

“Using wedges as the key principle gives the users the full freedom to play around with the system, placing the shelves at any given position and fitting it to their specific needs,” said the Danish design studio.

“The clever construction and fine lines give this piece of furniture its refined look.”

The shelving system, which comes in oiled oak and black stained ash wood is the brand’s largest piece of furniture to date and is set to launch alongside a new coat rack and full-body wall mirror.

Founded in 2014, Moebe is run by partners Martin De Neergaard Christensen, Nicholas Oldroyd and Anders Thams.

The studio creates products for both their own brand and others, as well as interior design for private clients and companies.

Moebe creates flexible shelving system that is held together by wooden wedges

“We design based on the principle of creating simple constructions; not glueing, welding, using screws, etc,” said Thams.

“Instead we try to challenge these common ways of constructing products. We strive to reduce our designs to their most simple forms and functions and thereby create design leaning towards the banal.”

The shelving system launched at this year’s Stockholm Furniture Fair, which took place as part of the city-wide festival in February.

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Meet The Comedy Duo Who Got Sued For Pranking The News

When they infiltrated three morning news programs by passing themselves off as a hilariously un-athletic strongman duo, Brooklyn comedians Nick Prueher and Joe Pickett were not the first people to prank TV News…(Read…)

Killing the Bezel means killing the Smartphone

killing_bezel_layout

Mobile phones, and this is irrefutable, have always been about screens. Ever since the first hand-held phone sported a screen, it became singlehandedly the most integral part of the phone. Adding the camera to the mobile phone just catalyzed the screen race… and well, honestly, the race is close to its end… and with it, the golden age of smartphones.


BEZEL = PUBLIC ENEMY NO.1

It’s important, however, to understand how we began hating the bezel. I don’t know who started this movement, but I assume it began somewhere in the corners of Behance when some half-baked designer made a “Concept iPhone” which was literally all screen (I’ve been seeing this since 2012). The movement saw its first milestone when Samsung (pretty much the manufacturer of every smartphone screen) launched their Edge range of phones that curved the screen to the side in a way that opened up new doors for mobile interaction. This got everyone thinking of how this flexible display technology could create a phone that was “all screen”. When mobile phone makers were convinced that their screens were hi-res enough, with pixels barely being visible to the human eye, the Kill-bezel movement truly gained speed. The first to go were the bezels on the side. The upper and lower ones remained for the cameras, sensors, earpieces, and the home-button… until Philippe Starck threw them under the bus with the Xiaomi Mi Mix, followed by Tim Cook exactly a year later, who stepped onto the stage at the Steve Jobs Theater, unveiling before the world, the iPhone X. A phone that was poised to become the benchmark of what new phones should look like.


An “all-screen” iPhone concept that made it to CNET’s website in 2012.


THE NOTCH HOTCHPOTCH – ACT 1

MKBHD makes some pretty astute points in his “The State of Bezels” video. The gist of it is that everyone wants to get to the promised land of a 100% screen to body ratio on the phone’s front. Everyone’s had different ways of overcoming the same obstacles.

There are a couple of components that the front of every phone usually has by default. The display, earpiece, proximity sensor, light sensor (controls screen brightness depending on external light), the front-facing camera, and lastly, in the case of a few phones, the home button/fingerprint sensor. The proximity and light sensors are incredibly small components and usually hide somewhere on the top. The earpiece is a tricky bit, and most phones have made them incredibly streamlined, fitting them in the gap between the glass and the phone. Android’s had the luxury of having killed the home button a long time ago, which made pushing the fingertip sensor onto the back a rather easy decision… but TouchID and that iconic circle below your screen have always been a part of Apple’s image. Pushing that to the back of the phone would present a pretty unique design challenge of visually balancing out Apple’s logo on the back with the TouchID button. Since turning the logo itself into a fingerprint sensor was out of the question (the apple’s non-circular shape wouldn’t read your entire fingerprint, and it would be incredibly tacky), Apple’s design team ditched the button completely for their latest offering, the FaceID… and with it came the infamous notch.

Read our article on the iPhone's strangely satisfying geometry.
Read our article on the iPhone’s strangely satisfying geometry.


THE NOTCH HOTCHPOTCH – ACT 2

The notch, as much as I detest it, is quite remarkable. Not only does it house a rather incredible, impregnable facial tracking system, it’s proven something else. Apple has a bunch of loyal followers… not in the people who buy the phone, but in companies that look to Apple to set trends. Here’s a look at the new wave of phones that were showcased at the Mobile World Congress in Barcelona this year.

