Bene's modular workplace system is aimed at freelancers working from home

Dezeen promotion: the growing need for flexible working conditions informed this range of modular office furniture, designed by Thomas Feichtner for Austrian brand Bene.

Revealed at Somerset House in London last week, Bene‘s Studio range features desks, shelving and accessories that can be combined and arranged to adapt to an individual’s needs in the office or home.

Austrian designer Feichtner, who is based in Vienna, based his collection for the office furniture brand on the changing nature of work.

The pieces are aimed at freelancers who work from home or creative individuals whose work is closely linked to their day-to-day activities.

Each is designed to transition easily from a domestic environment to the workplace, while still offering flexibility in sizes and colours.

“Today the boundaries are blurred between the working environment and the private sphere, or between working time and free time,” said Michael Fried, Bene executive board member.

“Studio by Bene was created for people who work and live according to their own rules and schedules,” he explained.

The collection features tables with a curved double-layered work surface, which creates storage space in between, and steel tubular legs.

It is available in a range of sizes, including a desk and meeting table, as well as a black, white and natural wood colour.

Single tables can be joined together to make larger workstations or separated for individual work.

“The smart combination of work surface and storage surface offers enough space for all those personal things essential for daily use,” said Bene.

Feichtner also designed a range of shelves that can be adapted to an individual’s needs – allowing them to be placed side-by-side to create long display racks. Each shelf is made from wood and is supported by a brass loop.

Bene was founded in 1790, but began to manufacture office furniture on an industrial level in 1951. Previously, the brand worked alongside London designers PearsonLloyd to create a range of workstations.

It is the latest company to create furniture that caters to individuals with flexible work needs. Another Country created a series of home-like work furniture in warm wooden tones, while Lucy Kurrein designed a modular sofa with moving table tops for laptop use.

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Seven female designers making waves in Canada

Dezeen reporter Eleanor Gibson has selected seven women designers on the rise in Canada, following a Toronto exhibition that spotlighted the country’s female talent to challenge inequality in the industry.

Titled Capacity, the annual exhibition featured designs solely by Canadian women during the Toronto Offsite Design Festival (TODO) in January. When the show first launched eight years ago, it was among the first to celebrate women in the design industry.

“We realised that there weren’t a lot of venues for women in design to be recognised and that it is a very male-dominated field,” Capacity co-founder Katherine Morley told Dezeen.

In the wake of a growing awareness of gender equality in both design and architecture, Morley said the ambition was “more relevant than ever” for this year’s edition.

We’ve selected some of the designers from the show and a few other Canadian women whose work we admire, coinciding with the launch of our initiative to improve diversity called Move the Needle and this week’s International Women’s Day.

Read on for our list of seven Canadian female designers to watch:


Zoë Mowat

A cabinet painted using sumi ink, red dye and two shades of Japanese indigo is among the recent works by Zoë Mowat – a furniture and homeware designer based in Montreal.

Mowat’s work has featured in a number of international exhibitions, including one that reinterpreted objects from the American Shaker movement and a showcase of the inaugural collection of Japanese furniture producer Ariake.


Lauren Reed

Toronto-based designer Lauren Reed has an “obsession for order” that plays out in repetitive shapes across her homeware products, including a zig-zagging bookshelf and a lamp built on six stacked rings.

She presented three pendulums for the Capacity exhibition, including one that is turned upside down so that the swing is on top.


Alissa Coe

Alissa Coe‘s designs include a set of hand-thrown and slip-cast vases for a Toronto florist, a porcelain and wood chandelier for the city’s Four Seasons Hotel, and cast concrete and aluminium lamps.

The designer produces her ceramics and sculptural installations from her small Toronto studio.


Chifen Cheng

Chifen Cheng is a product designer who was born in Taiwan and grew up in Montreal. She is now based in UK, where she is studying at the Royal College of Art in London.

With the aim to create “honest” products, she often employs simple geometric forms like circles and hexagonals.


