This mobile and universally-compatible VR headset plans to make cinema theaters obsolete

The fact that Netflix absolutely dominated the Golden Globes should be proof enough that the future of movies and entertainment is in-home. With more shows that you can humanely watch, online streaming services are rapidly becoming the new cineplexes and a good VR headset is the equivalent of a private screening, but good VR headsets are as expensive as Smart TVs, and more often than not, aren’t high-definition.

The fundamental reason why VR headsets are expensive is because they’re literally head-worn computers designed not for entertainment, but for productivity. It’s the equivalent of having to buy an expensive enterprise laptop just to watch Netflix. What the GOOVIS Young changes about VR is that it embraces the technology for entertainment purposes, and does it in the best way possible… not by being a face-mounted computer, but rather a face-mounted display that’s compatible with practically any of your devices. With a 1080p display on the inside that’s designed to feel like a theater with an 800-inch screen, the GOOVIS Young is a universal VR display you can connect to your phone, laptop, tablet, set-top box, or even your console, allowing it to act as a dedicated display for everything between working, gaming, watching movies, browsing the internet, or even doing the odd stuff like tapping into your drone’s camera for incredible HD POV-ing.

The GOOVIS Young comes with a cable that connects via USB-C to a wide host of devices, acting as a display for them… much like how you plug a pair of headphones into your device for dedicated audio, the GOOVIS Young does the same, but for dedicated video.

By cutting the clutter and not having its own CPU, motherboard, graphics card, and memory, and by purely being a high-definition display, the GOOVIS Young reduces its design footprint and comes in a slick form factor that folds up to be thin enough to slip into your backpack. No larger than a pair of headphones, the GOOVIS Young is the kind of headset you can carry around with you to work, on an airplane, or even use at home. With two high definition displays for each eye, the GOOVIS Young feels like being in front of your own dedicated OLED TV, except that it’s nearly $2000 cheaper. Given its compact size, the GOOVIS Young also comes with focus-adjustability, allowing you to wear it without spectacles, and a built-in proximity sensor that turns the display off when you fold the GOOVIS Young upward, or temporarily take it off.

And yes… the GOOVIS Young also addresses the elephant in the room, that is the current global predicament we’re in. I definitely believe this home-ridden situation we’re in is a temporary one, but it’s had some undeniable effects on the entertainment industry, causing a rapid pivot to home-streaming services. By being an independent, universal display for any device, even literally your set-top box, the GOOVIS Young promises a high-definition private-screening experience that’s portable, highly-compatible, comfortable, and most importantly, affordable. Take that, Oculus and HTC.

Designer: O-VIEW Technology

Click Here to Buy Now: $599 $1000 ($400 off). Hurry, only 77/100 left!

GOOVIS Young – Personal Mobile Cinema

Be anywhere and plug-in to your phone, computer, console, or more to live immersed in big-screen quality entertainment with a head-mounted display no bigger than a pair of ski goggles.

It’s the most comfortable HMD yet, with brilliant color and twin 1920×1080 M-OLED displays for an astonishing 800″ virtual screen experience viewed from 66′ away.

Plug & Play

Universal connectivity with USB-C. Plug-in your device and unlock your favorite TV shows, movies, sports, music, games and more. No app, or charging required. Use their video adapter to connect to HDMI.

PPD (Pixel Per Degree)

Left: GOOVIS Young PPD=42. Right: Other Brands PPD<20.

PPD is the key for sharpness. GOOVIS is four times more sharpness than other VR.

Cinema Experience

800 inches of immersive detail in brilliant color.

A Sony OLED TV for each eye.

Glasses Free

Precisely adjust the display to your eyesight with diopter and interpupillary distance adjustments.

Click Here to Buy Now: $599 $1000 ($400 off). Hurry, only 77/100 left!

RDR designs "compact village" for sheep farm in Patagonia

Estancia Morro Chico by RDR Architectes

Swiss architecture firm RDR chose corrugated metal to cover a sprawling agricultural complex in Patagonia where cows and sheep are reared.

