The design is equipped with a “clamping mechanism” that enables users to secure laptops or tablets to their desks, in either portrait or landscape mode.
“It works as a single screen set-up, or is ideal when combined with any other monitor up to 27 inches to form a dual screen configuration for mobile and hybrid workers,” said Colebrook Bosson Saunders. “Space, productivity and comfort are all easily maximised.”
The product aims to improve user posture in addition to freeing up desk space.
It can be used with a separate keyboard and mouse, and “reduces eye, neck and back strain and improves comfort during long periods of work”.
It secure laptops or tablets to their desks, in either portrait or landscape mode
The mount has a thin profile and curved edges making it a “stylish addition to any workspace”.
It also has integrated cable management channels, allowing users to keep their desk space “neat and tidy”.
About Dezeen Showroom: Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen’s huge global audience. For more details email showroom@dezeen.com.
Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership content here.
Dezeen Showroom: the Lima Laptop Mount by Colebrook Bosson Saunders positions laptops at an angle that aids posture, creating “healthier workplace ergonomics and freeing up desk space”.
The product aims to improve user efficiency by raising a laptop to eye height, while enabling external mouse and keyboard use.
“When working ergonomics improve, so do long-term efficiency and productivity,” said Colebrook Bosson Saunders.
It can be used with monitors up to 27 inches, and can support laptops up to 2.8 kilograms.
The accessory is designed to create a healthier working environment
“When it’s used with a dual set-up, it can position a laptop and a monitor at the right eye level to encourage good posture and reduce stress on the body,” said Colebrook Bosson Saunders.
“Lima provides cost-effective, ergonomic monitor support, but we wanted to evolve the design so that it could support laptops, or a laptop and monitor combination too.”
The design encourages good posture
At the end of its life, the mount can be dissembled, and each of its components recycled.
The design is thin and lightweight with curved edges, allowing it to “integrate elegantly into any workspace setting”.
About Dezeen Showroom: Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen’s huge global audience. For more details email showroom@dezeen.com.
Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership content here.
Italian inventor Veronica Crisafulli has created a workable pair of telescoping high heels. You can quickly change their height to 5cm, 6cm or 7cm, and “this flexibility allows women to embrace fashion and function in a single shoe,” Crisafulli’s company, Trilly, writes. “No extra shoes or removable heels to carry around.”
Trilly currently offers two different models in three colors, and they’re going for $110 on Kickstarter, where they’ve been successfully crowdfunded. At press time there was still 25 days left to pledge.
Google has developed a new videoconferencing technology that presents each party in 3D. Called Project Starline, you won’t be installing it on your laptop anytime soon; it involves an array of cameras, computer vision and machine learning software and “a breakthrough light field display system,” Google writes, “that creates a sense of volume and depth that can be experienced without the need for additional glasses or headsets.”
Here’s what it looks like in action:
The technology looks amazing, but I think the physical design needs work; the way it’s set up, it looks a lot like the two parties are talking to each other through a prison visitation window, and I’m guessing that’s not the vibe they’re looking for.
“They’ll never find the bodies! I’ll be out of here in no time”
This looks like an ambitious ID student Prototyping class project, but in fact it’s a finished product that’s on the market. The Wanderr, by outdoor equipment company OME Gear, is a five-function object that provides multiple seating configurations and serves as a sort of hand truck:
Here’s what it’s like to transform it from one thing to another:
Admittedly it’s as unattractive as it is versatile, but you can’t argue that the designer left any stones unturned, or missed any usable configurations. If this was student work, I’d give it top marks, and ask them to refine it for next semester’s project.
Vector Architects has completed the Pingshan Art Museum near Shenzhen, featuring a network of balconies and bridges that allow artworks to be displayed both inside and out.
The 47,000-square-metre museum gives the Chinese city its first major destination for contemporary art. It is located within the Pingshan Cultural Cluster, a hub of buildings that includes a new theatre and an exhibition centre.
Galleries open out to the terraces of Pingshan Art Museum
Despite its size, Vector Architects designed the six-storey building to be as permeable as possible, linking the park and lake to the east with the neighbourhood to the west.
At ground level, the volume is broken down into a series of small blocks, with pathways in between. They gradually join together on the upper levels, connected by the various terraces and bridges.
Plants and trees dot the terraces
This layout brings more people through the building, encouraging them to venture inside. It also creates opportunities for outdoor installations on the upper levels.
It is a similar strategy to the one employed by the studio when designing the Changjiang Art Museum in Taiyuan, which incorporates a raised public square.
Openings create through routes at ground level
“We fragmented the architectural volume to distribute the various functional spaces of the museum at different levels,” said Vector Architects, which is led by founder Dong Gong.
“The spaces are stacked vertically, allowing us to set up a multilevel public platform system that renders the architecture penetrable and porous.”
