Currently Crowdfunding: A Futuristic Backpack, a New Way to Tell Time, and More

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Navigating the world of crowdfunding can be overwhelming, to put it lightly. Which projects are worth backing? Where’s the filter to weed out the hundreds of useless smart devices? To make the process less frustrating, we scour the various online crowdfunding platforms to put together a weekly roundup of our favorite campaigns for your viewing (and spending!) pleasure. Go ahead, free your disposable income:

The designers behind the Tessel Jet Pack grew up building stealth jets and spaceships, and they were drawn to that aesthetic when they created the tessellated paneling on their backpack. Just futuristic-looking enough, the latest version of the backpack is made of more durable materials and features upgraded zippers and padded shoulder straps.

This apartment-friendly countertop dryer uses vacuum pressure to dry your clothes in only 15 minutes.

Morrama has made a sleek brush and bowl set to complement the minimalist Angle Razor that they successfully crowdfunded last year. The handle of the bowl doubles as a resting place for the brush, allowing it to drip dry.

British designers James Clark and Iliana Pavlova have developed a color-based wall clock that may just change the way you look at time.

An invaluable tool for architecture and engineering students, Mola is a cool model kit made of magnetic elements so you can easily assemble a wide range of structures and easily visualize how they work in real life.

Do you need help designing, developing, patenting, manufacturing, and/or selling YOUR product idea? MAKO Design + Invent is a one-stop-shop specifically for inventors / startups / small businesses. Click HERE for a free confidential product consultation.

Studio INI's morphing Urban Imprint installation opens in A/D/O courtyard

This immersive installation in Brooklyn’s Greenpoint, created by designer and engineer Nassia Inglessis, features a canopy that appears to magically move up and down as visitors tread underneath.

Urban Imprint by Studio INI at A/D/O

Urban Imprint comprises a floor and ceiling that change shape in response to movement, and was created by the Greek designer’s firm Studio INI in response to a brief from MINI-backed A/D/O to explore the notion of personal identities in cities.

Urban Imprint by Studio INI at A/D/O

Unveiled today for this year’s NYCxDesign week, the design is intended to invert the typical relationship between people and the urban environment. Instead of people reacting to built forms, the structure adapts to them.

“I wanted to create a space where your every step, your every imprint is amplified,” Inglessis told Dezeen. “I wanted to create an enclosed space where you get immersed so that came to being a ceiling and a floor.”

Urban Imprint by Studio INI at A/D/O

To create the morphing effect, Inglessis has connected the floor and the ceiling with a pulley system, comprising 400 chords that are hidden behind a mirrored screen at the back of the structure. As visitors step on the platform, it dips down and triggers the pulleys to tighten and lift the roof into a dome shape.

Inglessis likens the system to a musical instrument. “It’s like a large harp,” she said.

Urban Imprint by Studio INI at A/D/O

The thicknesses of the chords are varied so that the protrusion in the ceiling exaggerates the size of the imprint in the floor.

“The ratio of the different radii of the different pulleys allows that translation to be multiplied by four,” Inglessis added. “It pulls up the ceiling in the same way, mirroring exactly every step that you make and shift of weight that you create to open up and shift in form and colour and in light, at the same time.”

Urban Imprint by Studio INI at A/D/O

The leather-like skin is made from a mixture of rubber and concrete and is coloured dark red, picking up on the hues of the brick walls that encase A/D/O’s yard. The material is laser cut with markings that form a honeycomb pattern and make it supple enough to move. The punctures also allow natural light to filter through.

While the roof is held up by the chords, the floor is laid atop spring steel, which the team has laser-cut into a custom swirling pattern to allow it deform in three ways to create a dip shape. Walking on the spongey platform is similar to the sensation of treading on a trampoline.

Urban Imprint by Studio INI at A/D/O

Based in Athens and London, Inglessis established Studio INI in 2015 with the intention to use computational and digital tools to improve human interaction and experience. The studio designed the Greek pavilion for the 2018 London Biennial, which similarly shifted shape in response to movement.

Urban Imprint by Studio INI at A/D/O

“We have such great capacity for digital tools, computational design, but instead of using it for the purpose of simulating physical reality and slowly crawling towards a world where we live in a headset, I find it much more intriguing of how do we use these technologies to reconsider the physical way that we design,” she said.

