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Tjep paired light tones with pale wood to create this alternative to traditional “bulky” indoor stoves, for Dutch brand Vuurs.
The stove is part of a range of environmentally friendly wood burners by Vuurs, a Dutch start-up founded by Bram Opdam.
The company tasked Amsterdam-based Tjep with coming up with a design that would modernise the traditional stove and celebrate its technological features.
“[Vuurs wanted to] move the wood stove from something of the past to something that can integrate into a contemporary context,” Tjep founder Frank Tjepkema told Dezeen.
The designer began by looking at the shape of traditional stoves, then stripped this back to create a more minimal design.
Generally, stoves are made from a dark-coloured solid metal, often cast iron or steel, and feature a closed firebox where the wood is set alight.
Instead, Tjep chose to employ a light colour palette to the Vuurs stove, combining shades of soft grey and off-white.
A V-shaped window offers a view of the fire, while four wooden legs raise the stove off the floor. A handle used to open up the front of the heater was swapped for a button.
“Typically these types of stoves are heavy and look bulky in an interior,” Tjepkema said. “Elevating the stove on four legs makes the stove look light but also prevents heat from dissipating into the floor.”
Tjepkema also wanted to reflect the technology and innovation used by Vuurs. The stove is equipped with Internet of Things technology that tracks heating data, and is also able to charge mobile devices by converting the thermal energy produced by the fire into electricity.
“It is actually possible to recharge mobile devices off the heat generated, but also to establish a Wi-Fi connection for the stove to communicate with the Vuurs server – enabling all kinds of data analytics in the same way Nest does with thermostats,” the designer said.
Traditional wood-burning stoves are thought to let off high levels of carbon dioxide that can contribute to widespread pollution and health issues.
The topic has been much-debated of late, with some countries imposing clean air zones and restrictions on when stoves can be lit.
Last year, London mayor Sadiq Khan proposed a ban on the heating systems in the UK capital, while in 2015 the US Environmental Protection Agency banned the production and sale of 80 per cent of the country’s wood-burning stoves currently on the market.
However Vuurs claims its stoves produce emissions “far below the most stringent standards”.
Tjepkema founded Tjep in 2001. Since then, his studio has completed a number of projects ranging from skeletal furniture made from bronze to tables based on the shapes of a genetic code.
The post Tjep designs sustainable wood burner for the modern home appeared first on Dezeen.
For this year’s edition of the Armory Show, Foscarini collaborated with Hotel Americano to furnish three pop-up lounges at the Armory Show. Inspired b..
Catello Gragnaniello est un designer graphique et artiste spécialisé dans le digital basé à Naples. En utilisant le graphisme 3D, il a réalisé le projet intitulé « Abstract ». On y découvre des formes géométriques à la texture ou l’apparence étonnante et aux couleurs pastel. Le rendu est aussi beau que mystérieux. Son travail est à découvrir sur Behance et sur Instagram.
Ornately painted walls, velvet furnishings and a pair of olive trees create a decadent setting for this Italian restaurant within an early 20th-century cinema, in Sweden’s capital.
Local practice Millimeter Arkitekter transformed the neglected cinema into an Italian eatery with a “grand and familiar character”, which honours the building’s historic quirks.
Now L’Avventura restaurant, the cinema was designed by Swedish architect Björn Hedvall in 1927. It sits at a busy intersection where developer Stureplansgruppen are planning to open two further restaurants.
“We tried to create a new interior with its own design language that could stand for itself, and at the same time speak well with the existing interior,” Tina Marin, interior architect at Millimeter Arkitekter, told Dezeen.
The practice chose to preserve the venue’s stucco ceilings and decorative walls, which are painted with classical murals by Swedish artist Nils Asplund.
Restoration works over recent years meant that both features were in good condition for Millimeter Arkitekter’s intervention.
A pair of mature olive trees from Italy were planted at the centre of the main dining hall – which has a 20-feet-high ceiling – to help create a more intimate ambience.
“We made many spectacular sketch proposals, but in the end everyone that worked on this project felt that two huge olive trees would give the right feeling, and would work well with the Italian concept,” Marin explained.
Smaller saplings also stand alongside the dining booths that line the periphery of the room.