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Look at the image above and you’ll realize we’re very soon moving to a future (or we’re stuck in a present) where phones are going to start looking eerily similar. Ten years ago, phones had bezels big enough to even sport the company’s branding, but now all they can afford the space for, is a front-facing camera, and probably an earpiece. MKBHD states that the notch itself is an intermediary phase, while manufacturers and designers figure how to attain the full-screen look. Each company treats it differently, with Samsung ditching the notch for a slick bracket shaped design, and the Essential phone having that little tongue, or like the Xiaomi Mi Mix that actually puts the camera on a bezel at the bottom, leaving the top completely bezel-less. My point is that no matter how marginally different phones look today, each and every brand is looking at the exact same future. One where all you see on the front is a display… But we’ve still got to do something about that front-facing camera.


SO… THAT FRONT FACING CAMERA NOW

I’d like to think that nothing truly is impossible with phone design. Apple tried long and hard to integrate the TouchID into their displays, letting your screen read the fingerprint, but they failed to do so, hence the FaceID (which numbers indicate turned out to be a resounding success). Later in the year, Chinese manufacturer VIVO showed that having an in-screen display was possible with the X20 Plus UD, which debuted at CES 2018 (a CMOS sensor sits under the display, virtually invisible when your screen is on)… and at the Mobile World Congress, showcased a prototype of a concept they were working on, the Apex, the first phone to have nothing except screen on the front. It used VIVO’s in-screen fingerprint technology, and the front-facing camera sat on a component that slid out the top of the screen (a lot like the in-built flash on a DSLR), and back in when you closed the camera app.

vivo-apex-concept-mwc-4

Now, this isn’t really the definition of practical. Yes, it means your camera isn’t snooping on you, but any tech person will tell you, moving parts are a BAD idea. They’re the first to fail with excessive usage. Look at laptops for instance. The first thing to break is almost always the hinge. The Apex concept however does boast of the highest screen to body ratio ever, and Spanish company Doogee has a similar concept phone in the pipeline.

Interestingly enough, the SVPER phone concept popped up on our radar in 2015, and the designer does what I can only describe as the best way to integrate+hide the camera.

svper_04

The SVPER concept phone hides a front facing camera under a transparent AMOLED. When you want to click pictures, the part of the display directly above the camera switches off to reveal the lens. The camera, therefore, stays hidden from view in normal use, creating a stellar full-screen, no bezel experience. This is in a lot of ways much like what VIVO does with its in-screen fingerprint reader, so a future where the SVPER phone exists isn’t far off. Now let’s examine why this is such death-knoll for your smartphone.


SMARTPHONE? OR SMARTCLONE?

Let’s time-travel to the future. It’s 2019 and the all-screen phones are finally here. They feel great and everyone has one… but then it’s the end of 2019 and a new phone releases, but wait. It looks exactly the same as the one you already have. All that Jonathan Ive can say in the iPhone launch video is that the “new iPhone is the best we’ve built… because it’s now thinner.”

A world where all phones have only a screen on the front would be like a world where all cars look exactly the same but just feel different on the inside. Brands would struggle to make their phones stand out, and customers would be truly baffled because all phones look the same. It begins a desperate feature war. The phone with longer battery life, the phone that bends, the phone that reintroduces the headphone jack (a transparent phone is never going to happen so forget about it). Everything now is a gimmick because we’ve successfully homogenized the phone, so visually, there’s no reason two phones say within the same Android ecosystem would look any different. And THAT’s a BIG problem. We’ve tried the megapixel competition. The Nokia Lumia 1020 had a 41-megapixel camera and it absolutely tanked, but in the same year, Apple launched the Retina screen and it was a runaway hit. Screens have grown as big as they can and as clear and vivid as they can, so killing the bezel is the logical last step. And since phones now look the same with just minor feature variations, phone sales will take a dip as designers scratch their heads and go, “now what?”. Oh! Icing on the cake… your all-screen phone is going to have a disappointingly bad battery life because displays are notorious battery guzzlers.


SO… WHAT’S NEXT?