Richter Dahl Rocha & Associés (RDR) designed the Estancia Morro Chico ranch in Argentina’s Santa Cruz province near the border of Chile.

Estancia Morro Chico by RDR Architectes

The project is located in the wind-swept region of Patagonia, which is shared by both countries and has mostly cold and cloudly climate year-round.

It is common to raise livestock here but a rewilding effort has been promoted to restore and rejuvenate Patagonia’s grasslands.

Estancia Morro Chico by RDR Architectes
Photograph by Celine Frers

The Lausanne studio built a series of buildings and renovated existing structures the 27,000-hectare ranch, which is home to 11,000 Merino sheep and 1,500 Hereford and Aberdeen Angus cattle.

The goal was to allow for the large-scale production of wool, as well as beef and mutton.

Estancia Morro Chico by RDR Architectes
Photograph by Javier Agustin Rojas

The new volumes are low-slung, rectangular designs with walls and roofs covered in corrugated iron to form a uniform aesthetic. They include a depot for storing machinery, a guest house and staff accommodation.

RDR chose to arrange the buildings in a cluster, like a village, to help create a well-sheltered environment suited to the climate. A shed for shearing sheep is located further away near the pastures.

Estancia Morro Chico by RDR Architectes
Photograph by Javier Agustin Rojas

The buildings are constructed with prefabricated wood and metal, which RDR chose to reference how pioneers to the region in the 19th century built. The use of the materials is also a contemporary reinterpretation of barns and warehouses.

Estancia Morro Chico by RDR Architectes
Photograph by Javier Agustin Rojas

“The layout of the complex is based on the model of a compact village, characteristic of the ranches of the region, where the utilitarian buildings and accommodation blocks are grouped together for protection against the rigours of the climate and to create places that are comfortable in the Patagonian desert,” RDR said.

Estancia Morro Chico by RDR Architectes

“The general aesthetics of the project were inspired by the traditional architecture of the region, which demonstrated extreme austerity and an almost primitive simplicity, introduced into the immensity of the Patagonian desert,” it added.

Rounding out the project is a house for the family who owns the ranch, which comprises two L-shaped volumes and a courtyard. A triangular design juts from the roofline into the sky and is clad in wood. Inside, the ceilings and walls are lined in the same wood as the exteriors and feature ample natural light and grey stone floors.

Estancia Morro Chico by RDR Architectes

“The architectural language of each part of the whole developed well-defined variations on the theme of sheds,” the studio said. “There are simple forms like that of the sheep-shearing shed, and other, more complex forms like that of the family house.”

Photograph by Javier Agustin Rojas

Estancia Morro Chico is complete with solar panels, wind turbines and a wood-burning boiler that is partly fuelled by bottled gas and replaces the former use of charcoal.

The ranch was founded by a Scottish immigrant in the late 1800s who arrived from Chile’s southern city Punta Arenas via the Falkland Islands, which today is a self-governing British Overseas Territory.

Estancia Morro Chico by RDR Architectes
Photograph by Javier Agustin Rojas

“He played a major role in the famous ‘gran arreo’, during which 5,000 sheep were brought more than 2,000 kilometres across the wet pampa to settle the vast swathes of land that the government had granted to the colonists,” RDR said.

“A century later, descendants of the same Scottish family are linked to an ambitious project aiming to complete and renovate the site.”

Estancia Morro Chico by RDR Architectes
Photograph by Celine Frers

Other projects in Patagonia are Tierra Chiloe hotel, Museo Regional de Aysen and Felipe Assadi’s Awasi Hotel, all of which are part of Chile.

Photography is by Cristobal Palma.

The post RDR designs “compact village” for sheep farm in Patagonia appeared first on Dezeen.

