Sabine Marcelis creates furniture and lighting from same materials as Barcelona Pavilion

Sabine Marcelis creates installation from Barcelona Pavilion materials

Designer Sabine Marcelis has used glass, travertine and polished metal to create a collection of sculptural interventions that respond to the materiality of Mies van Der Rohe’s Barcelona Pavilion.

No Fear of Glass is the latest in a series of temporary installations staged at the pavilion, which is a recreation of the structure built by Mies van der Rohe and Lilly Reich for the Barcelona Expo in 1929.

One of the instructions given to Mies van der Rohe when designing the pavilion was to “not use too much glass”. Marcelis playfully subverted this request by using glass as the main material for her interventions.

Sabine Marcelis creates installation from Barcelona Pavilion materials

The designer created two chaise longues, two pillar lights and a fountain for the installation, using glass, travertine and chrome in a direct response to the materials found throughout the pavilion.

Each of the pieces uses transparency, reflections and ombré effects to distort how they appear as visitors move around the space.

This approach echoes how the pavilion’s architects employed polished stone, mirrored steel and glass to amplify the sense of space inside the structure.

Sabine Marcelis creates installation from Barcelona Pavilion materials

The chaise longues feature bases made from the same travertine as the building’s floor, which appears to pop up to support delicate sheets of curved glass.

These glass pieces seem to have migrated from the building’s outer walls and are treated with a coloured gradient matching hues found in the golden onyx panelling.

Sabine Marcelis creates installation from Barcelona Pavilion materials

In the pavilion’s larger reflecting pool, Marcelis installed a fountain made from layered sheets of curved glass edged with polished aluminium. Water pushed up through the gap between the two glass pieces spills over the edge back into the pool.

The designer also introduced a light fixture that mimics the cruciform mirrored-steel pillars used to support the pavilion’s roof. Marcelis’s version is made from two-way mirror and incorporates a neon light tube that appears when it is turned on.

Sabine Marcelis creates installation from Barcelona Pavilion materials

Marcelis is known for her experimental use of materials such as resin and glass, which she manipulates to “create unexpected experiences” and distort how the viewer perceives their physical properties.

Her previous projects have seen her translate Burberry’s signature tartan into resin display panels, and create a series of resin fountains for Fendi’s presentation at the 2018 edition of Design Miami.

Sabine Marcelis creates installation from Barcelona Pavilion materials

The No Fear of Glass project, delivered in collaboration with Barcelona-based Side Gallery, follows on from several other artistic interventions organised by its owner, the Fundació Mies van der Rohe.

The pavilion has previously been lit up by a laser grid, been completely hidden behind white vinyl screens, and had its glass doors removed and mounted on the facade.

Marcelis’s installation is on show until 12 January 2020.

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Artist Nathaniel Stern’s Depictions of Recent Technology in the Distant Future

It’s known that our iPhones will outlive us all. In fact, most mixed-material technology from the last few decades does not get properly recycled; waste management systems are not even in place to do so. Thus, as Fast Company states, “the scale of our technology waste is astronomical.” Wisconsin-based artist Nathaniel Stern probes this in his most recent exhibition, The World After Us: Imaging techno-aesthetic futures, at the Museum of Wisconsin Art. Stern blends organic materials, plant life and electronics to form sculptures, installations and more. His work underscores our inadequate commitment to recycling and also acts as a reminder that humanity is fragile, but we are creating devices that will continue to decompose for centuries or longer. Read more at Fast Company.