Urban Imprint will be open to the public from 17 May to 2 September at A/D/O, which is located inside an old warehouse that was transformed by New York studio nArchitects into a creative hub, restaurant and tech startup incubator.

Urban Imprint by Studio INI at A/D/O

The creative hub, which is backed by MINI, unveiled Urban Imprint to coincide with the annual NYCxDesign festival, taking place across the city from 10 to 22 May 2019. It marks the second in a series of installations for the citywide festival, and follows last year’s Spirit of the City that featured rotating gold mirrors.

Photography is by Luke Walker.

The post Studio INI’s morphing Urban Imprint installation opens in A/D/O courtyard appeared first on Dezeen.

frog Turns 50 and Celebrates with a Delightfully Nerdy Exhibition During NYCxDesign

Happy 50th birthday frog! To celebrate, the iconic design firm is currently hosting a retrospective at their Brooklyn office as part of NYCxDesign. The exhibition celebrates the vast amount of work that frog has been a part of over the years, displayed in the form of physical products, framed advertisements and even interactive AR displays. In the above slideshow, view some of the products we were most excited to nerd out over, from original Mac computers to a futuristic dishwasher.

For those who are in in town for NYCxDesign, we recommend taking a trip over to frog’s office to experience this taste of design history in person. And if you need help planning the rest of your NYCxDesign experience, be sure to check out our handy NYCxDesign Map.

Oh, and we can’t leave out one of our favorite displays at the frog show—the below miniature model inside of a 1980 Mac SE computer:

Cleo Laptop for Vadem Cleo, 1998
A convertible computer that served as a predecessor for current laptops and tablets.

Cleo Laptop for Vadem Cleo, 1998
The retractable arm allows the screen to swivel up to become a laptop and down to become a tablet.

Dual Stereo for Dual Electronics, 1994-1996
frog designed a complete user experience for Dual Electronics, who needed to reinvent themselves for the digital age.

Dual Stereo for Dual Electronics, 1994-1996
The Dual Stereo features a panel that can be removed and turned into a remote control.

51K Audio Concept for Wega, 1978
An all-in-one turntable, cassette tape player and radio tuner that set the stage for Wega being acquired by Sony soon after.

51K Audio Concept for WEGA, 1978
So. Many. Dials.

NeXT Cube for NeXT, 1987
When Steve Jobs left Apple to found NeXT, he partnered with frog to create the infamous NeXT Cube, a “smart station” for the higher education market.

NeXT Cube for NeXT, 1987
The Cube didn’t exactly take off in the market, but it offered something new in a sea of boring beige computers.

NeXT Cube for NeXT, 1987
Hey, at least the company’s focus on design carried over into Jobs’ future work with Apple.

Digital Answering Machine for AT&T, 1990
The first digital machine produced by AT&T.

View the full gallery here

Folding furniture you can hang on the wall!

In this age of cramped, tiny apartments but larger-than-life social circles it isn’t difficult to imagine a scenario where you’ve got 10 friends coming over, but just 4 chairs. I know it’s happened to me.

That’s when flat-pack folding furniture like the Hanging Stool come handy. Its nifty design can flatten up into a rather nice looking ornate form that you can hang on the wall. When you need a stool, take it off its wall-hook and set it up in roughly 5 seconds with a simple flip of the seat and the legs.

The Hanging Stool’s novel approach to the folding mechanism (we’ve seen loads of folding stools, none like this) and its quirky hang-able nature (thanks to the two leather straps on each side) give it a slight visual edge above others. Besides, that bright blue does wonders for bringing a splash of freshness to your space… even if it’s hanging on your wall!

Designer: Leadoff Studio

A Test Drive, and the Design Story Behind Range Rover's Most Unusual Vehicle

SoHo is one of New York City’s most pedestrian-friendly neighborhoods–and paradoxically, the best place in Manhattan to see every car design on Earth. On Lafayette, bland rideshare Toyotas share lanes with Teslas. On West Broadway’s restaurant row, delivery trucks are wedged in with Lamborghinis, Ferraris, the odd Bugatti. The streets in between are the parking lot of the upper middle class, awash with everything else–primarily crossover SUVs of German and Japanese heritage, so numerous and similar that they are rendered bland.