10 female Canadian designers you should know

Katrina Tompkins

Katrina Tompkins creates everyday objects with a pared-back aesthetic, from a chair based on a stool for milking, to a chopping board that is half Corian and half cork.

The designer recently relocated to Prince Edward Island, where she is building a barn to teach courses in furniture making.


Kate Duncan

Vancouver-based woodworker Kate Duncan describes her products as having a “Japanese aesthetic, with a nod to mid-century designers”. Her collections of tables, bed frames and chairs are named fondly after her ex-girlfriends.

By employing women in her studio, as well as running “gender-neutral” woodworking courses, Duncan says she is hoping to challenge the “male-dominated industry” of furniture and woodworking.


Talia Silva

Talia Silva, a graduate of Canadian art and design unversity OCAD, splits her time between Montreal and Toronto.

She casts multiple stoneware objects with the same mould, before detailing them individually with hand tools, paint and glaze. Etching marks, colours blocks and gradients, and speckled patterns decorate her collections of vases, cups and plant pots.

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"We can't make decisions by ticking boxes" says Pritzker Prize executive director

The Pritzker Architecture Prize and the RIBA Royal Gold Medal have defended their diversity policies and addressed the reason why women make up just one per cent of the winners of the two leading architecture prizes combined.

“Sometimes looking at numbers does not mean anything,” said Martha Thorne, executive director of the Pritzker. “We can’t make decisions by ticking boxes.”

“In the future there will be many more female winners,” said former RIBA president Jane Duncan. “But we are now looking backwards unfortunately and there are some fantastic men that actually ought to be winning the Royal Gold Medal.”

Together the two prestigious awards have been won just one time each by a sole women, compared to 202 times by men. There were five occasions when they were won by mixed-gender teams.

Desire to have diversity

Dezeen looked at the gender balance of winners of the world’s four leading architecture prizes as part of our Move the Needle initiative.

The Praemium Imperiale has been won by a woman in seven per cent of years, while the RIBA Royal Gold Medal and the AIA Gold Medal have both been won by a woman on one per cent of occasions they have been awarded.

The Pritzker Architecture Prize does slightly better, with two per cent female winners.

“Ticking boxes is not what we do; we don’t have a policy,” said Thorne. “However, our jury is sensitive and aware of the whole gender issues in architecture.

“There is clearly a desire to have diversity and better gender balance within the jury in order to find a balance between the roles, the country of origin but we don’t set numbers either.”

Illustrations are by Kiki Ljung

The privately run Pritzker was founded in 1979 but has only been awarded to one individual women: Zaha Hadid, who won in 2004. Two women have won the award alongside their male co-principals. Kazuyo Sejima, half of SANAA, received the award in 2010, while Carme Pigem became a laureate in 2017 when RCR Arquitectes won the prize.

Thorne added: “You have to look at the bigger picture, like the geographic diversity, people know architecture from different perspectives and all those perspectives need to be represented in a jury.”

Pritzker Prize evolving 

Thorne said that the Pritzker is evolving over time to reflect the way the world is changing. “Regarding the winners, the awards reflect time and place,” she said.

“It’s a reflection of the moment. Some years the winners can be seen as a statement in some aspects of architecture: the sustainability with Glenn Murcutt or a whole practice like last year” when RCR Arquitectes won.

This week the 2018 Pritzker Prize was revealed to be going to Balkrishna Vithaldas Doshi, who will become the first Indian architect to recieve the prize.

Our survey revealed that the combined number of female winners of the world’s four most respected architecture awards – the AIA Gold Medal, London Design Medal, RIBA Gold Medal, Pritzker Prize and Praemium Imperiale – is two per cent. In total they have been awarded to men 303 times and women only five times.

Dezeen contacted all four prizes for comment on their gender diversity policies. However organisers of the RIBA Royal Gold Medal, the AIA Gold Medal, the Praemium Imperiale did not respond officially.

Awards should be based on merit

Ex-president of the RIBA Jane Duncan defended the Gold Medal’s record at Dezeen’s Must do Better talk hosted by RIBA earlier this week.