Keeping to a rich colour palette, the architects specially crafted red velvet chairs to curve around each table. Forest green tiles have been used to complete the restaurant’s open kitchen, which has been placed where the cinema’s film screen once was.
The practice also employed glass to create tall shelving units for L’Avventura’s two bar areas, ensuring visitors can still get a glimpse of the distinctive walls.
Millimeter Arkitekter are one of several practices that have recently given a restaurant an opulent appearance.
Space Copenhagen used plush velour and moody tones to create a “dreamy” cocktail bar in the Danish capital, while Dimore Studio applied touches of velvet, brass and marble to the rose-tinted interiors of a restaurant in west London.
Photography is by Andy Liffner.
The post Millimeter Arkitekter transforms Stockholm cinema into L’Avventura restaurant appeared first on Dezeen.
Designed with an aesthetic that’s instantly memorable, the Karlmann King SUV is a “Ground Stealth Fighter” with a design that one could characteristically and literally describe as edgy. It ditches the organic, aerodynamic design that most cars go for, and opts for something polygonal and frankly, beastly.
Created by a worldwide team of nearly 2000 designers, developers, and engineers, the Karlmann King SUV is based on the Ford F-550 chassis and packs a 6.8-Liter V10 gasoline engine. Each automobile is hand-made, requiring 30,000 painstaking man hours to piece together. Made to look like an absolute monster, the exterior is crafted from carbon fiber and sheet steel, with an optional bulletproof coating. With that sort of armor and aesthetic, the Karlmann King is the kind of vehicle you’ll look at with feelings of awe coupled with a hint of fear. The price of that feeling?? Close to $4 million.
Designer: Karlmann King
Israeli designer Meir Guri has used dusty pink and multicoloured marble tiles to ensure this restaurant stands out against its shopping centre setting in Tel Aviv.
Cafeteria is located at the main entrance of the Gindi Fashion Mall, which opened March 2017 in the city centre.
The restaurant comprises an open-plan dining room with a series of bars, booths, and smaller dining tables arranged around a stepped floor plan.
An atrium-like space is filled with various plants and brass hanging pendants. Natural light enters through the large floor-to-ceiling windows that surround the retail complex, designed by Israeli firm Moore Yaski Sivan Architects (MYS).
“When I saw the site, I wanted the cafe to be seen from the street outside the mall,” said Guri. “I thought it should have a different colour and texture, so it sticks out visually.”
Interior walls are covered in wood panelling and painted a dusty pink colour to add warmth and texture.
The distinct shade of pale pink, which has become known as Millennial pink, is a popular choice for restaurant interiors completed over the past few years. It can also be found at The Botanist restaurant by Ste Marie in Vancouver, an opulent member’s only supper club by Dimore Studio in London, and ATX Cocina with its curved timber ceiling by Michael Hsu in Austin.
“I thought using a deep shade of antique pink was the solution, so the eye could easily differentiate the cafeteria from the rest of the mall,” said Guri. “I feel there is something very elegant and adult about this colour, it sends a very ‘established’ and powerful message.”
At Cafeteria, lightbox signs with words “cafeteria” and “toilets” add a playfulness to the eclectic space.
Floors are made from second-hand marble, cut into different shapes and sizes. The mosaic floor includes colours of dark jade, orange, yellow, cream, white, grey and black.
The project’s limited budget caused Guri to think resourcefully about the design. “It was really important to me that we used marble for the flooring, but the budget simply didn’t allow it,” he said.
“After visiting some marble factories, a solution surfaced very quickly in my head: I will buy all their leftovers and loose cuts for a fraction of the price, asked them to cut it into different triangular shapes and sizes,” said Guri. “I assembled the floor randomly on site with a wonderful and very patient marble workman.”
The deep, warmer tones of the floor contrast with the pink walls and royal blue upholstered benches, while golden metal and white marble accents help to tie different areas of the space together.
A reference for the interior came from late Italian designer Gio Ponti, whose work often featured bold geometries and rich materials. “I am a fan, and find his work classic but also daring,” Guri said.
Photography is by Yaniv Eddy.
The post Pale pink and mismatched marble decorate Tel Aviv cafe by Meir Guri appeared first on Dezeen.