Unless you’re on West Broadway, it takes a lot for a car to catch your eye there. But on my daily dog walks through SoHo, sometime around 2011 or 2012 I started seeing an unusual dark grey vehicle regularly parked on Greene, sometimes Mercer. It looked like a small Range Rover that had had its roof squashed by some prankster giant.

First generation Evoque, By Vauxford – Own work, CC BY-SA 4.0

A longer look revealed that the designers had not only slanted the roof very intentionally, but even leaned into it by adding a steadily ascending beltline to magnify the effect, suggesting a vanishing point. It could not be mistaken for any other vehicle.

I hated it. The car always caught my eye, and its lines were clean enough but the roofline didn’t make any sense to me, from a functionality standpoint; it turned the rear window into little more than a slit. It did, however, remind me of an early design gig I had doing sneaker concepts for a major manufacturer. The brief the Design Director gave was: “Draw me something that the kids will notice from across the street.” This car certainly fulfilled that.

I learned the car was in fact a Range Rover, a new model called the Evoque. I regarded it as a curiosity, a novelty that wouldn’t sell well.

I was wrong, as it turns out. And because I did not know the context of the car at the time, I completely missed the design lessons contained within it: Why it looks the way it does, and what it would go on to accomplish for its parent company. To date the car has sold–largely on the strength of its design–roughly 800,000 units, from a company that could not have dreamed of those numbers when the design was first conceived.

The Context

The proper Range Rover is a full-size SUV that has evolved over the decades from a utilitarian vehicle to a luxury one. It’s been a steady performer for parent company Jaguar Land Rover; in 2011 it had annual worldwide sales of 29,626–not GM or Ford figures, but certainly respectable for a challenger brand that’s a fraction of the size. After a 2012 redesign, sales began to climb, and by 2015 had more than doubled the 2011 figure, coming to 60,226. These are fairly staggering sales numbers for a car with a price that can stretch into six figures.

2019 Range Rover

As good as both those sales and growth figures are, that price tag will confer a ceiling at some point. It’s true that each year sees more people becoming millionaires–last year another 238,000 people reached that category in the U.S. alone, according to Investopedia–but the far larger market is obviously those of us in the middle class. In order for the company to grow, JLR needed an entry-level vehicle in the Range Rover line, something an average Joe could actually afford. And with more people moving to cities, a vehicle that could easily be maneuvered through traffic and parked in tight spaces would be a plus.

To fulfill this mandate, in 2008 Land Rover (the company at the time had yet to be stabled with Jaguar) unveiled the LRX concept, designed by Gerry McGovern, at the North American International Auto Show:

LRX Concept, 2008

The response was positive from not only show attendees, but more critically, both dealerships and the all-important press. “Gerry McGovern’s first effort since becoming design director of Land Rover is this LRX concept and it’s a stylistic home run,” wrote Car & Driver at the time. “the LRX is an SUV coupe concept in a size that is both both sensible and practical.”

“Don’t let its macho-sport exterior fool you—McGovern refers to the LRX as Land Rover’s Mini Cooper or Audi TT. As fans of the Range Rover Sport that came from now-retired designer Geoff Upex, we embrace this mini-ute as well.”

Motor Trend was similarly effusive, referring to it as “The beautifully detailed and artfully proportioned LRX” and confirming JLR’s confidence in the concept and subsequent production plans. “It will be a bold step for the company, and a bold step for the brand,” said Chris Marchand (then Land Rover’s North America Sales and Marketing head, now Executive Vice President of Operations).

The UK’s Car Magazine explained the point of the design: “Here is Land Rover’s riposte to the anti-SUV brigade: the long-awaited baby Landy – a hybrid 4×4 so small it shares a footprint with a Ford Focus,” they wrote. “This is a car for people who deride the unnecessary heft of large SUVs, but want to retain the visual presence of 4x4s. It’s Land Rover lite.”

LRX Concept, 2008

LRX Concept, 2008

As Marchand told Motor Trend, “This vehicle will be a segment changer…. It will set us up for the future.”

Marchand turned out to be right. The production version of the LRX–which remained incredibly faithful to the concept, due to care on McGovern’s part during the design process–was dubbed the Evoque, and it debuted in 2011 with annual worldwide sales of 22,710. Close to the Range Rover’s 29,626, in other words.

However, the Evoque had debuted mid-year in 2011. In 2012, the Evoque’s first full year of production, annual sales jumped to a whopping 108,598 units. The following year it was 124,292. In 2014 it hit 125,364, before calming down to roughly 110,000 a year for the next three years.