“I don’t think we should be saying we’ve got to give people an award because they are a man or a woman. It should be based on merit,” said Duncan, who was instrumental in ensuring that Zaha Hadid became the first and only individual woman to win the prize in 2016. “Let’s just give people an award because they do wonderful things”

Duncan attributed the lack of gender diversity to the historic imbalance in the industry: “It’s very difficult as the Royal Gold Medal is given for a lifetime achievement body of work, in the main. Fortunately we are now in an era where [gender balance] is changing and there are a lot more women.”

Since is was first awarded in 1848, 164 men have received the Royal Gold Medal and only four women. Hadid is the only sole female recipient of the award, while Sheila O’Donnell, Patricia Hopkins and Ray Eames were all jointly awarded the medal along their with male counterparts.

The AIA Gold Medal has a similar record. In its 110 year history, the medal has only been awarded to two women. In 2014, Julia Morgan was the first woman to win the award, while Denise Scott Brown was jointly awarded the medal with her partner Robert Venturi in 2016.

Japan’s Praemium Imperiale, launched in 1998, has had two female winners. These are Gae Aulenti, an Italian architect who won the prize in 1991; and Hadid, who received the accolade in 2009.

Below are award winners figures and statements for the four global awards we surveyed, listed in order of the percentage of female winners, from highest to lowest.

Does your organisation want to help us Move the Needle on gender equality in architecture and design? Do you have a positive story to tell? If so please use the comments section below or email us: movetheneedle@dezeen.com


Pritzker Architecture Prize

Female winners: 1 (2 per cent)
Male winners: 38 (93 per cent)
Mixed gender winners: 2 (5 per cent)

The Pritzker Prize is architecture’s most prestigious award. It has been awarded annually since 1979 by the Pritzker family. In 2013 the prize’s jury rejected a petition for Denise Scott Brown to retroactively receive recognition for the award that Robert Venturi, her husband and partner, won in 1991.

Statement: “Being a member of the jury depends on many criteria,” said Martha Thorne, executive director of the Pritzker Architecture Prize. “We can’t make decisions by ticking boxes. Sometimes looking at numbers does not mean anything, you have to look at the bigger picture, like the geographic diversity, people know architecture from different perspectives and all those perspectives need to be represented in a jury.

“Some members of the jury are businessmen, some are academics, clients and they all bring different parameters. People have very different point of views and the diversity is important within the Pritzker jury.

“People that are on the jury panel come with an open mind, they don’t have an agenda to push and they have to be committed, It’s a lot of work and you need to find the right people. There is clearly a desire to have diversity and better gender balance within the jury in order to find a balance between the roles, the country of origin but we don’t set numbers either.

“Ticking boxes is not what we do; we don’t have a policy. However, our jury is sensitive and aware of the whole gender issues in architecture.

“Regarding the winners, the awards reflect time and place. The juries are independent people that make decisions to the best of their abilities.

“But there is a clear evolution. Prizes are evolving. Some years the winners can be seen as a statement in some aspects of architecture: the sustainability with Glenn Murcutt or a whole practice like last year with Rafael Aranda, Carme Pigem and Ramon Vilalta.

“It’s a reflection of the moment. It can be also the recognition of the work of someone. The prize is an art, not a science where you can tick a box.

Regarding architecture awards, we also have to look at how we evaluate people, how we judge. It’s important to understand what we value: tolerance, collaboration. This is what we need to push for.”

www.pritzkerprize.com


Praemium Imperiale

Female winners: 2 (7 per cent)
Male winners: 27 (93 per cent)

The Praemium Imperiale is an art prize that has been awarded by the Imperial family of Japan on behalf of the Japan Art Association since 1998.

Statement: The Japan Art Association could not be contacted for a statement regarding the gender balance of the Praemium Imperiale.

www.praemiumimperiale.org


AIA Gold Medal

Female winners: 1 (1 per cent)
Male winners: 74 (97 per cent)
Mixed gender winners: 1 (1 per cent)

The AIA Gold Medal is the American Institute of Architects‘ highest accolade. The medal has first awarded in 1907. Julia Morgan became the first woman to win the award in 2014. The only other woman to win is Denise Scott Brown who was jointly awarded the medal with her partner Robert Venturi in 2016.

