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After Adam Savage debuted his EDC One bag last year, based on an old NASA design, he “immediately decided that I wanted to make a second bag,” he writes, “for two reasons.”
“First, the EDC ONE was sized for me and my specific needs, but I could see use for a smaller version that also pairs well with the original. I resolved to make a smaller bag, while retaining the same tool bag aesthetic.
“Second, some fans expressed disappointment in the cost of the EDC ONE. It’s as inexpensive as I can make it, while still keeping manufacturing in the United States. So I did my best to provide an alternative product for those who would really like to have one.”
Savage’s EDC Two, again produced in collaboration with Mafia Bags and produced from recycled sailcloth, is manufactured largely from one panel (rather than the five required for the EDC One), which helps to bring the cost down. It’s also smaller at 6″ x 12″ X 10″ vs. the One’s 8″ x 15.5″ x 10″, and it’s not merely the same bag with reduced dimensions: “Simply scaling down all three dimensions yielded a weird looking bag that looked more like a toy than a tool bag,” Savage writes. “Eventually, after about 4 prototypes, we dialed in on a set of dimensions that felt exactly right.”
The $145 price point is easier to swallow than the $225 One, and while it obviously depends on what you’re hauling, it looks a lot more tote-able to me. Comes in both Savage’s signature white (which makes it easier to see tools inside) or black for the fashion-minded set. Check it out here.
Here in Phase Two of creating a dust mask with integrated eye protection, industrial designer Eric Strebel demonstrates the balance between digital and manual: When to CAD and when not to CAD, and the benefits of modeling vs. leaving yourself room to shape things by hand, finding the form in a more natural, intuitive way.
Missed Part 1? It’s here.
Design practice Snarkitecture has succeeded in a way most artists can only dream. Their work, always wildly different from project to project, undeniably bears a visual signature. Often when viewing a new architectural piece in their repertoire, one……
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Cape Town-based digital artist Alexis Christodoulou has generated a cult following on Instagram with his images of imaginary spaces in pale blues, pinks and yellows.
Christodoulou began creating his architecture-inspired images five years ago, after teaching himself to create digital visualisations from YouTube tutorials while working as a copywriter in an advertising agency.
The renders he develops often feature tiled and terrazzo surfaces, bringing together indoor and outdoor spaces with water pools, arches, curved furniture and globe-like objects or circular openings. Some are animated, featuring morphing objects like vases that changes shape.
His current series, called Imagined Architectural Spaces, began in January 2017. It has helped him accumulate over 30,000 followers on Instagram, where he posts as @teaaalexis.
“I make the spaces because I think I like the idea of going there and escaping for a while,” said Christodoulou. “They’re just extensions of my day dreams.”
“I put them on social media as a way of completing them and sending them out into the world so I can start on another one,” he told Dezeen.
“I never thought I would get so many followers and so much attention,” he continued. “It’s really quite surreal. I’m sitting in Italy right now because of my 3D art and I still have to pinch myself every day to check if it’s all real.”
Christodoulou used Cinema 4D, Redshift, Photoshop and Lightroom to create each image.
Although recent trends in architectural rendering have championed extremely realistic imagery, Christodoulou wanted to achieve a different effect with his work. The architectural elements are selected to create different effects with light, while the objects and diffused colour palette reflect his personal taste in design.
“Some architectural renders nowadays look hyper real to the point where they’re almost unrecognisable as 3D renders,” the artist told Dezeen.
“I like my images to have a certain fake quality about them to let the viewer know that they don’t have to be too serious with their imagination when looking at the images.”
In a recent interview with Dezeen, British set design Es Devlin said that there was often a big discrepancy between renders of buildings that suggested photo-realistic finished products and the reality of them once they were built, describing the relationship between image and reality as “problematic”.
But some visualisation experts, like Forbes Massie, say that they aim for a more painterly approach to “evoke atmosphere”.
Christodolou describes 3D rendering as a form of art. His unexpected success with his architectural renders has meant that he is increasingly able to focus on his art full-time, although he is also a winemaker.
“[The images are] a bit of a sketchbook for me so I’m not too concerned about where it goes as long as it keeps developing,” he said.
“I’m busy with other collaborations on the side and projects that I think are busy pushing me to relook the artform of 3D. Maybe make some actual objects come to life from my renders.”
The post Alexis Christodoulou creates dream-like architectural spaces for Instagram appeared first on Dezeen.
Swedish retail giant IKEA has urged customers to return a water-dispensing dome, after two dogs suffocated when their heads became trapped.
IKEA has put out a statement recalling the Lurvig water dispenser for pets, with the warning that it is hazardous to animals, after it was reported that two dogs had died using it.
The product, which retailed at $7.99 (£6), has also been pulled from shelves, while customers who previously purchased one are being encouraged to return it to any IKEA store for a full refund.
“At IKEA, the safety and security of our products is our top priority, which is why we have decided to recall the Lurvig water dispenser,” said Petra Axdorff, business area manager at IKEA, in the statement.
“We are deeply saddened by these events, and know that pets are important and loved family members for many of our customers.”
The water dispenser featured a clear dome that replenished water in the black plastic dish below, allowing owners to ensure their pets’ water didn’t run out as fast.
It was one of 62 items in the Lurvig range of reasonably priced pet accessories that launched in October 2017.
Designed by Valencia-based designer Inma Bermudéz, in collaboration with vet Barbara Schäfer, the range also includes cocoon-like inserts for Kallax shelving units for cats to hide in, and a bowl that helps greedy dogs eat slower.
No other products in the range have been reported as being affected.
This isn’t the first time that IKEA has had to recall a product amid safety concerns. In June 2016 it had to recall millions of Malm dressers – one of its most popular designs – after three toddlers were killed when the item of furniture tipped over on top of them.