2014 Evoque HSE

Then came 2018. A bad year for Land Rover, with a looming Brexit and global trade tensions impacting consumer confidence, a shift away from using diesel fuel in Europe (84% of Euro-market JLR vehicles are sold with diesel powertrains, according to Automotive News) and a rapid cooling of the highly-profitable Chinese market. On top of that, with the announcement of a new Evoque, would-be buyers were waiting for it rather than helping dealerships clear current inventory. “Sales of Land Rover models [in 2018] fell by 6.9% as market conditions in China and Europe and the run-out of the current Evoque held back performance,” the company wrote.

Even still, by the end of 2018 JLR had sold a staggering 777,182 Evoques since launch; by press time, the number has undoubtedly topped 800,000. “Evoque has been the superstar sales success over the past eight years for Range Rover,” says Richard Agnew, Land Rover’s Director of Global Brand Communications. And incredibly, the Evoque had accomplished these sales figures without receiving a redesign in its first eight years of production.

So Why Redesign the Evoque Now?

As evinced by the launch of their highly-capable, all-electric I-Pace last year, JLR is making a massive shift towards electric. Having a more sustainable power source is not only environmentally responsible, but makes good business sense as both Europe and China’s CO2 targets are being toughened up. It would also make the company less vulnerable to shifts in diesel demand. Thus they’ve set the ambitious goal to offer, by 2020, all new Jaguar Land Rover vehicles with the option for electric powertrains.

From an engineering standpoint, the Evoque required new architecture to accommodate an electric powerplant. Some car brands would take this opportunity to completely overhaul the design, but that isn’t JLR and McGovern’s way. “There’s this preoccupation in the automotive industry that ever time you do a new car, it has to be completely different. Why?” McGovern says. “When it comes to a new vehicle that we haven’t produced before, that’s our opportunity to be radical. But if you’ve got something that’s established, that people love, [I’d rather] refine it. Look at the evolution of the 911, it’s a very good example. Or the evolution of the Range Rover. That is our approach.

“The Evoque is incredibly successful for us, [with nearly] 800,000 vehicles sold,” McGovern continues. “A vehicle that truly did resonate with consumers, and it is the first Land Rover ever that did sell predominantly on its design.” The challenge, then, was to maintain the design elements that made the Evoque a hit while still producing something new.

McGovern and his team’s redesign is thus a meticulous refinement of the first generation. The goal, in McGovern’s words, was for folks to see it and say “‘That is unmistakably an Evoque,’ and in the second sentence, ‘but it’s the new one.'”

“You can tell it’s the new one because of how clean it is,” McGovern says. “The reductive nature, the levels of precision. In the details of the car there’s a sense of order and discipline, every line is doing a job even if it is just to create a beautiful aesthetic.

“The car overall, give or take a few mil, is virtually the same size [as its predecessor] but it is subtly different: We’ve made the proportion even better than on the original by increasing the wheelbase slightly. We’ve given it bigger wheels to optimize that proportion, and the increase in the wheel base helps in terms of the rear package, you get slightly better ingress/egress and it gives you a better stance.”

Because the vehicle (at first glance) looks so similar to the previous generation, one might suspect that the development team’s workload was light. But in actuality, as JLR Chief Engineer Peter Bingham points out, “Within the body structure, the metalwork of the vehicle, the only pieces that carry over from the old car are the door hinges.” Everything else is all-new. Most importantly, it’s now capable of housing an electric powertrain, but “we didn’t want to do that at the expense of the customer,” Bingham explains, “so the batteries are underneath the floor of the car,” creating space.

As one bonus of the rejiggered structure, more trunk space was gained. And on the ride quality front, the new cast-aluminum front subframe and shock towers increase stiffness, to better absorb impacts. The new engineering improvements also serve the design directly: “By increasing strength in those areas, that’s allowed us to fit 21″ wheels for the first time to Evoque,” Bingham says. “That gives the car a great stance and the proportions that it has.”

Fine, So 800,000 Customers Disagreed With Your Correspondent About the Roof

During the press event, I was of course waiting for McGovern to address the divisive design element that first irked me, the plunging roofline and rising beltline. McGovern reveals that he did indeed encounter resistance, but doubled down on his commitment to it during the design process: “I can remember having heated battles on the first Evoque, where people tried to get me to lift the roof–‘We need to see’–Nope, because that’s it’s character, and sometimes to get character you have to compromise. Some people actually look better with a scar on their face, it gives them more character.”