Never thought you could put a chess set in your back-pocket, right? I mean, sure you could download a chess app, but where’s the fun in tapping at a screen as opposed to actually moving chess pieces? Innovo’s card chess set was literally designed to fit a game of tactile chess into your wallet! The 3D printed card-shaped, card-sized design comes with everything you need, from a board to all 32 chess pieces. Just snap the pieces right off their support structures (you differentiate the black and white players by the holed and non-holed pieces) and plug them right into the board. The board doesn’t come with the checkered pattern but it does have a grid made on it, so your gameplay won’t really get affected. It even comes with additional slots outside the board to dock pieces that have been eliminated from the game.
The Card Chess Set is great for carrying around and using in what I can only assume is an unexpected chess-based-emergency… or just showing off, to be honest! My only gripe is that you don’t really have any place to keep the chess pieces after your first game, since you’ve snapped them off their support structures. Anyone got any solutions?? Let us know!
Designer: Kiriakos Christodoulou (Innovo Design)
La Shirl Turner’s work revolves around the details of automobiles that don’t always receive as much glory but are arguably some of the most important facets of them. As the Head of the Exterior and Interior Color and Materials at Fiat Chrysler, or FCA for short, Turner’s design work incorporates not only color and personality into a vehicle, but also a sense of comfortability through careful material selection. In our recent interview with Turner, who will serve as this year’s Core77 Design Awards Transportation Jury Captain, we discussed her favorite parts about the job and why she wants to help inspire young girls to pursue careers in automotive design.
Wow. How do I make this story short? I am from Detroit, so basically I grew up around cars and this whole automotive industry world. So actually, growing up I was all about looking at cars in magazines, I was attracted to the colors of the cars on the covers. You know, where a lot of my female friends were all ripping pages from fashion magazines, and I was the total opposite.
I was always into textiles and weaving, so going to college for creative studies I actually focused on textile design. At one time I thought I was going to be a fashion designer—I was making dresses out of garbage bags for my sister for her birthday. So, I was in that design world until I landed where I really wanted to be. I later had the opportunity to go into the automotive world, learning about how to draw those interiors and exteriors of cars. So it was kind of like I got to merge two worlds together.
Sure. My design team is called Advanced Color Materials for FCA. We’re responsible for all the vehicles for color and materials, so everything from exterior paint to wheels and finishes, to the bright work on the exterior. Then when you get to the interior, we’re responsible for everything from headliner down to carpet, leather, fabric. Anything you can see or touch in a vehicle, we’ve had our hands on it.
“We’re more influenced by what’s going on in the environment; the turnover for “what’s happening now” is quick. If there’s a new red color that’s popular, that could change by the time we produce a vehicle.”
2015 Jeep RenegadeFirst, I’m really excited that the Renegade caught your attention. I can actually say that was one of the vehicles and products that we had a lot of fun working on. That was a palette where we actually got to be really expressive, and try different things as far as color and materials. Especially the finishes, as well as the exterior color combination.
My team and I, depending on the brand and the product, we try to draw our inspiration now from different cultures, different environments. We always do the traditional designer inspiration route where we’re looking at fashion, architecture, apparel, sneakers, lots of products. So, we try and mix a lot of that, but we’re more influenced by what’s going on in the world and in the environment. Because as you know, products and apparel are so trendy, and the turnover for “what’s happening now” is quick. If there’s a new red color that’s popular, that could change by the time we produce a vehicle.
Interior of the 2015 Jeep RenegadeWe start our work when the project is kicked off, when the design and engineering teams start. We begin our homework as far as what kind of story are we going to tell, because we always say that we tell a story through our color and materials. We set the mood and the environment. So, we do a lot of homework. We research competitors. We are in it from the start to the finish.
Because in our world, we make the color and material proposals. We also work with a lot of suppliers to develop the leathers and fabrics. We have our hands in working with the engineering teams to make sure that the materials that we select are feasible. So there’s a lot of behind the scenes work that goes on, before materials are even selected to put in a vehicle.
I like all of it. I like the research, the challenges that come with maybe selecting a material that may not have testing. You know, how can we get this to work? How can we work through the challenges or the struggles? I like that part of it, because then let’s say something makes it into the vehicle, and you look at it. It’s at the auto show and you know what it took to get that there.