Two young children in the USA had died in separate incidents in 2014, prompting the retail giant to issue free wall-anchoring kits to stabilise the storage units. When a third child was killed in February 2016, the Malm dressers were taken off the market.
The post IKEA recalls Lurvig water dispenser for pets following dog deaths appeared first on Dezeen.
London-based architects Denizen Works has submitted planning for a observation tower containing a vertical gallery and bird hide at Inverewe Garden in Scotland.
The design has been created in response to an open brief set for Denizen Works by the garden’s owners – the National Trust for Scotland – to create a viewing tower to draw more visitors to the property.
Set on a tree-dotted slope deep within the botanical gardens, the tower houses a gallery and bird hide spread over 64 square metres of internal floor space. The intention is for the tower to function as a landmark and orientation point to entice visitors into the garden’s outer reaches.
“The form is an abstracted tree with a slight widening at the base,” Denizen Works director Murray Kerr told Dezeen. “It’s deformed over its height by exposure to the Loch winds which gives a directional view back to locally nesting herons and the rest of the garden.”
Called Eyrie – the name given to a large nest of an eagle or other bird of prey – the tower stands at 20-metres tall so that it will blend into the surrounding tree canopy.
With gallery spaces at its base and a hide at the top, the tower is accessed, from the garden’s High Viewpoint where visitors will follow a path down the natural contours of the slope before crossing a short bridge to the tower.
“Rather than creating a tower for its own sake, we were interested in creating an experience integrated into the natural route through the garden landscape,” said Denizen Works.
A staircase that wraps the base of the tower links to a further network of paths as well as the tower’s gallery spaces, which will tell the story of the garden through different spatial experiences at each level, and will also showcase specially commissioned art.
At the top of the tower, a bird hide provides panoramic views across the tree canopies and allows visitors to observe the local wildlife, including nearby nesting herons and local golden eagles.
The tower rests on a solid base formed from bush hammered concrete and is clad in a contrasting mix of stained vertical larch sourced on site, and smooth pine tar.
“The materiality of the tower is based on the idea of a sliced tree trunk, with its rough and smooth faces,” explained the architects.
“For the visitor, the experience will be one of intrigue: a structure where the internal functions are not necessarily understood from the outside, much like a burrow or woodpecker’s nest.”
Windows of varying shapes and sizes punctuate the tower on all sides, with a house-shaped window at its base.
“The galleries will tell the story of the house at Inverewe, links to local artists and the landscape and garden,” said Kerr. “The forms, openings and lifting will reflect these uses so there will be familiar forms in a rather unusual setting.”
Internally, the timber sheathing board is left exposed – a feature that the architects said will provide “a warm and light counterpoint to the totemic presence of the tower”.
“These materials will be reflected throughout a wider masterplan to refurbish the restaurant and retail areas, as well as a possible series of smaller sculptural interventions across the landscape,” revealed the firm, which has now submitted planning to Highland Council with the aim of breaking ground on site in Autumn 2018.
Completion is slated for spring 2019.
Created in 1862 by Osgood Mackenzie and owned by the National Trust for Scotland since 1952, Inverewe Garden is located just to the north of Poolewe in Wester Ross. It covers some 20 hectares and holds a world renowned collection of trees, plants and flowers.
Denizen Works recently completed an apartment building in the English seaside town of Whitstable that references traditional fishing huts, and in 2016 renovated a modernist house in London.
Visualisations are by Darcstudio.
The post Denizen Works designs “abstracted tree” viewing tower for Scottish botanical gardens appeared first on Dezeen.
The latest sculpture at the annual Goodwood Festival of Speed features six Porsche cars attached to a 52-metre-high star-shaped white structure.
Standing in front of Goodwood House in West Sussex, England, the sculpture at the 25th annual Festival of Speed was designed by British artist and designer Gerry Judah.
It was created to mark 70 years since the first production Porsche was introduced.
Released in 1948, the two-door Porsche 356 was the first car manufactured by the German company. This historic car is placed on one of the tips of the seven-pointed star, with five other Porsches from the past 70 years attached to other tips.
The sculpture features two other notable historic Porsches: the 917, an endurance racer driven by Steve McQueen in the film Le Mans, and the 959, which was a winner of the 1987 Paris Dakar rally.
Alongside these vehicles are three modern Porsches: the 918 Spyder, which is a hybrid road car made in 2015; the 919 Le Mans Prototype from 2015; and the 911R, a road car introduced in 2016, which is included to represent up-to-date Porsche design.
Weighing six tonnes in total, the cars are all supported on the narrow pylon, which is only 98 millimetres wide at the ground. This 21-tonne structure is constructed from hexagonal tapered tubes that are fabricated from laser-cut steel plate.
“The geometry is based on a regular truncated octahedron – this shape giving positions to display all six cars, with a stem at the bottom and a spire on top,” said Judah.
Judah has been commissioned to create a sculpture at the festival each year since 1999. Last year’s piece featured five Formula One cars to represent key moments in the career of Bernie Ecclestone.
Judah has incorporated Porsches into his designs before. In 2013, his sculpture at Goodwood featured three Porsche 911s soaring into the sky. And in 2015 he designed a structure outside Porsche’s museum in Stuttgart that also contains three generations of Porsche 911s.
Photography is by David Barbour.
Project credits:
Client: Porsche
Design and production: Gerry Judah
Engineering: Diales
Fabrication and installation: Littlehampton Welding
The post Goodwood Festival of Speed sculpture by Gerry Judah celebrates 70 years of Porsche production appeared first on Dezeen.
“Here’s me commentary on that thrilling race between Donald Trump and the Queen at Windsor Castle. “..(Read…)
Mickey and Minnie race to capture a runaway film reel as it wreaks havoc around a big Hollywood movie studio…(Read…)
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