For their part, JLR’s engineering team came up with a technological solution that removed the key UX criticism for the roofline. And what they developed became “my favorite feature,” McGovern says. “When you look at it, falling roof, rising beltline, visual robustness and that little window in the back that you can’t bloody see anything out of, we kept it. But these geniuses [the engineering group] found a way of being able to see much better out of the back. We call it ClearSight.” Bingham and his group’s ClearSight Rear View Mirror doubles as a camera-fed monitor, eliminating blind spots to provide a wide and completely unobstructed view, even if you’ve got passengers or cargo in the back. (Note: GM has a similar feature, which I recently demonstrated in the GMC Sierra review; GM and JLR’s systems were developed independently).

Normal mirror view

ClearSight view

Animal-Free Alternatives to Leather

JLR’s sustainability drive manifests not only in their electric initiative, but also in the materials science they’re availing themselves of for the interior. While leather seats go hand-in-hand with luxury vehicles, one issue is that you have to kill some cows for the material. And while traditionalists can still order leather in the Evoque, the company is also offering animal-free alternatives using high-tech fabrics from natural and sustainable sources. One is a blend of wool and suedecloth that actually incorporates recycled plastic bottles; the other comes from natural fibers. Both are tested for stain- and abrasion-resistance, with the intention of rivaling or surpassing leather.

“I think in time, this will become the norm,” McGovern says. “We’re now seeing more and more people want [material alternatives with] non-animal by-products, and I think there’s some beautiful materials that have the quality and the durability that leathers do. I’m not saying it’s going to replace leather, but I think we’re going to see more of that.”

Where the Rubber Meets the Road

So what do all of these improvements mean for the all-important user experience of the car? To find out, Core77 joined a team of automotive journalists on a series of spirited test drives from Athens to the Peloponnesian peninsula and back. Over the course of the drives we covered every type of terrain, from paved highway to rocky off-road, from logging-style, gravel pathways freshly cut into mountainsides–terrifyingly, often without guardrails at perilous hairpins–to dirt-track farm roads best suited to the sure-footed goats that inhabited them.

Interior

The interior of the Evoque is almost shockingly modernist. The luxury feel comes not from a bunch of gaudy, glossy surfaces, but rather from the minimalism. If it didn’t actually turn on when you pressed the Start button, you’d think it was the interior of a concept car, a buck for a sci-fi movie. There are wide, unbroken stretches of material, a marked lack of clutter, and a series of well-crafted surfaces that appear to have been slaved over. When you look closely at any of the transitions in the dash, the controls or the seating, you see what reads as high-tech craftsmanship.

My personal automotive experience is primarily with Japanese, German and American cars. The Evoque’s interior does not read as either of those things; and having next to no experience with British cars I can’t say if the interior is English, JLR, or McGovernish. But it is something I hadn’t seen before.

Driving Performance

The engine performance is obviously going to vary depending on whether you choose the base turbocharged 2-liter four-cylinder, or the variant of that engine with the 48-volt torque infill system (electric launch, essentially), or a hybrid- or all-electric version. Our test cars were fitted with the second variant on that list and the car was sufficiently peppy for spirited driving. (If the electric powerplants JLR eventually provides are anything like the ones in the I-Pace we previously tested, it will likely be “sufficiently Holy Shit for spirited driving.”)

On-Road

Maneuvering the car at slow speeds on crowded streets, and fitting it through tight spots, was easy; this would be a fantastic city car. At highway speeds the car handles well and feels like a larger car, meaning there is none of the unpleasant, jittery characteristics you may have experienced in, say, a budget compact rental car. It feels stable, well-planted and easy to control. The cabin is also surprisingly quiet. Overall, it feels and handles like a sporty luxury car.

One thing I didn’t care for, is the lack of a feature that admittedly no luxury buyer desires these days, which is a manual transmission. I am biased; I hate automatics. In spirited driving through corners, the nine-speed automatic transmission often downshifted when I didn’t want it to, and I don’t like being surprised by gear changes. It’s possible that if I owned the car long-term I’d master the automatic transmission’s shift points with better throttle control on my part, but this was a short-term test.