Meet TIC, the most advanced and aesthetic way to carry your toiletries as you travel

Outwardly, the TIC is barely the size of a hip-flask. It’s squarish, slim, and slides right into your suitcase when you travel. Take it out and open it up, and TIC becomes the classiest travel toiletry kit you’ve ever seen. Integrated right into its slim design is a water-tumbler, and a wall or mirror-mountable kit that contains a toothbrush, toothpaste dispenser, and a bottle of mouthwash. For the jet-setting clean-shaven businessman, there’s a TIC kit that includes a complete razor set, along with blades, shaving cream, and even a fold-out mirror. The TIC oral care and razor kits help you do two things. They keep your travel-toiletries well organized, and they help cut out single-use toiletry items like toothpaste tubes and disposable razors out of the environment, all while looking like something I’d imagine James Bond would carry. (I’m aware I make a lot of comparisons to James Bond, but he’s truly the classiest and most modern pop-culture icon ever. Who knows, he may just be a design enthusiast)

The TIC comes in two varieties, an oral-care kit, and a male grooming kit, both which fit within boxes that are the same size. Designed for travel, these kits are roughly the size of a wallet, and slightly thicker, making them perfect to slide into your check-in suitcase. Upon arriving at your accommodation, the TIC kit opens out into a fully functional set of toiletry-instruments. The oral-care kit features an external cover that doubles as a drinking tumbler, and an inner kit that has a microporous suction surface that neatly and securely sticks to flat surfaces like tiles, glass panels, or mirrors. The kit opens out to reveal a two-part toothbrush that assembles with a quick snap, and an integrated toothpaste dispenser that works at the push of a button. There’s even space for a bottle of mouth-freshener, complete with markings that help you consume the right amount at the time, and a slide-out mirror, just in case you’re not around one. When done, the drinking tumbler makes a great tool to rinse up.

The TIC oral-care + razor kit works on the same compact principle as the oral-care kit. It, however, switches the mouthwash bottle for a razor handle and an interchangeable blade-head. The blade-head features a three-blade design complete with a lubrication strip that lets you use it directly on your skin without worrying about razor-burn. You can quite literally use the kit anywhere, relying on the clever slide-out mirror that’s built right into the TIC’s body.

Frankly a much classier and more eco-friendly alternative to those godawful hotel toiletry kits, the TIC is hoping to revolutionize the way we travel. Along with smart suitcases and well-designed carry-ons, the oral care and razor kits work towards a unified goal of being useful, uncumbersome, and extremely desirable, all while ensuring their products aren’t single-use. The TIC kits are made from a combination of materials like ABS and PP for durability, and Nylon, BPA-free PET, and Silicon for health and comfort. The TIC kits are even FDA approved and their patent-pending design ensures you get the highest quality kits with no chance of seeing cheap knockoffs anytime soon. You can choose between slick-looking matte black or white finishes, and the kits, which are available for as little as $11 begin shipping as soon as Feb 2020!

Designer: TIC Design

Click Here to Buy Now: $11 $29 (62% off). Hurry, only 67/100 left!

TIC Oral Care & Razor Kit

Palm-sized toiletry essentials on the go.

BYOT (Bring Your Own Toiletries)

The TIC Oral Care & Razor Kits are a positive step towards eliminating the disposable, single-use toiletry supplies that are contributing to pollution.

Oral Care Kit Usage

Toothpaste Tube.

Toothbrush.

Mouthwash Bottle.

Oral Care & Razor Kit Usage

Razor.

Sliding Functions

Sticker Board

Easy to use.

Sticks to a variety of surfaces.

Easy to clean.

Click Here to Buy Now: $11 $29 (62% off). Hurry, only 67/100 left!

DIY "Shoes" for Truck Wheels, to Avoid Killing Small Animals

When I borrowed a GMC Sierra for use on our farm, that truck’s comprehensive Surround Vision camera system proved incredibly useful; it’s the reason I didn’t accidentally flatten any of our 200 free-range chickens and ducks.

However, camera systems like that one only let you see the creatures, so that you can brake and wait for them to pass. But photographer Chris Bray had a similar-but-different problem: Living as he does on Christmas Island, which 40 million red crabs migrate across each year, braking and waiting isn’t an option–there are just too many of the little buggers.