Statement: The AIA did not provide a statement regarding the gender balance of its Gold Medal.

www.aia.org/awards


RIBA Royal Gold Medal

Female winners: 1 (1 per cent)
Male winners: 164 (97 per cent)
Mixed gender winners: 3 (2 per cent)

The RIBA Gold Medal, the Royal Institute of British Architects highest accolade, has been awarded annually since 1848.

Statement: RIBA did not provide a statement regarding the gender balance of its Royal Gold Medal.

www.architecture.com

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Weekend Project: Clear clutter from under furniture

I read an organizing book many years ago that suggested hiding random possessions like magazines and children’s toys under the couch. It was such a bizarre suggestion to me. How is cramming something under a couch an organized solution? Yes, it may get it out of the pathway and out of sight, but is that the best place for those items? Magazines belong in a magazine caddy or on bookshelves, and children’s toys belong in toy chests or bins. I read the suggestion as a way to create clutter, not curb it.

This weekend, tackle the spaces under furniture in your home. Are you hiding things under dressers or beds? Under table skirts? Under your couch? Pull out items and find them a better home that shows that you honor and respect your belongings. If under furniture is the only place you have for storage, then use storage bags or bins. Dust mites and other yucky things don’t belong on your possessions.

If the areas under your furniture are clear of clutter, check the spaces behind your furniture. Have books, pens, or other items fallen out of sight? Has a water cup rolled back behind your headboard?

Good luck unearthing the clutter from under your furniture!

 

This post has been updated since its original publication in 2008.

Post written by Erin Doland

Moving Pictures Of African-American Dads With Their Kids

Attendrissants et saisissants, les clichés du photographe canadien Zun Lee pour sa série «Father Figure» explorent la paternité sans filtre et en noir et blanc. Pendant plus de quatre ans, le photographe a suivi plusieurs pères Afro-Américains dans leur quotidien afin d’immortaliser leur précieuse et intime relation avec leurs enfants. «Plutôt que d’accumuler des portraits, je souhaitais m’immerger dans la vie de ses pères et nouer avec eux des liens de confiance, explique-t-il. Afin d’avoir une idée de la façon dont ils arrangent leurs sphères quotidiennes, non seulement en tant que pères, mais aussi en tant qu’hommes noirs.» À travers ce photoreportage sensible et nécessaire, il est également question de donner une visibilité accrue aux personnes de couleurs et à leurs vies.

«Father Figure» est exposée en ce moment et jusqu’au 31 mars au Bronx Documentary Center. Suivez le travail de Zun Lee sur son compte Instagram.








Warm Oscars 2018 Photoshoot by Mark Seliger

C’est la tradition, chaque année Mark Seliger photographie les coulisses de la cérémonie des Oscars, pour le magazine Vanity Fair. Cette fois, les portraits, chauds, lumineux, presque solaires, sont magnifiques et capturent parfaitement l’essence et la personnalité de chaque célébrité. Un photoshoot sublime et fascinant, digne des plus grands portraitistes. Retrouvez la série sur Instagram.















Design Job: iOttie Is Looking for a Junior Graphic Designer Who Is All About Innovation and Style

Since 2010, iOttie has become a leader in the car accessories industry. We have been utilizing our industry expertise and challenging ourselves to create functional and modern accessories to aid your everyday mounting needs. iOttie believes that customers come first. iOttie is

View the full design job here

Design Rules for 3D Printing

Introduction

Anything can be designed in the digital space, but not everything can be 3D printed.

When you design a part for 3D printing – whether it’s for prototyping or for manufacturing end-use products – certain limitations apply. These limitations have to do with the basic mechanics of each additive manufacturing process (and the laws of physics).