And I also like the final part of the process. I guess we never really stop, but just even sometimes hearing the feedback. You know, anything we do in the design world, there’s going to be that group who really love what you’re doing, and there’s always that group who has that, “Oh, why did they select that kind of …?”—you know, that sort of moment. And I actually enjoy both of those, because when you hear some of the feedback, people saying, “Why did they choose that paint color?” or, “Why is that leather material there?” It kind of makes you want to work even harder on the next project.
As far as the color and material world … For me, I can say that I’ve been a part of the whole growth and change. I see a lot of different materials come and go. A lot of enhancements to the basic materials like leathers and vinyl and things like that. I think for us, we try and evolve through our color and materials selections as the suppliers are changing and technologies are so enhanced. [Colors and materials] are part of that wave also. As new technologies come aboard we ask, how do we incorporate that into materials that do pass automotive testing? I think that’s the biggest part of this whole evolution for us.
We go through a process. Let’s say if there was a new material type or technology that we’ve never used in a vehicle, we work through it with our Materials and Engineering team to do automotive testing, to make sure that the material is feasible. It’ll trim on a seat, it won’t shred, it’s sewable. It’ll live in that environment.
There are different testing processes for all the materials we select. We have different groups within the corporation in Materials and Engineering that work on seating. You know, different IP, flooring. So, we work with a large variety of teams.
Of course, I’m going to answer this from a color and materials perspective, right? I think even with the autonomous world going on, the materials are always going to remain important. Whether they’re simple, clean, I think they will always still have to have durability. They will have to last within that environment.
Yeah. I think it kind of goes back to what I said about keeping things a little bit more simple. I think within the autonomous world, the customer is still going to want a simple, clean environment. Something that meets their needs, for whatever vehicle type that is going to be within an autonomous world. I think for us, the color and materials will always still be predominantly the same. I mean the same with regards to how we make our materials selections, but we’re just changing what we’re selecting for that vehicle.
Well, it’s funny because we are a team of 21 right now, and I can actually tell you that I feel that I have the most diverse team within the design office—we have female employees, people from around the world. You know, when I first got into this, it was predominantly a male environment, but I can also say that I’ve been a witness to how it’s changed. There are more females within automotive, not just in Color and Materials, but also designers. So, I think there’s a great opportunity for females in automotive.
Our studio does a lot of visits to high schools and middle schools teaching other kids about the automotive world. Because for me, I notice that a lot of girls don’t even know that there is a career in Color and Materials. Or they don’t even know that, hey, I can be a car designer. So, I think it’s about getting that message out to females or young women, that there is a career path in automotive that’s just not engineering, you know?
Yes. That’s why I really like reaching out to the high school students, and even the lower grade levels, to let them know that there is a career path out there. A lot of them don’t know. Even when I was in college, I didn’t know. I was in textiles. I didn’t know that I could merge drawing interiors or exteriors into a career. I thought, okay, if I’m not going into fashion or something else, what am I going to do? Am I going be a starving artist? I don’t know. But it’s all about the message. Getting that message out there that there is a career opportunity. Especially for women.
I think what my team and I will be looking for is someone who is presenting a project or portfolio that has personality. Something that’s not traditional and has a real wow factor. I mean, I know a lot of the categories, or a lot of the things that may be presented may be things that have been seen before. But what did they do with that? If there’s a new bicycle design, what did they do with the materials on the bicycle design? Is it just a traditional bicycle design? So, just looking for things that are outside the norm.
And then also, of course we will be a little color and materials biased, but how are they using those materials? Are they using new and unique materials in a different way? The materials, are they placed on a form, or whatever project that they’re presenting? I’m kind of excited. I think it’s going to be really cool.
I also think the most attention-getting products will be the ones that clearly tell a story—ones where you can get an understanding of what they’re trying to tell on the first glance. It’s all about the story for me.
2018 Transportation Jury Captain La Shirl Turner will be joined by these designers for the awards selection process:
Meredith Gannes, Design Manager, FCA US (left) and Shady Elias, Senior Designer, FCA US (right)
Jun Ryu, Design Manager, FCA US (left) and Kasia Lys, Lead Senior Designer, FCA US (right)
Y Combinator start-up Nectome believes they’re capable of backing up the mind for future digitization. Their process involves preserving every microscopic detail of the brain with a new, advanced embalming process paired with cryonics. It’s the ability……
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