So instead, he and wife Jess outfitted their Land Cruiser with these clever DIY crab-sweeping shoes:

“During the migration, which began last month, the roads are closed to protect the crustaceans but Chris and wife Jess run two luxury eco-lodges which they still needed access to. So the ingenious couple invented a unique solution – four large plastic shoe-like sweeps attached to the front of their Toyota Land Cruiser to gently push the crabs out of the way without harming them.”

via BoingBoing

As Plastic Bag Ban Hits Thailand, Consumers Adapt With Variety of Household Carrying Items

The “innovation” that we see coming out of the world’s top three economies–the U.S., China and Japan, in that order–are often technology-based, and of dubious value. (At the currently-running CES, you can see a summonable robot whose sole function is to bring you toilet paper if you’re on the bowl and have run out.) Meanwhile we’re seeing effective, ecological-minded steps being enacted by so-called poor countries. For instance Thailand, ranked 26th in GDP, has supermarkets that have started wrapping produce in banana leaves rather than plastic.

Now that country is taking another massive step towards the reduction of single-use plastic, with a newly-enacted plastic bag ban. Major stores are now barred from using them, with smaller shops expected to comply by 2021. As a result, Thai consumers are using all manner of household objects to carry home groceries and such:

Image credit: ROV ?????

Image credit: ROV ?????

Image credit: ROV ?????

Image credit: ROV ?????

Image credit: ROV ?????

Image credit: ROV ?????

Image credit: ROV ?????

Image credit: ROV ?????

Image credit: ROV ?????

Image credit: ROV ?????

Image credit: ROV ?????

Image credit: ROV ?????

Image credit: ROV ?????

Image credit: ROV ?????

Image credit: ROV ?????

Image credit: ROV ?????

It’s hard to decide which is my favorite, but I feel that the T-shirt guy should get a special mention.

See more photos at ROV ?????‘s Facebook page.

A Metallic Villadrone movie by Studio MK27 depicts metabolist future city

A Metallic Villadrone movie by Studio MK27

Brazilian architecture firm Studio MK27 has created this short sci-fi animation that imagines a city in 2100 with drone-powered flying homes, 3D-printed food, and replaceable body organs.

Directed by Studio MK27 founder Marcio Kogan, A Metallic Villadrone depicts a city that takes cues from the Japanese metabolism movement, a post-war modernist architectural movement led by Japanese architect Kenzo Tange.

A Metallic Villadrone movie by Studio MK27

“Personally, I believe that metabolism is the future of cities with its architectural megastructures and organic biological growth,” Kogan told Dezeen.

“Japanese architects such as Kiyonori Kikutake, Fumihiko Maki, and Kisho Kurokawa with his Nakagin Capsule Tower, were deeply inspired sources.”

Residences in the film are imagined as pods that appear to sprout from huge towers. Called “villadrones”, each of the homes can be detached and flown using drone technology to move to different towers, depending on the owner’s circumstances.

“The main idea of a dystopian future ended up being based upon nomadic habitation founded on drone systems composing 1000-unit metabolistic towers,” Kogan added. “The residents can move to better or worse places according to their needs or financial situations, in other words, nothing has changed!”

A Metallic Villadrone movie by Studio MK27

Studio MK27’s concept for A Metallic Villadrone was kickstarted by an idea the studio developed for Dezeen’s 2018 MINI Living Future Urban Home Competition.

“I was always fascinated by this theme,” Kogan added. “We had already done a project for a nomadic shelter to be used on the moon.”

The studio first sketched out illustrations to resemble “futuristic retro comic books”, and then developed the film using special effects and collages.

The nearly four-minute-long short shows the city through the eyes of a resident as they undertake everyday tasks on the last day of the year 2100.

It is also narrated by the resident – the voiceover is provided by British actress Lydia Rose Bewley – to reveal extra information of a dystopic future.

Details include the ideas that 3D-printed food is commonplace, robot chefs are vintage and body organs can be easily replaced.