In this article, we summarize the most important rules and process restrictions you must keep in mind when you design parts for each of the main 3D printing processes. We also describe the key strengths and limitations of each technology to help you get the most out of your designs.

If you are not sure which 3D printing process or material is best for your application, visit our previous articles here and here.

Keep this infographic near you while designing and use it as a quick reference:

Designing for FDM

In Fused Deposition Modelling (FDM), an object is built by selectively depositing melted material in a predetermined path layer-by-layer. The materials used in FDM are thermoplastic polymers that come in a filament form.

The FDM 3D printing process

The main design limitations in FDM come from the shape and size of the deposited melted strings of plastic material. These have a typical width of 0.4 to 0.5 mm and a typical layer thickness of 100 to 300 µm.

The recommended minimum wall thickness of FDM is 1 mm, but protruding features and pins need to be larger (the recommended minimum is 2 mm and 3 mm respectively). Another limitation of FDM is the need for support structures: the melted material cannot be deposited on thin air. Any wall that has an inclination greater than 45o from the vertical needs to be supported. Support structures are usually printed in the same material as the base part, but dissolvable supports that provide a better result are becoming more and more common. Surfaces printed on support structures usually have a lower finish than the rest of the part, so it is recommended to avoid them altogether if possible, by thinking about the part orientation on the machine while designing.

Remember the Y, H, and T’s of FDM support when you design parts for this process

A common misconception about FDM is that a lower layer thickness is always better. A lower layer thickness than the standard (which is 200 µm) should be used only when you design parts with very small features or with significant curvature, as it reduces the “stair-stepping” effect.

Here is a summary of other important FDM printer parameters:

-Typical build size: 200 x 200 x 200 mm (up to 1000 x 1000 x 1000 mm)

-Common layer thickness: 50 to 400 µm

-Support structures: Required (critical angle 45°)

-FDM materials: Thermoplastics (PLA, ABS, Nylon, PETG, ULTEM – see more)

For more details on designing parts for FDM, visit the article here.

Designing for SLA/DLP

In Stereolithography (SLA), an object is created by selectively curing a polymer resin layer-by-layer using a UV laser beam. Direct Light Processing (DLP) is a similar technology that uses a projector instead of a beam. The materials used in both SLA and DLP are photosensitive thermoset polymers that come in a liquid form.

The SLA 3D printing process

SLA and DLP can produce some of the most accurate 3D printed parts with very fine details, as the light source can solidify material very accurately. With this process, features can be produced that have dimensions down to 0.2 mm and walls with a thickness of 0.5 mm (sometimes even smaller).

SLA and DLP are also known for producing parts with a very smooth surface finish that resembles injection molded parts. Keep in mind though that support structures are also required here (the critical angle here is again 45°).

Support in SLA/DLP has a tree-like structure. At the points of contact, small marks will be visible on the part and manual post-processing is required to remove them. For this reason, keep all features that require the highest dimensional accuracy on the same side of the part if possible. 

Removing the support structure from an SLA part

Here is a summary of other important SLA/DLP printer parameters:

-Typical Build size: 145 x 145 x 175 mm (up to 1500 x 750 x 500 mm)

-Typical layer thickness: 25 – 100 µm

-Support structures: Always required

-SLA materials: Thermoset resins (standard, ABS-like, PP-like, rubber-like – see more)

For more details on designing parts for SLA/DLP, visit the article here.

Designing for SLS

In Selective Laser Sintering (SLS), a laser passes over particles of a polymer powder, fusing them together and building a part layer-by-layer. The materials used in SLS are thermoplastic polymers that come in a powder form.

The SLS 3D printing process

SLS can produce parts with good details and great accuracy: the minimum feature size that can be produced with SLS is 0.7 to 0.8 mm. Holes must have a minimum diameter of 1.5 mm though, to prevent over-sintering.

A key advantage of SLS is that it needs no support structures. The unsintered powder provides the part with all the necessary support. For this reason, SLS can be used to create freeform geometries or interlocking assemblies that are impossible to manufacture with any other method (leave a 0.3 mm gap between the moving parts).