Link About It: This Week’s Picks

Design competitions, televised art classes, virtual parties, online orations and more ways to feel connected

George Nakashima’s Children Live Within and Preserve His Design Legacy

Japanese-American architect and furniture designer George Nakashima’s New Hope, Pennsylvania property houses more than 19 buildings by the craftsman. Two of them are homes to his daughter, Mira (who runs the grounds) and his son, Kevin—an unofficial keeper of the family’s saga. A prolific creator, Nakashima turned from commercial architecture to midcentury folk craft. During his life, he transformed walnut and maple, cherry and redwood slabs into furniture that bucked the trend of disposable modernity. In the homes of his children, Nakashima’s work remains preserved and, in turn, so does the heritage that inspired him. Read more at The New York Times.

Virtual Parties Draw 100k+ Guests

Epitomizing a new type of digital togetherness, DJ sets on Instagram Live now draw hundreds of thousands of guests. After the cancellation of gigs at South by Southwest and Coachella, LA-based D-Nice set up a booth in his home, selected over eight hours of music (ranging from Al Green and Mary J. Blige to Travis Scott and Sister Sledge) and pressed record. His session, affectionately called D-Nice Homeschool (aka Club Quarantine), reached over 100k viewers from all over the world. At one point the stream hit a peak of nearly 175k viewers (breaking Instagram’s viewership record)—a moment we ourselves took part in. Our current, collective circumstance makes events like this possible and important—and are a reminder that we’re part of a far-reaching community. Read more at The New York Times.

First-Ever Recordings of Penguins Vocalizing Underwater

For the first time ever, scientists have recorded the sounds of penguins communicating underwater. While it’s commonly understood that the flightless birds chirp to one another on land to ask for help with food and foraging, the underwater calls are less understood as researchers found that penguins were “often hunting alone when making their calls, suggesting they might have been directed at their prey instead.” Many of the penguins emit  noises just before catching their prey, suggesting it could be in order to stun or scare them. But, as study author Pierre Pistorius (biologist at Nelson Mandela University) says, perhaps “they’re just penguins’ way of saying, ‘Hooray, food!’” Read more at Smithsonian Magazine.

Grayson Perry’s TV Art Class

Brilliant British artist Grayson Perry (CBE RA) is teaming up with Channel 4 for a television show instructing viewers how to hone their own creative skills. With Grayson’s Art Club, the beloved artist will offer tips on painting, drawing and sculpting. He then hopes to display the work in a future exhibition. Perry tells the Evening Standard, “Accessibility is a part of what I want to do which is make art an ordinary part of life but a stimulating part of life. I’m not really talking to the art world, I’m more interested in the average Joe on the sofa.” Find out more at the Evening Standard.

Artist Kate Shepherd’s Video Walk-Through of Her Galerie Lelong Exhibit, “Surveillance”

“While you’re looking at the paintings, they’re reflecting you,” artist Kate Shepherd explains in her three-minute walk through of Surveillance, her captivating, highly conceptual show at NYC’s Galerie Lelong & Co. Shepherd began this series in 2017, with the intention to have the shifting, reflective quality of each painting’s enamel surface be the subject itself. She refers to the process behind the works as puzzles she needed to complete—and some are born from what the gallery refers to as a referential loop. On pause for global health concerns, the exhibition (and more on the meticulous, thoughtful process) can be accessed through Shepherd’s video on Vimeo, as well as at the Galerie Lelong & Co site.

“Fountain of Hygiene” Challenges Creatives to Rethink Hand Sanitizer

London-based studio Bompas & Parr has teamed up with the Design Museum to launch a competition called Fountain of Hygiene for which creatives are to rethink and redesign hand sanitizer packaging. The winning creations will be displayed in a future exhibition (both in real life and online) and then auctioned off, with proceeds donated to The British Red Cross. Design Museum director Tim Marlow says, “Design has an important role in helping to solve many of the challenges that we face in daily life” with the overall goal for the project to encourage “new behavioral norms which benefit the ongoing health of global society.” The competition closes 29 March, and entrants are encouraged to design for sanitizer pumps, but also “sprays, wipes, dispense units or even gestures and rituals.” Read more at It’s Nice That.