Kogan said that many of these ideas take cues from science-fiction movies and literature that have similarly explored future living.

A Metallic Villadrone movie by Studio MK27

“For the A Metallic Villadrone project we began a profound investigation from scientific articles to literature and even movies to try and see what they had thought about this subject, such as Clockwork Orange, 1984, Blade Runner and 2001: A Space Odyssey,” Kogan continued.

“Small citations such as the Bauhausian Triadisches Ballet by Oskar Schlemmer, which appears holographically in the window at a mall, an old surviving bar that reminds us of Edward Hopper, and the nostalgic dream of a home like Villa Malaparte, appear in the film.”

A Metallic Villadrone is the latest architecture film by Kogan, who was previously a film director.

Others have focused on Studio MK27’s projects, including one that explores the interior of Micasa Vol C through the eyes of a bee, one that shows his Toblerone House from the perspective of a cat and another that suggests his Redux House was the cause of a marriage breakup.


Project credits:

Production: Studio MK27
Directed and original text: Marcio Kogan
Art directors: Carlos Costa and Marcio Kogan
Visual effects: Carlos Costa
Illustration: Davi Augusto Rodrigues
Music direction: Hilton Raw
Sound production: Hilton Raw and Fernando Forni
Audio production coordinator: Robério Barbosa
Voice over direction: Robério Barbosa
Voice over: Lydia Rose Bewley
Music: “It’s Love” by Hilton Raw
Special thanks: Studio MK27, Luiz Eduardo Brandão and Tess Maddock

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Surreal & Colorful Objects by Tony Futura

Tony Futura est un artiste berlinois qui détourne les icônes de la pop culture et les objets du quotidien en créations surréalistes, colorées et décalées bourrées d’humour !

Une jolie manière de dénoncer avec ironie et légèreté les excès de notre société de consommation. On adore !

Découvrez ci-dessous quelques-unes de ses créations. Autrement, allez faire un tour sur sa page Instagram !










 

Beautiful Outdoor Photography by Luke Stackpoole

Luke Stackpoole est un photographe et storyteller freelance basé à Londres et spécialisé voyage, aventure et style de vie.

Luke se concentre principalement sur le portrait, le paysage, la photographie de nuit et la photographie en extérieur. Il passe la majorité de son temps à l’étranger à créer des projets photographiques et vidéo pour des marques.

Comme nous pouvons le voir sur son compte Instagram, son travail est remarquable !

Découvrons-en une partie ci-dessous.










 

CH Japan: Touring The Yayoi Shochu Distillery

Tasting a protected appellation of the liquor only produced on the Amami archipelago

Sometimes considered Japan‘s national beverage, shochu outsells sake in its homeland and the most popular version has been listed among the 25 best-selling spirits in the world. A distilled liquor, shochu carries a 500-year history in Japan. (It’s also related to Korea’s soju.) During our CH Japan excursion to the island of Amami Ōshima—the largest of an archipelago in southern Japan—we toured the Yayoi Kokuto Distillery. It’s home to several different types of shochu, and one in particular that can only be produced among the remote Amami island chain.

Shochu varies greatly in flavor and strength (from 25% to 45%), as it can be distilled from so many different organic materials and through several methods. More than half is derived from barley, but some is produced from rice and others from sweet potato. None come close to “kokuto” shochu, the Amami-specific protected appellation that’s produced from brown sugar derived from sugarcane. Naturally, this is the specialization of the family-owned and operated Yayoi Kokuto Distillery.

Fourth-generation chief brewer Hiroyuki Kawasaki closely oversees production, marketing and more. Kawasaki left Amami Ōshima after high school to work in Tokyo, but returned at age 35 to take on the business. For kokuto shochu, his distillery imports premium Okinawan brown sugar—though the subtropical island does have its own sugarcane plantations, some of which date back to the 17th century. The liquid goes through one single distillation to preserve the characteristics of its source material. That said, although sugar is used, it evaporates during distillation and the final product—often called “yayoi” or “mankoi”—has no sugar content.