Beware though that warping is an issue in SLS, so it is not recommended to 3D print parts with large length-to-width aspect ratio with SLS.

SLS part printed as a single assembly

Here is a summary of other important SLS printer parameters:

-Typical build size: 300 x 300 x 300 mm (up to 750 x 550 x 550 mm)

-Support structures: Always required

-Typical layer thickness: 25 – 100 µm

-SLS materials: Thermoplastics (Nylon, TPU, composites – see more)

For more details on designing parts for SLS, visit the article here.

Designing for Material Jetting

In Material Jetting, a printhead (similar to the printheads used for standard inkjet printing) dispenses droplets of a photosensitive material that solidifies under ultraviolet (UV) light. The materials used in Material Jetting are thermoset photopolymers (acrylics) that come in a liquid form.

The Material Jetting 3D printing process

Material Jetting is considered the most accurate of all 3D printing technologies and can produce parts with very smooth injection molding-like surface finish.

Due to the nature of the material dispensing though, the recommended minimum wall thickness and feature size are 1 mm and 0.5 mm respectively, which is larger than SLA/DLP.

Support structures are always required in Material Jetting, but they are printed in a secondary dissolvable material that can be easily removed after printing, leaving little to no remnants.

A key advantage of Material Jetting is the ability to produce accurate multi-material and multi-color prints that represent accurately end-use products. To designate a different material or color to particular areas of the part, the model must be exported as separate STL files (for single color/material) or accompanied with an OBJ or VRML file (when blending colors).

Multi-material part printing with Material Jetting

Here is a summary of other important Material Jetting printer parameters:

-Typical build size: 380 x 250 x 200 mm (up to 1000 x 800 x 500 mm)

-Support structures: Always required (but soluble)

-Typical layer thickness: 16 – 32 µm

-Materials Jetting materials: Thermoset resins (ABS-like, PP-like, rubber-like – see more)

For more details on designing parts for Material Jetting, visit the article here.

Designing for DMLS/SLM

Direct Metal Laser Sintering (DMLS) and Selective Laser Melting (SLM) are similar technologies that use a laser to scan and selectively fuse (or melt) the metal powder particles, bonding them together. The materials used in both processes are metals that come in a powder form.

The DMLS/SLM 3D printing process

DMLS and SLM machines are high-end industrial systems that have great accuracy. The minimum achievable wall thickness and feature size are 0.4 and 0.6 mm respectively.

Support structures are always required in metal 3D printing to prevent warping and to anchor the part on the platform and they are printed in the same metal material as the base part. Simulations and topology optimization algorithms using specialized software are often employed to minimize the amount of support, as are difficult to remove.

Since DMLS/SLM requires considerable engineering effort and has a high cost, currently it is mainly used in high-end applications. The key strengths of the technology lay on the opportunities of manufacturing highly-optimized lightweight structures and consolidating multiple components of an assembly into a single part.

Topology optimised satellite antenna manufactured using DMLS. Courtesy

Here is a summary of other important DMLS/SLM printer parameters:

-Typical build size: 250 x 150 x 150 mm (up to up to 500 x 280 x 360 mm)

-Support structures: Always required

-Typical layer thickness: 20 – 50 µm

-SLM/DMLS materials: Metal and alloys (stainless steel, aluminum, titanium – see more)

For more details on designing parts for DMLS/SLM, visit the article here.

Designing for Binder Jetting

In Binder Jetting, an adhesive binder is selectively dispensed onto a powder bed, bonding the particles together one layer at a time to form a solid part. The materials used in Binder Jetting are metals, sand, ceramic or polymers that come in a powder form.

The Binder Jetting 3D printing process

Binder Jetting is not recommended for manufacturing parts with fine features and small details (the recommended minimum wall thickness is 2 mm). This is because the as-printed parts are fragile and need to be strong enough to survive the post-processing step before they gain their good mechanical properties.

The strengths of Binder Jetting lay on the fact that printing occurs at room temperature: thermal effects, like warping, are not an issue here so very large parts can be manufactured.