Watch the Animal Kingdom Online

Whether it’s elephants gathered around a watering hole at the border of South Africa and Mozambique or jellyfish at the Monterey Bay Aquarium, creatures continue their day-to-day lives, and we can tune in thanks to various livestreams. Some platforms play constantly, while others are open during specific hours—regardless, each serves as a welcome relief from our immediate worlds, reassuring us that life goes on. Find streams featuring bears, jellyfish, penguins, elephants, manatees and more magnificent creatures at Atlas Obscura.

Simon Freund’s “Mit Oder Ohne” Memory Game

Simon Freund’s newest photo series, Mit Oder Ohne (which translates to “With or Without”), features 32 Polaroid photos taken with flash and those same 32 scenes captured once again without flash. Rather than present the two side-by-side, Freund turned his collection into a memory game. The game—accessible online or in print on original Ravensburger memory cards—comes in 16, 36 or 64 squares and showcases the difference flash can make when shooting the same still twice. It’s also an entertaining way to occupy a few spare minutes, exercise one’s memory, and support an independent photographer. Play the game at Freund’s site.

Sir James Dyson and Other Entrepreneurs Produce Ventilators

Corporations helmed by some of the world’s most successful executives are pivoting their businesses to meet the demands of hospitals facing the current global health crisis. Dyson (named for its founder Sir James Dyson) successfully designed and will manufacture 15,000 ventilators in response to a plea from UK’s Department for Health and Social Care. A spokesperson for the company says, “We have deployed expertise in air movement, motors, power systems, manufacturing and supply chain and are working with medical technology and development company, TTP—The Technology Partnership, based in Cambridge.” Additionally, in the USA, Elon Musk guaranteed the delivery of 1,200 ventilators to Los Angeles from China’s overstock by purchasing them outright. Read more at Forbes.

Free Live Conversations at “TED Connects: Community and Hope”

With a captivating roster of speakers that aims to tackle topics plaguing the world at large, the series TED Connects: Community and Hope will provide free, daily conversations this week—commencing 23 March with Harvard Medical School’s Susan A David, PhD on emotional agility. Bill Gates will follow up his much-discussed TED Talk with more insight on the healthcare system on Tuesday 24 March. And the rest of the week will feature Gary Liu, CEO of the South China Morning Post; Seth Berkley, epidemiologist and head of GAVI, the vaccine alliance; and Priya Parker, author, The Art of Gathering. Head of TED Chris Anderson will host the series, which is moderated by Whitney Pennington Rodgers, TED’s current affairs curator. Visit the TED Connects site to catch each conversation.

Link About It is our filtered look at the web, shared daily in Link and on social media, and rounded up every Saturday morning.

Little Sky ice cream shop in Melbourne aims to capture the "theatre of gelato"

Little Sky Gelateria by Ewert Leaf

Customers can get a glimpse of gelato being made inside this ice cream shop in Melbourne, which local studio Ewert Leaf has completed in shades of blue and pink.

Located within a late 19th-century building in the coastal suburb of Brighton, the 140-square-metre Little Sky gelateria has been designed by Ewert Leaf to display the art of ice-cream making and encourage social interaction.

Little Sky Gelateria by Ewert Leaf

A solid oak bench seat extends the length of the interior, topped with salmon-coloured seat cushions and baby-pink terrazzo side tables that have cherry-red bases.

The communal bench encourages customers to sit alongside each together and strike up conversations.

The adjacent service counter connects to the kitchen, which is wrapped by a joinery wall. Directly in front is a row of stools where customers can watch staff preparing gelato through a service hatch.

Little Sky Gelateria by Ewert Leaf

“
To encourage customer engagement, the theatre of gelato is captured via a large open window that punctuates the kitchen joinery wall,” explained the studio.