Even without sugar content, kokuto shochu tastes lighter and sweeter than those drawn from barley. Yayoi Kokuto Distillery has an adjacent aging warehouse, where barrels lend further flavor to some of their expressions. Their entire range oscillates from light, fresh and fruity to rich and sturdy. Some of these are now available worldwide.

Shochu has become an important component in cocktail-making worldwide, but in Japan it’s often consumed neat, on ice (the recommendation for kokuto shochu) or mixed with water. It can also be served hot or cold. For anyone lucky enough to find themselves on the island of Amami Ōshima, a visit to the Yayoi Shochu Distillery is a must—but for everyone else, kokuto shochu offers a taste of their heritage.

Images by David Graver

Studio Symbiosis proposes Aũra towers to alleviate air pollution in Delhi

Aũra air purifying towers by Studio Symbiosis

Studio Symbiosis has designed Aũra air purifying towers for Delhi, India, to help tackle the increasingly dangerous levels of pollution in the city.

Described by Studio Symbiosis as “breathing lungs of the city”, the Aũra towers have tapered, twisting forms designed to draw in polluted air and expel it in a purified form.

The proposal responds to increasing levels of thick smog in Delhi that the studio says feels like “a gas chamber”, which can be attributed to industrial waste, diesel vehicles, crop burning and power plants.

Aũra air purifying towers by Studio Symbiosis

“Residents of Delhi are breathing about 25 times more toxic air than the permissible limit according to the World Health Organization guidelines, as on November 2019 according to India Today,” explained Studio Symbiosis.

“Everyone who can afford to is buying home air purifiers but why is clean air becoming a luxury and only accessible to limited people?”

Aũra air purifying towers by Studio Symbiosis

Studio Symbiosis has developed two different sizes of Aũra towers. The smallest measures 18 metres in height, while the larger tower is 60-metres-high.

The 60-metre-tall air tower relies on strong winds, and is intended to be combined with several other towers to form a ring around the city’s border that acts as a barrier to external pollution.

Meanwhile, the smaller towers act as a secondary system placed within the city’s perimeter to maximise clean air during days when wind speeds are low and pollution is high.

Internally, both towers are divided into two vertically-stacked chambers divided by a filtration system.

The top chamber is designed to draw in the polluted air through intake vents. Here, the air velocity is increased through compression so that it can be pushed downwards to pass through the central filtration system.

Aũra air purifying towers by Studio Symbiosis

As it passes through the filtration system, it is cleaned before being expelled at the base of the tower through exhaust vents.

According to Studio Symbiosis, the 18-metre-high tower would be capable of cleaning 30-million-cubic-metres of air everyday.

Both towers are complete with green planters that cover 60 to 70 per cent of their surface to produce oxygen.

Aũra air purifying towers by Studio Symbiosis

The Aũra towers form part of a wider scheme by Studio Symbiosis to alleviate air pollution, called Aũra Hive.

This includes the proposal of Aũra Falcon Drones – a network of drones that slot into the walls of the towers that detach and move around the city to provide live updates of pollution levels.

Aũra air purifying towers by Studio Symbiosis

Aũra Hive also includes the design of use of Aũra velocity – an air-purifying-attachment designed to be placed on top of cars that relies on vehicle aerodynamics.

“This ensures that part of the problem becomes a part of the solution,” explained the studio. “The more these cars move in the city, the more they clean the city. It is a design of inclusion, rather exclusion.”

Noida-based Studio Symbiosis is now planning the construction of the first 11 of the towers as part of Eco Park – an 890-acre park under development in Delhi that is set to become India’s “biggest manmade biodiversity park”.

Similar designs on Dezeen include The Smog Project by Dubai-based architecture studio Znera – a network of 100-metre high towers that would absorb smog in Delhi – as well as Daan Roosegaarde’s seven-metre-high Smog Free Towers.

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