Support structures are not required in Binder Jetting, leading to higher productivity, especially when compared to other metal 3D printing technologies.

New metal Binder Jetting systems that are planned for release in 2018 are expected to push the capabilities of this technology forwards.

A stainless steel part manufactured with Binder Jetting

Here is a summary of other important Binder Jetting printer parameters:

-Typical build size: 400 x 250 x 250 mm (up to 800 x 500 x 400 mm)

-Support structures: Not required

-Typical layer thickness: 50 – 100 µm

-Binder Jetting materials: Metals, full-color sandstone, silica sand – see more.

For more details on designing parts for Binder Jetting, visit the article here.

In conclusion

Designing for a specific 3D printing technology requires knowledge of the basic mechanics of each process. Familiarizing yourself with the basic principles of 3D printing will help you get more out of your designs.

For those that want to learn more, The 3D Printing Handbook helps you master all the key aspects of 3D printing. It is designed to read unlike any other engineering book, full of easy-to-understand diagrams and inspiring visuals and will help you find the right 3D printing process for all of your designs.

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3D Hubs is the world‘s largest network of manufacturing services. With production facilities connected in over 140 countries, the 3D Hubs online platform helps you find the fastest and most price competitive manufacturing solution near you. Founded in 2013, the network has since produced more than 1,000,000 parts locally, making it the global leader in distributed manufacturing.

Artist Liu Bolin's Disappearing Act at Maison Ruinart: A photo series of meticulous camouflage within the champagne house's property in Reims

Artist Liu Bolin's Disappearing Act at Maison Ruinart


Throughout his startling and political career, Chinese artist Liu Bolin’s multi-step “Invisible Man” work has bound together location, precise calculation, and layer upon layer of paint—all for the sake of one masterful image. The process itself is……

Continue Reading…

Competition: win tickets to a talk with architect Amanda Levete

For our latest competition, Dezeen has teamed up with Creative Entrepreneurs to give 10 readers the chance to attend a talk with Amanda Levete, founder of British architecture firm AL_A.

Amanda Levete will appear at the next Founder Files talk hosted by Creative Entrepreneurs. Photograph by Peter Guenzel

Dezeen is media partners for the event, which will be hosted by Creative Entrepreneurs‘ founder, Carolyn Dailey, and will see Levete discussing her personal work process and career history.

Her architecture firm AL_A was established in 2009 and has since completed a host of projects – from an aluminium-plated tower in Bangkok, to a new tile-covered entrance to London’s Victoria and Albert Museum.

Recently Levete was also announced as the winner of this year’s Jane Drew Prize, an annual lifetime achievement award given to architects who have furthered the progress of women in the industry.

Previous projects by AL_A include this aluminium-wrapped tower block in Bangkok. Photograph by Edward Barnieh

The event forms part of Creative Entrepreneur’s Founder Files programme, a series of talks set up to give people a glimpse into the business side of the creative industries.

Previous speakers include fashion designer Roksanda Ilincic, and Matthew Slotover, the founder of arts organisation Frieze.

“In contrast to founders in other sectors, the wider conversation about creative founders tends to be about their craft, versus the business side of their story. This means that we often lack role models from a creative background, ready to inspire the next generation of entrepreneurs,” said Carolyn Dailey.

“The Founder Files is here to bridge that gap, and to give a unique insight into the entrepreneurial journey of the Founders behind some of today’s most successful creative businesses.”

The practice also completed this angular, tile-covered entrance to the V&A museum in London. Photograph by Hufton + Crow

Creative Entrepreneurs also supports start-ups across the UK, running a programme of courses in partnership with the Design Museum and offering creatives online resources and a range of business training opportunities.

The Founder Files talk featuring Amanda Levete will take place in the main lecture theatre of the V&A on 20 March at 7pm. Tickets can also be purchased online for £20.

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Competition closes 16 March 2018. 10 winners will be selected at random and notified by email, and their names will be published at the top of this page.

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