HD Historic rare footage shows the moment a nuclear bomb is detonated thousands of feet below the surface in order to extinguish a fire in a natural gas field in the former Soviet Union…(Read…)
Premieres August 14, 2020. From the creator of Survivor, 66 teams descend upon Fiji to compete in the most epic global adventure race ever attempted. Bear Grylls hosts this 11-day expedition that pushes competitors to their physical and emotional limits. For the veteran teams the goal is to win – but for most, the dream is to finish and prove to themselves and the world, that they can prevail in the World’s Toughest Race…(Read…)
South Korean illustrator Henn Kim’s hauntingly beautiful artworks have made her an Instagram sensation, earning her commissions from everyone from Unicef to Sally Rooney in the process. Here, she discusses the value of using creativity as an emotional release
The post How I Work: Henn Kim appeared first on Creative Review.
In the latest of our series of articles asking creatives what they would like to change about their industry, Somesuch co-founder Sally Campbell reflects on how production companies can create better environments for staff and find new ways of working post-lockdown
The post What Would I Change: Sally Campbell, Somesuch appeared first on Creative Review.
It’s no secret that coronavirus has hit the creative industries hard. The Creative Industries Federation has called the pandemic a “cultural catastrophe”, while the latest research suggests that over 400,000 creative jobs could be lost and the UK’s creative industries are projected to lose £1.5 billion a week in revenue this year.
For Nick Chapin, former publishing director at Frieze turned freelancer, the start of the lockdown period meant that most of his freelance work was either cancelled or put on hold indefinitely.
“When my work disappeared I didn’t quite know what to do with myself,” says Chapin. “I started speaking to friends and found so many people were in the same boat. I started to wonder and worry about all the brilliant young artists and creative minds I’ve worked with over the past five years, many of whom live pay cheque to pay cheque.
“There’s no furlough scheme or safety net for most artists. It struck me that there was a huge audience for culture and creativity that suddenly wasn’t able to connect. Galleries were closed, shoots were on hold. I thought there must be some way to get the wheels spinning again,” he adds.
Chapin’s response to this period of uncertainty is Limbo, a new print magazine-cum-cultural time capsule born out of lockdown. Published in partnership with WeTransfer’s editorial platform WePresent, the magazine upends the traditional publishing model by functioning as a profit share business, distributing all profits from advertising and issue sales directly to the contributors featured in the magazine and the staff who produce it.
To bring his vision for Limbo to life, Chapin enlisted the help of editor Francesca Gavin, who has worked with the likes of Kaleidoscope, Dazed and NTS, and David Lane, creative director of Frieze and founder of indie mag The Gourmand.
“We knew we wanted the magazine to feel raw and visceral, to be a patchwork of the DIY work people were making, often with new, lo-fi techniques. But we also wanted to evoke the history of magazines; to riff on the cliches of glossy titles, and reference the genius of bedroom publishing from the 90s,” says Chapin.
“Francesca once described Limbo as Smash Hits meets The Face, with the depth of The New Yorker, and the kitsch of a Sunday newspaper supplement. But while there was a lot of intention behind it, the look and feel was also sort of accidental. We gave artists blank pages and let them do whatever they wanted. And we were never once in the room together as a team! So it all came together organically, shaped by the vicissitudes of digital collaboration and the whimsy of the artistic community.”
The inaugural issue features a mixture of art, ideas and humour, acting as a kind of time capsule of the current crisis. A number of well-known creatives, including Vivienne Westwood, Wolfgang Tillmans and Tyler Mitchell, have not only contributed work but also waived their fees, allowing funds to go to the contributors most in need.
Meanwhile, the pricepoint of the mag varies depending on what you are able and willing to contribute. The cover price is £14, or £9 for out-of-work readers, while a £19 option is available for those who want to give more.
While Limbo very much started out as a response to lockdown, it has quickly grown into something bigger, as it attempts to tackle the broader sense of uncertainty we are all facing right now. Its arrival feels particularly timely given the spate of redundancies and closures that have swept the publishing world over the last few months, including Buzzfeed and most recently the Guardian.
“Publishing, and the creative industries as a whole, are in strange place. It’s certainly not sustainable. Editorial pays very little, if anything at all, and artists certainly don’t get a profit share from Instagram! The idea is you play the game, work for free and, somehow, you make enough to survive. It’s a fragile ecosystem and one that I think is ripe for disruption,” says Chapin.
“We originally imagined this being a one-off, almost more of an art project playing with the idea of a magazine. But the reception has been so positive that we’re now looking at taking it forward as an ongoing title. There seems to be a real hunger for something like this, from both artists and advertisers.”
The first issue of Limbo is out now; limbomagazine.com
The post Good Reads: Limbo is a new kind of magazine for our turbulent times appeared first on Creative Review.
Introduced in time for the institution’s bicentenary in 2022, the updated branding hopes to set it apart from competitors, as well as emphasise the Academy as a place for new musicians to create together.
“Look at the world’s music conservatoires and you quickly realise that they all present themselves in a similar way,” says the studio. “It’s as though they all share the same copywriter – each one say that they are the ‘world’s greatest’ or that they ‘lead the world’. Very few have memorably visual brands and many share an almost identical photographic style.”