“Showcasing production was an integral part of the design brief, inspired by the clients’ studies in northern Italy and [Italians’] desire to share the gelato tradition.
”

Little Sky Gelateria by Ewert Leaf

The studio has additionally restored the building’s rough concrete floors and brick surfaces, contrasting them against glossy fixtures such as the swooping service counter which is clad in deep-blue tiles.

All of the gelateria’s joinery and furniture was made especially for the project by a network of local manufacturers.

Little Sky Gelateria by Ewert Leaf

The locally-made ethos even extends to smaller elements, such as the pink-and-white ceramic bowls which are used to serve gelato in-house and the timber waffle-cone stands, which were hand-crafted from off-cuts of the timber bench.

Little Sky Gelateria by Ewert Leaf

The studio said that it considered the environmental impact of each element in the space, from the furnishings through to the packaging.

For instance, the take-away gelato cups are made from recycled paper and a majority of the crystal glassware was salvaged from a local charity shop.

“Attention to detail was achieved through the engagement of local artisans,”
 added the studio, “and implementing sustainable initiatives was key in ensuring that the business is run in the most environmentally responsible way possible.”

Little Sky Gelateria by Ewert Leaf

Other stand-out ice cream shops include Milk Train in London, which features cut-out clouds and pastel-blue walls, and Mister in Vancouver, which is set inside an old warehouse and uses liquid nitrogen to make its selection of frozen treats.

The post Little Sky ice cream shop in Melbourne aims to capture the “theatre of gelato” appeared first on Dezeen.

A shape-shifting Lexus concept inspired by the Japanese principle of light

Lexus transforming

Lexus being the luxury brand of Toyota, you know it gets the best of Toyota’s engineering and R&D skills. But when a Toyota-sponsored project creates a Lexus with a shape-shifting outdoor, we take notice! Named as the Lexus Hikari Concept, the design plays with light and its impact on the design. Hikari literally means ‘light’ in Japanese and the designer, in this case, was exceptionally inspired by the architectural classic – The White U House by Toyo Ito. What intrigued the designer, Hanzhengyi (Leo) Pan, is the way the U-shaped courtyard created an intriguing play of light within the house. It is that contrast of light and shadow that is incorporated into this concept. And it truly is mesmerizing!

Let’s begin with the shapeshifting feature – there are 2 main forms of the car’s exterior – one that allows light and the other restricts light, creating a comfortable cocoon inside the car. The exterior was imagined using Toyoda Gosei’s “e-rubber”, a next-generation material that holds together a surface while allowing it to bend without any visible creases. The flexible nature of the e-rubber lets the exterior change and control the amount of light passing through the oval structure of the transparent roof. This directly affects the user riding in the car, creating a harmonious connection between the exterior and interior of the car and its user, all of it using the principle of light. The renders showcase this to be an autonomous driving vehicle, so the car holds ample space for the users with the motor at the front, hydrogen tank at the tail end, and the bottom is lined with the fuel cells.

Retaining iconic Lexus design language, the concept holds true to the assertive L-finesse design philosophy with its spindle grille shape connecting the four tires. With no visible door and windows, it is the roof of this car that controls the ambiance. Expand the exterior to cover the roof and limit the light, letting the rider rest in the comforting shade. Close or contract the exterior, the rooftop gets exposed creating a bright, sunny ambiance inside, making the interior comfortable to work, study or even have a meeting. With Toyo Ito’s White U being an almost spiritual architecture by design, the Lexus Hikari tries to develop and maintain the same spiritual connection between all things man-made and natural, playfully interacting to deliver a calm, focused and balanced experience to the user.

Designer: Hanzhengyi (Leo) Pan

The Exterior

Lexus_hikari_angles

The cabin is wrapped by a shapeshifting outer shell that changes its shape while creating a new Lexus brand signature. It also controls how much light going into the cabin.

The Interior

Lexus_hikari_concept

The interior can be controlled by shape-shifting the exterior – making it light up to help the users work or dim out if the user wants to relax.