Your correspondent is terrified of heights but yes, the route called for us to drive over this thing. It was a long way down.

Off-Road

During the first leg of our drive, when we were on paved roads, I saw this as the perfect city car; the suspension handles well on the highway, but is also well suited to swallow the bumpy cobblestones of SoHo, where I’d first seen one, and I figured that would be as far as it went.

As for the wilder portions of the routes, let me say: The Evoque was so ridiculously competent off-road, that it was almost confusing. The car’s sure-footedness and overall offroad prowess was completely unexpected in what visually reads as a car designed for urban environments.

When we were navigating the decidedly un-urban, steep, unpaved, gravel-surfaced, twisty mountain roads with sheer drop-offs and no guardrails, the car’s stability, predictability and 4WD inspired confidence. I saw more than a few of the other automotive journalists tackling these roads significantly faster than I’d be comfortable doing, so I’m gathering they found the same.

But it was after taking the car truly off-road that most impressed me. The route called for us to traverse a rocky riverbed, the type of obstacle that in a lesser car would have you reaching for your cell phone rather than the gear selector. But the Evoque crawled smoothly up and down the rocky terrain, confidently and relentlessly. At the low speeds required, the engine had more than enough torque to get us up and over improbably large rocks. And while we journalists were allowed to ford shallow bits of water, Bingham reveals that “the car can run through 600 millimeters or nearly two feet of water, which is deeper even than we used to advise for the old Defender.”

The Evoque’s ground clearance is 8.3 inches, comparable to a Subaru Outback. While that’s not quite enough to tackle Defender-level rock climbs, the Evoque’s 4WD system, along with well-considered angles of approach (25 degrees) and departure (30.6 degrees), mean you can put the car into situations I’d never dream of with most cars this size.

What most surprised me was the versatility; this car is undoubtedly aimed at the luxury market, so I wasn’t expecting the off-road chops. “Under all of this it’s still a Land Rover,” Bingham said to us after the drive, “and as you found today, that means it’s best-in-class off road.”

I did wonder: Would any urbanite purchase the Evoque with the intent of truly letting it do its thing off-road, out in the wild? With a car this well-engineered it would be a crying shame not to. If I was stuck out in the rugged wilderness and with the keys to nothing but a nearby Evoque, I’d be glad I had one; I just can’t imagine the situation that would put me there. I suppose that’s a question for JLR’s marketers to answer.

Conclusion

At a starting price of $42,500, the Evoque provides a strong-performing and relatively affordable entrée into the world of Range Rover. If the previous version performed half as well as the one we journalists drove, the car’s high sales figures are no surprise. It’s got the attention to design, it’s got the attention to engineering, it’s got the luxury.

The vehicle’s versatility is astonishing. The car is well-suited and sized for the city, comfortable and zippy on two-lanes or the highway, and almost absurdly capable off-road; it’s designed as if targeted towards a city dweller who doesn’t want to get stuck after they flee into the wilderness to dodge an upcoming zombie apocalypse.

On top of that, the clean, minimalist design, along with the fit-and-finish, make it feel like a much more expensive car.

The Design Takeaway

McGovern took a bold risk with the design of the Evoque, doubling down in the face of resistance to see his vision through. Land Rover wisely backed him and as you’ve learned above, it paid off with numbers on the verge of shocking. What we didn’t get to discuss much here are McGovern’s design philosophies and disciplined approach to creating the Land Rover lineup. On this front, we’ll have some excerpts from a chat with him coming up next.

Watch a fly-through animation showing Notre-Dame rebuilt with a replica spire and a glass roof

Notre-Dame animation

Miysis Studio has created an animation showing its vision of a rebuilt Notre-Dame that combines a reconstruction of Viollet-le-Duc’s spire with a modern glass roof.

The Belgium visualisation studio created the movie to show how the cathedral, which was devastated by fire last month, could be rebuilt using modern and traditional materials.

“We also wanted to mix traditional wood and new materials to find the right balance between history and future,” Denis Stevens, CEO of Miysis Studio told Dezeen.

Since the fire, numerous designers have created proposals for how Notre-Dame could be rebuilt including Vincent Callebaut and Studio NAB, which like Miysis Studio suggest creating a roof top garden enclosed by a glazed roof. Various other proposals range from the interesting to the outrageous.