Johnson Banks says the identity needed to convey the Academy’s heritage, but in a way that looked to the future. Although the studio had initially dismissed the idea of musical notation, it returned to the idea of the crescendo symbol – because of its suggestion of power and forward motion.
This symbol is now used alongside a three-colour palette of red, white, and black, and alongside the Museo typeface. There’s other subtle nods to notation used across the identity. And instead of the more aloof or intimidating language used by similar organisations, the tone of voice focuses instead on a sense of collaboration, and the idea of what tomorrow could hold. Johnson Banks has also updated the photography style, adopting a ‘fly-on-the-wall’ approach.
There’s a certain elegance to the work that feels right for the Royal Academy, but nonetheless there’s also a sense that this was a bit of a missed opportunity. The identity doesn’t quite push far enough into the future, occasionally feeling too static, and too mired in the world of heritage arts organisations – particularly when compared with something like The Partners’ recent, more dynamic, identity for the London Symphony Orchestra.
Credits:
Strategy and design: Johnson Banks
Lead designers: Michael Johnson, Alice Tosey
Additional copywriting: Nick Asbury, Asbury & Asbury
Photography: Roscoe Rutter, Michael Johnson
Film: Ian Anderson and Johnson Banks
Website: Whitespace
The post Johnson Banks adds crescendo to the Royal Academy of Music’s identity appeared first on Creative Review.
Ponti Design Studio has created a concept for an autonomous, double-decker tram with a radial interior design to encourage Hong Kong residents to safely return to public transport after the height of the coronavirus pandemic.
The product-design firm – founded by Hong Kong-based, Italian-born designer Andrea Ponti – wanted to offer a modern take on existing public transport to better suit it to a post-Covid-19 world, where prevention of future pandemics is key.
“This is especially important in the densely populated city of Hong Kong, where social distancing is hard to achieve,” said Ponti.
The electric tram concept, called Island, aims to persuade people to move from private forms of transportation to public ones, which have become less favoured in light of the coronavirus outbreak.
By incorporating electric and driverless technology – negating the space needed for an engine and driver – there is more space in the interior of the tram, making it easier for passengers to social distance.
Passengers would sit in a radial pattern on “islands” positioned along the centre of each floor inside the vehicle, facing outwards in order to avoid breathing in the direction of other travellers.
Bar-like wooden counters line the perimeter of each storey, and feature handrails to enable passengers to stand and enjoy the passing views while travelling.
The wooden accents and warm tones incorporated in the interior provide a marked contrast to the monochrome exterior, which takes design cues from the Hong Kong cityscape.
Wrapped in large expanses of glass that round off at the front and back of the vehicle, the tram echoes the design of the surrounding urban architecture.
This use of glass allows an abundance of natural light to fill the interiors throughout the day, both via the walls and the domed ceiling.
Vertical strips of LED lights line either side of the tram’s curved front and back, acting as the vehicle’s brake and headlights to enhance its visibility in all weather conditions.
Ponti has also designed accompanying tram stops, which are open on both sides to encourage better air-flow and more orderly movement of travellers.
Each tram features a retractable connection point to enable swift charging at the tram stops.
Trip payments would be made contactlessly via Hong Kong’s Octopus card system at these stops before boarding the vehicle. Passengers would be guided by electronic graphics informing them of how to pay.
Ridding the vehicle itself of payment points also creates more available space in the interior.
“Island represents the forward-thinking spirit of Hong Kong, and introduces a new concept of public transport that overcomes the practice of social distancing,” said Ponti.
“The idea of designing a tram is no coincidence: trams are one of the city’s landmarks and the tramways celebrate their 115th anniversary this year.”
“The concept of social distancing, which limits people’s freedom to move and interact, became the design challenge and focal point for the new concept,” the designer continued.
“We shouldn’t be dividing and separating but instead rethinking public spaces with a seamless, integrated and effective design approach.”
Ponti founded Ponti Design Studio in 2013 upon moving to Hong Kong, where he has served internships with leading Japanese transport firms including Honda and Mitsubishi.
Fellow Italian designer Arturo Tedeschi created a similar concept for a tram for the city of Milan, which features various social distancing solutions including a “runway”-like interior.
The design, called Passerella, is a modern take on the classic ATM Class 1500 tram, and boasts plexiglass shields in between seats and circle-shaped markers on the floor.
The post Ponti Design Studio creates driverless tram concept for Hong Kong post-Covid appeared first on Dezeen.
Superverde is Italian architect Stefano Boeri‘s design for modular street furniture for cities that comes with trees, plants and benches.
Boeri’s practice Stefano Boeri Interiors created Superverde for Metalco, an Italian street furniture maker. A metal edge will frame the planters, which would contain an appropriate mix of soil and greenery for the climate it is installed in.
Metal benches can be fixed to certain points of the frame so that passersby can sit and rest amongst the foliage.
“Superverde is a permeable and flexible surface, which is measured and purchased per square metre,” Stefano Boeri told Dezeen.