The Inspiration

The White U House was designed by the famous Japanese architect Toyo Ito in 1976 for his older sister, who had just lost her husband to cancer. Built in the center of Tokyo, it was demolished in 1997.

The Design Process

Lexus Model

Aimed to evolve the Lexus design language that creates intimate relationships and experiences with the user, the design fosters calm, balance and focus in an otherwise chaotic world.

 

This article was sent to us using the ‘Submit A Design’ feature.
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John Pardey Architects raises house on stilts over River Thames flood plain

Narula House by John Pardey Architects

Steel stilts elevate Narula House, a British dwelling on banks of a River Thames tributary that has been designed by John Pardey Architects to endure flooding.

The wood-clad Narula House is intended to evoke an abstract object beside the river Loddon near Wargrave, which is identified as a flood zone.

Narula House by John Pardey Architects

John Pardey Architects (JPA) completed the house for a client who wanted a striking property that overlooked the river and offered plenty of space to entertain guests.

It is raised on stilts to keep the house and its services well above predicted flood levels, while allowing the clients to “enjoy life as if on a cruise liner” during times of flooding.

Narula House by John Pardey Architects

“The client had been dreaming for some time of building their own ‘wow’ house, a comfortable modern home to enjoy as a couple and a great place for entertaining large gatherings of family and friends both inside and outside,” JPA’s Chris Gray told Dezeen.

“The new house and all servicing has been raised well above predicted flood levels which allows the client to embrace flooding as part of the life on the river,” Gray continued.

“During the days floating above the flood water, they enjoy life as if on a cruise liner!”

Narula House by John Pardey Architects

Narula House is the third dwelling completed by JPA along the banks of the Loddon, and so it was familiar with the challenges and demands that came with building in the flood zone.

According to the studio, the potential flood depth for the site is recorded as 1.17 metres so the dwelling is positioned 2.2 metres above ground to accommodate the potential threat of increased water levels caused by climate change.

Narula House by John Pardey Architects
Photo is by Max Narula.

“It is very much a response to this particular site and client brief, however many aspects of the design would be familiar to anyone looking to build in a flood zone,” said Gray.

“The basic approach is for the house to sit lightly on the ground, keep the house and services well above predicted flood levels and allow the free-flow of floodwater across the site.”

Narula House has a slender steel framed structure that is raised on piled foundations. Its site has been landscaped to allow the free flow of floodwater across it.

It is distinguished by a single, linear form that aligns with the north and south cardinal points – contrasting with the meandering river over which it looks.

Narula House by John Pardey Architects

“The logical placement of the house might have been to align it with the river’s edge, so it would face south-east however we chose to align it so as to play off the diagonal path of the river with accommodation facing south,” said JPA.

“The rectilinear house aligned with the cardinal axes counterpoints the meandering river beautifully, reinforcing both.”

Narula House by John Pardey Architects

Narula House’s materiality was intended to evoke an abstract object hovering above the meadow, and features sweet chestnut cladding with a translucent preservative coating that offers a light, white finish.

This is teamed with fibre cement panel infills around its glazed areas, and an earthy grey brick chimney structure that extends up from a ground level barbecue area.

Narula House by John Pardey Architects

The dwelling is accessed by an open tread staircase, which leads onto an entrance deck with a sheltered front door made from natural iroko wood.

This opens into a generous lobby area and central courtyard, which features a second staircase down to the grassy riverbank.

Narula House by John Pardey Architects

On the westside of the courtyard is a large open-plan living space, which has unbroken views of the river.

It is enveloped by a balcony sheltered by an overhanging roof, which JPA designed to offer solar shading.

Narula House by John Pardey Architects

The same roof overhangs the east side of the house, which contains the residence’s private living spaces.

Branching off a linear hallway that runs the length of the house, these private living spaces include a study, utility room, cloakroom, and three ensuite bedrooms.