Read more about Miysis Studio’s Notre-Dame proposal ›

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Dezeen Weekly features a Tuscan hotel built from ruins

The latest edition of our newsletter Dezeen Weekly features a hotel in Tuscany that began life as a group of ruined buildings, Bjarke Ingels’ Game of Thrones cameo and the demise of Welbeck Street car park. Sign up to Dezeen Weekly ›

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Al Wakrah Stadium built by Zaha Hadid Architects for World Cup in Qatar

Zaha Hadid Architects' Al Wakrah stadium for the Qatar World Cup 2022 opens

Zaha Hadid Architects has completed the Al Wakrah Stadium, a venue for the 2022 FIFA World Cup in Qatar, and it hosts its inaugural match today.

Located in the city of Al Wakrah, around 10 miles south of Doha, the 40,000-seat stadium opens with the Amir Cup final between Al Sadd and Al Duhail tonight.

Zaha Hadid Architects' Al Wakrah stadium for the Qatar World Cup 2022 opens
Photograph is by Hufton + Crow

Zaha Hadid Architects‘ stadium is one of several new venues being built for the football tournament in 2022, and is first to complete.

In total, eight venues will be used during the World Cup, including the Khalifa International Stadium that was redeveloped in 2017 and the 80,000-seater Lusail Stadium designed by Foster + Partners.

Another of the venues, the Ras Abu Aboud Stadium, will be built using shipping containers.

Zaha Hadid Architects' Al Wakrah stadium for the Qatar World Cup 2022 opens

The distinctive form of Zaha Hadid Architects‘ Al Wakrah Stadium was taken from the shape of the typical fishing boats – called dhows – that can be seen in the city’s harbour.

However, when visualisations of the stadium were first revealed many people compared its shape to female genitalia.

The stadium has a fully retractable roof so that the players and spectators can be cooled, allowing for the building to be used all-year round.

Zaha Hadid Architects' Al Wakrah stadium for the Qatar World Cup 2022 opens
Photograph is by Hufton + Crow

“I am certain that in 2022 Al Wakrah Stadium will be one of the most iconic venues at the World Cup, and it gives us all a sense of great pride to be opening the second Qatar 2022 stadium with three and a half years to go,” said Jassim Al Jassim, head of venues operations at the Supreme Committee for Delivery & Legacy.

“I look forward to working together with all our stakeholders, friends and colleagues over the coming years to enjoy many more momentous occasions.”

Zaha Hadid Architects' Al Wakrah stadium for the Qatar World Cup 2022 opens

Following the World Cup, the capacity of the stadium will be reduced to 20,000 in a similar manner to the studio’s London Aquatic Centre, which had its capacity reduced form 17,500 to 2,800 following the 2012 Olympic Games.

The stadium will also become the permanent home of football team Al Wakrah Sports Club.

Zaha Hadid Architects was founded by Pritzker-winning architect Zaha Hadid in 1980. The studio has been led by Patrik Schumacher since Hadid passed away in 2016.

The studio is currently designing a concert hall for Ural Philharmonic Orchestra in Russia, a pair of skyscrapers in London, and an office on world’s most expensive site in Hong Kong.

Photography is courtesy of the Supreme Committee for Delivery & Legacy unless stated.

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Amazing Art to Wear

Feliks Kaparchuk (alias ColorbyFeliks) est un artiste majoritairement autodidacte et talentueux. Avec l’acrylique sur toile comme média principal, il utilise également des supports en bois, des vinyles et des pièces à porter comme des vestes ou des sacs. « Je suis allé dans une friperie et j’ai acheté une veste en jean afin de la peindre et cela est devenu très populaire ! Ayant un parcours en lien avec le mannequinnat, par le passé, je me suis d’autant plus amusé à allier art et mode », explique-t-il. Inspiré par tout ce qui l’entoure, Feliks explique être spécialement intéressé par la nature et les couleurs. 

Porter l’une de ses pièces, revient à marcher avec une création artistique unique. Une réelle expérience pour qui peut la vivre. « J’aimerais que les gens qui portent mon art se sentent unique et confiant. Comme si ce qu’ils portaient était quelque chose de spécial et qui les fait se sentir à la fois spéciaux à leur tour, mais aussi beaux comme une oeuvre d’art ! », dit-il. « Je veux que mon travail soit décrit comme lumineux, inspirant et encourageant. Tel est mon but ».

 






 

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