Experts have long predicted the downfall of the smartphone, with wearables being the future. As ominous as it may sound, your health and medical data are of immense value (to you as well as the medical industry), which wearables are poised to gather, aside from the data you contribute through your smartphone use and your browsing habits. There have been instances where these wearables have saved and improved the quality of lives (if you remember the heartwarming Apple Watch video from the September 2017 keynote), but it’s truly a fine line. Choosing to surrender your data for a better and hopefully longer life is a massive decision that everyone will have to take in the long run, and with the current state of affairs, I can only hope that data will be much more secure than others. Not that I mean to trash wearables, but the future is definitely in being able to provide an IoT experience that can help you live not just a more connected life, but rather a better and healthier life.

Before that really kicks off, there’s enough reason to believe 2018 and 19 will be a glory era for visual interface and experience designers. The immediate homogenization of the smartphone will spark what I can only describe as a race to be different. If you’re a UI UX designer, bolster up because the mobile industry may just absolutely explode in a year or two. Stock OS for mobiles is sure to become less appealing to phone manufacturers who will want a ‘personal touch’ on their phone’s interface because physically each phone looks the same.

I can’t really remember where I heard this, but the bezel isn’t the only thing that’s been dying. Silently, yet surely, companies have been killing off the keyboard too. Realizing that your voice is the best and most natural way to interact with your machines, the rise of Voice-powered AI has helped create a more human-like tech experience, as we move to a very Spike Jonze-ish future where we don’t type things out or touch icons on screens, but simply run services and programs by talking to our AI. Maybe the smartphone won’t suddenly lose purpose once it becomes the bezel-less device we’re seeing it turn into. Humans love looking at screens, but humans love companionship more, which is probably the only way to keep smartphones alive in the long term. The smartphone may just seamlessly transition from a piece of tech in your pocket to a digital assistant or friend that you talk and listen to in the long run. It’ll be interesting to see the transition from this visual-heavy experience to something that’s multi-sensory and feels more ‘real’ (and also to see how many brands make it this far as well as how they compete with one and another)… as for that phone? It won’t be a smartphone anymore. It’ll be so much more… but until then *points iPhone notch at my face* “Let me take a selfie”.

The Siren Hotel by ASH NYC calls visitors back to Detroit

Original features of a historic building in Downtown Detroit, like travertine floors and plaster ceiling details, were preserved during its conversion into a hotel.

The Siren Hotel is opening this month, March 2018, inside the Wurlitzer building – designed by local architect Robert Finn in 1926 and located just off the city’s Grand Circus.

The Siren Hotel by ASH NYC

The former office building, which was also once home to one of the largest music stores in the world, has been overhauled by design development firm ASH NYC with the help of Quinn Evans Architects.

It joins a roster of regeneration projects in the city, which saw a rapid urban decline during the second half of the 20th century after the motor industry left, but is now experiencing a revival.

The Siren Hotel by ASH NYC

“The name, The Siren, is inspired by the Greek mythological creature and acts as a metaphor – calling people back to the city of Detroit,” said a statement from the hotel team.

Housing 106 guest rooms, the 55,000-square-foot building also includes seven dining and drinking areas, two retail spaces, and a rooftop with impressive views.

The Siren Hotel by ASH NYC

The character of the Wurlitzer has been kept as much as possible but updated with pastel colours and rich materials.

“Inspired by the old-world hotels traditionally found in the Motor City, The Siren Hotel has been re-interpreted in a contemporary way,” the team said.

The Siren Hotel by ASH NYC

A mid-green hue is used across panelling in the reception area and Populace coffee bar in the lobby.

In the bedrooms, off-white walls soft pink and navy blue upholstery. Custom woven blankets on the beds were designed by graduate students from the nearby Cranbrook Academy of Art.

Speckled terrazzo with base colours of red, green or blue is used for tiling in the showers, across the floors and basins.

Furniture comprises a mix of custom pieces by ASH NYC, vintage finds and work sourced from local designers.

The Siren Hotel by ASH NYC

Counters, tables and stool made from oxblood-coloured marble feature throughout the building.

The Siren is ASH NYC’s second hotel, following The Dean in Providence, Rhode Island, which opened in April 2014. The company also has plans to redevelop a church, rectory, convent, and school buildings in New Orleans into boutique accommodation.

The Siren Hotel by ASH NYC

Other projects that signal Detroit’s renaissance include a scheme involving two glass towers by Schmidt Hammer Lassen, and SHoP Architects’ replacement for the historic Hudson’s department store.

Photography is by Christian Harder.

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