Narula House by John Pardey Architects

Throughout the home, the interiors feature deliberately simple, light finishes to help create the feeling of openness.

They are lined with timber flooring and decorated with the client’s own furnishings – including many 20th century design classics – in a bid to create a “wonderful autobiographical feel”.

Narula House by John Pardey Architects

Narula House is complete with an annexe for guests accessed from the home’s main entrance via a glass-lined corridor.

The annexe takes the form of a freestanding pavilion and has a lift for access.

Narula House by John Pardey Architects

JPA is a London architecture studio founded in 2000 by John Pardey.

In December 2019, Narula House’s site flooded after a period of extreme rainfall that raised the water table significantly. This was captured in a photo by the client.

Narula House by John Pardey Architects

Other recent projects on Dezeen that are designed to endure flooding includes Bates Masi’s Kiht’han house on Long Island, which is lifted above the ground and features lower-level screens to let water pass underneath.

Photography is by James Morris and drone footage is by Electric Blue.

The post John Pardey Architects raises house on stilts over River Thames flood plain appeared first on Dezeen.

This week, designers created objects and structures to help fight coronavirus

This week on Dezeen, Carlo Ratti designed an intensive care unit for Covid-19 patients from shipping containers and Dyson prepared to provide 15,000 ventilators for the NHS.

Italian architects Carlo Ratti and Italo Rota designed a series of interconnected intensive care unit (ICU) pods from shipping containers, which could be added to hospitals to increase their capacity.

A prototype of the pods, named Connected Units for Respiratory Ailments (CURA), is being built at a hospital in Milan, Italy.

Dyson designs ventilator in 10 days to supply NHS

Industrial design brand Dyson also announced this week that it has developed a ventilator, which it plans to produce 15,000 units of in the following weeks.

It took just 10 days for Dyson to design the CoVent ventilator, after UK Prime Minister Boris Johnson contacted the company to help meet the demand caused by the pandemic.

Stykka designs cardboard #StayTheF***Home Desk for people working from home during self-isolation

Danish startup Stykka shared a design for a simple flat-pack workstation, called the #StayTheFuckHome Desk, which those in need can easily assemble from three pieces of folded cardboard.

Architectural designers Ivo Tedbury and Freddie Hong have also developed a 3D-printed device that can be attached to door handles to enable hands-free opening, to prevent the spread of coronavirus.

Life after coronavirus: how will the pandemic affect our homes?

Ukranian architect Sergey Makhno wrote about how our homes will change once the coronavirus pandemic is over, after extended periods of self-isolation have affected our habits.

His forecasted changes include people preferring houses over apartments, wanting to become self-sufficient with their own water supply and heating, and more attention placed on creating a workplace at home.

Dezeen’s editor Tom Ravenscroft predicted that the huge amount of people being forced to work-from-home will have long-term impacts on how companies approach remote working.

Jure Tovrljan redesigns iconic logos to reflect a world under coronavirus

Graphic designer Jure Tovrljan rethought iconic logos including Starbucks, Nike and Mastercard to show how the pandemic is affecting current life.

While cartoonist Toby Morris and microbiologist Siouxsie Wiles created playful animated illustrations of non-contact greetings as well as graphs depicting how the exponential spread of the virus can be slowed.

OMA wraps glass public walkway around Galleria department store in Gwanggyo

Elsewhere, in architecture news, OMA completed the Galleria department store in Gwanggyo, South Korea, which is clad in tessellated triangles of stone.

Wrapped around the cube-shaped building is a multifaceted-glass passage that appears to be “eating its way through the stone”.

SHED creates Alley Cat dwelling for Seattle backyard

Spanish architect Maria Milans del Bosch designed a two-storey home for herself called Camp O in Claryville, which is a two-hour drive north of New York City, nestled into a hillside to minimise the impact on the surrounding forest.

Meanwhile, Seattle architecture firm SHED designed an aluminium-clad home for a couple who wanted to live in a more compact dwelling at the end of their garden, in order to rent out their main residence.