“It is designed to be assembled according to the context in which it is placed,” he added.
“Thanks to a system of modules, edges and hidden side structures, it allows for composing landscapes of different shapes and sizes.”
Superverde also comes with an energy-efficient autonomous maintenance system.
“Thanks to a dense irrigation system and sensors for the control and analysis of the wellness and moisture of the soil, it is possible both to manage the use of water and of all resources and to guarantee the plants health,” said Boeri.
As well as providing decoration, a pleasant space to sit and a habitat for insects, Superverde could improve the immediate climate claimed Boeri.
The areas of greenery would “decrease the ‘urban heat island’ effect” and “reduce temperatures in high-density areas,” he said.
An Urban Heat Island (UHI) is where built-up areas become hotter than the surrounding countryside because the land has been covered with dark, heat-absorbing surfaces.
Trees and vegetation can be used strategically to reduce the air temperature around them by casting shade and through evapotranspiration, the combination of plant transpiration and water evaporating from the soil.
The smallest version of Superverde measures between nine and 20 square metres and can hold up to three trees and 20 shrubs along with grasses and perennials. An extra-large version covers between 60 and 100 square metres and holds up to a dozen trees.
“Superverde increases the presence of trees in the city, thus improving air quality and consequently the lives of citizens,” added Boeri.
Boeri often uses plants in his projects, most famously for his vertical forests – apartment blocks with balconies planted with trees and shrubs.
Also concerned by the UHI, UNStudio and Monopol Colors have created a super-white paint that can be painted on buildings to reflect the heat of the sun.
Project credits:
Project: Stefano Boeri Interiors
Partners in charge: Stefano Boeri and Giorgio Donà
Project leader: Jacopo Abbate
Team: Esteban Marquez, Giovanni Nardi, Pierpaolo Pepi
Landscape project: Lorenzo Rebediani, Vera Scaccabarozzi (Vannucci Engine)
Client: Metalco
The post Stefano Boeri designs hybrid tree planters and street furniture appeared first on Dezeen.
Since everyone is staying home, a lot of our attention has been captured by the furniture around us which has got thinking about how it can be more multifunctional, space-saving, and aesthetic. Furniture design is moving towards a more flexible direction and CatYou in a Circle is a wonderful display of modular pieces that work for both humans and pets.
The set includes a floor sofa and a coffee table that aims to create a relaxing space for cats and their owners to have some downtime. Urban homes are only getting smaller and cat owners are faced with challenges to keep their pets entertained without taking up too much space. During quarantine, it has become more of a lesson as we share our space with them 24/7. The designer administered a questionnaire and after 233 responses it was found one-third of the cat owners living under 50 square meters. The four main problems that the design needed to solve based on their feedback were – not enough hiding space, cat furniture occupies too much living space, renovation is often not an option, and people want to have enough room to bond with their cats during playtime. The goal was to incorporate the behavior of people and cats in one design that worked to create a functional and playful space for both.
People in small living spaces use low furniture (such as rugs, floor chairs) to build intimate relaxing areas while cats prefer covert spaces, but due to the limited space, there are not many places to hide or play. CatYou in a Circle didn’t want to separate the pets from their owners so it is designed to cleverly bring them together while also maintaining boundaries. The hollow armrests and backrest offer cats a playground and hiding territory while the coffee table provides a place to sleep. The woven bamboo texture makes it possible for owners to see their cats even when they are hiding and play with through its holes. The size of holes is different in different parts of the furniture to adapt to the needs of the pet as well as humans. The backrest holes are smaller to make the cats feel more secure. But holes above are bigger so that when people lean on the sofa, they can see through the backrest and find their cats underneath. The armrest holes are bigger to offer more opportunities to interact. But holes above it are smaller to make resting your arms more comfortable. There are also two large holes on each side of armrests that allow the curious cats to pop their heads or hands out.
To make it more comfortable and cozy, fabric cushions are placed at the bottom of the armrests and the coffee table. They are skin-friendly and also absorb smell so it works especially well for smaller homes. The cushions are laundry-friendly and the armrests can be stretched out or pushed back in depending on the space and needs. The bamboo adds a touch of warmth and keeps it airy and visually light. Most cat furniture on the market is focused on either just the pet or just the interior aesthetic for the owners, it is rare to find pet furniture that works for the behavioral and spatial needs of both while still upholding the standards of style. CatYou in a Circle emphasizes the concept of “passive companion”, which leaves an autonomous space for cats. Flexible furniture should be extended to pets as well, after all, our house belongs more to them than it does to us!
Designer: Jack Dogson
The first moving walkway debuted at the World’s Columbian Exposition of 1893, in Chicago, Illinois and was designed by architect Joseph Lyman Silsbee. It had two different divisions: one where passengers were seated, and one where riders could stand or walk. It ran in a loop down the length of a lakefront pier to a casino. Six years later a moving walkway was also presented to the public at the Paris Exposition Universelle in 1900. The walkway consisted of three elevated platforms, the first was stationary, the second moved at a moderate speed, and the third at about ten kilometers per hour (six miles per hour)…(Read…)
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