Nuwa is a micro guesthouse in Seoul with just one room

Other projects popular with Dezeen readers this week were a micro guesthouse in Seoul with just one room, an apartment in Kyiv that has cobalt-blue curtains in place of walls, and a Barbican flat in London that can transform into a ballet studio thanks to shapeshifting furniture.

The post This week, designers created objects and structures to help fight coronavirus appeared first on Dezeen.

Faina's Domna armchair echoes the form of ancient goddess sculptures

Faina's Domna armchair echoes the form of ancient goddess sculptures

Ukrainian design brand Faina looked to ancient depictions of the female form when creating this “cloud-like” armchair, which takes cues from archaeological finds.

The Domna armchair has a bulbous form made up of two cushioned elements joined together.

Faina's Domna armchair echoes the form of ancient goddess sculptures

Victoria Yakusha, founder of Faina, based the chair’s shape on an anthropomorphic ceramic artefact that was found by archaeologists on Cetatuia Hill in Romania in 1942.

Made by the Cucuteni-Trypillia culture around approximately 5,400 to 2,700 BC, the sculpture depicted the bodily form of a goddess.

Faina's Domna armchair echoes the form of ancient goddess sculptures

It was believed that four of these feminine forms facing inwards in an interlinked circle represented a hora – a ritualistic dance.

According to the designer, these figures of the female goddess’ body served as talismans, to bring good luck on families and particularly farming culture.

Yakusha wanted to achieve a “mild feminine form” with the Domna armchair, which she describes as having a warmth and “cloud-like softness”.

On this same thread, she named the chair after the Ukrainian word Domna, which translates as stove, but is also a rare female name meaning priestess.

Faina's Domna armchair echoes the form of ancient goddess sculptures

As Yakusha explained, her work is intended as a celebration of modern Ukrainian design, and is typically rooted in the country’s cultural heritage.

She hopes each of her pieces will become like “family members” for their owners.

Faina's Domna armchair echoes the form of ancient goddess sculptures

The armchair was debuted at this year’s Collectible design fair in Brussels, which took place from 5-8 March.

Here it was presented alongside other bespoke design pieces by Faina, including the Ztista dining table and chair, the Solod sideboard with a ceramic facade and the Kumanec and Hata ceramic vases.

Yakusha looked to traditional, local materials for these furniture items, which are made from clay, wood, willow and flax, with some being covered with a special biopolymer coating.

Elsewhere at the design fair was a homeware collection by Russian architect Anastasia Tikhomirova, which saw hand-moulded ceramic modules balanced on top of each other to form tables and shelves.

The post Faina’s Domna armchair echoes the form of ancient goddess sculptures appeared first on Dezeen.

This leather and felt organizer offers a classier alternative to stashing cables in your backpack

Somewhere down the road, we grew up and stopped using pencil-boxes, but we never stopped needing a nice kit to store our small trinkets. TheBlackCanvas’s leather and felt organizer is most accurately described as a ‘stationery box for an adult’s modern stationery’. It comes with a fabulous looking veggie-tanned leather outer and a felt-lined inner that lets you stash a power bank or hard drive, as well as store cables, earphones, pen-drives, or even a stylus in its loops. Fold it over, secure the push-clip in place, and you’ve got a neat organizer with all your work-essentials and productivity EDC all contained in a rather premium, more contemporarily-relevant ‘stationery box’ that you can either carry in your hand or slip right into your backpack for later use!

Designer: TheBlackCanvas

Sharon Van Etten feat. Norah Jones: Seventeen

Reworking “Seventeen” (from 2019’s Remind Me Tomorrow), singer/songwriter Sharon Van Etten enlisted Norah Jones for a sublime, bluesy iteration of her brilliantly moving song. Slowed down and pared back, this new version carries immense emotional weight like the original, but even more intimate. Van Etten and Jones performed the song together on various late-night shows last year, but this is the first time it’s appeared as an official recording.