The first-floor terrace is accessible from the street. Photo is by Zhang Chao
Pingshan Art Museum is primarily constructed from concrete, which gives a weightiness to both the main structure and the protruding volumes.
Exhibition galleries are located on all six storeys, organised so that they can open out to the bamboo-covered terraces wherever possible.
When the museum is shut, the intention is that visitors will still be able to walk over some of these terraces and encounter artworks.
Plants and trees are also dotted through these spaces.
Galleries are located over all six storeys
“We hope that, outside of the operational hours of the museum, the building complex and its public functions could also be open to the whole city for longer periods of time,” said the studio.
“The spaces under the overhangs provide ventilation as well as sheltering from the sun and rain, specifically for the sub-tropical climate of Shenzhen.”
Glazed curtain walls create light-filled spaces
As well as exhibition galleries, the building also contains a large education centre, a library and a multi-purpose hall.
Spaces inside the building have a utilitarian feel, thanks to the large use of glass, metal and concrete. Glazed curtain walls are fronted by steel mullions, which help to moderate the amount of light that enters.
Concrete and metal give a utilitarian feel to the interiors
Pingshan Art Museum is located on the opposite side of the lake from the original art museum, a small building that remains in use.
The museum forms part of the Pingshan Cultural Cluster
Vector Architects hopes that the building will become a busy, active space in the neighbourhood.
“In our imagination, the art museum would fully absorb the crowds along either side, as an interface that undertakes the daily life in the neighbourhood,” it added.
Photography is by Su Shengliang unless otherwise stated.
Project credits
Client: People’s Government of Pingshan District, Shenzhen Developer: China Merchants Real Estate Competition supervisor, academic planner and tender service provider: Urban Planning, Land Resources Commission of Shenzhen Municipality Architectural/interior/landscape design: Vector Architects Project team: Gong Dong, Yue Han, Peng Zhang, Jinteng Li, Jinteng Li, Guangli Yu, Xiaokai Ma, Dongping Sun, Liangliang Zhao, Xiangdong Kong, Yihsuan Lin , Jiadai Wu, Yun Liu, Nana Zhang, Yunhan Liu LDI: Shenzhen AUBE Architectural & Engineering Design Consultants LDI team: Rong Ding, Zhenfeng Liu, Zhigang Wu, Baojie Ding Structural design: Guoqiang Zou, Zhijiang Yi Mechanical and electrical design: Yu Huang, Xiaohua Liao, Shaoliang Xu, Tingwan Lu, Canrong Luo, Hong Zhang, Xiaowei Qi Landscape design: Jie Zhu, Changrong Zhang, Long Shu, Ming Feng Lighting consultant: Dongning Wang, Xiaolei Sun Facade consultant: Wangming Zhang, Chao Cheng, Jiabin Sang
To dress the cars, Yeh and Shipley fed 50,000 images of classic artwork, created across some 900 years of history, into NVIDIA’s open-source software StyleGAN. They coupled this with a curation of 50 works from international contemporary artists who have partnered with BMW. With all of this visual information, the artificial intelligence generated several new images, which Shipley and Yeh mapped onto the vehicles. The mesmerizing final results (which were revealed through an official online viewing room at Frieze New York, in alignment with the 50th anniversary of BMW Group Cultural Engagement) attest to the artistry within technology. While each abstract artwork has been informed by the history of art, they are undeniably contemporary.
“In this uniquely isolated time, we wanted to play on this idea of cars and mobility to see how we can continue to connect people around the world despite closed borders,” Yeh tells us. This was what led them to include the 50 works by international artists. “Virtually all of these contemporary artists bring their local culture into their work or deal with global topics like North and South Korean craft, the African diaspora, and the environmental impacts of plastic bags. The range of their aesthetics then felt like teaching the AI new techniques, adding to its existing toolbox of 50,000 other art history images. With living artists always looking back on art history for inspiration, the AI works similarly in pulling from across these thousands of images.”
Regarding the database at the foundation of it all, Shipley adds, “The art history images encompass a very broad range of artwork. The thinking here was to cast a broad net and was part of an exploration to see what happens when we ask the AI to learn, generally, what is art? While we explored smaller datasets, we ultimately intentionally didn’t exclude things as our starting point. It is very striking to watch the generated imagery morph from one style and genre to another.”
“The model created by the AI about the history of art then became its starting point for when we showed it the 50 contemporary works,” he says. Shipley and Yeh were able to observe as the AI began to “understand” art, and transform “from this broad range of historic styles to something more specific.” Shipley provided a GIF (below) to showcase this progression, from “the history of art to Lee Bae’s work over the course of training.”
“I was amazed by how the artwork constantly evolved, as if you were seeing the AI learn and create in real time,” Yeh adds. “I could pick out certain elements from the artists that were selected, but was then inspired by how such new forms and color combinations were created.” Moreover, he was impressed with its ability to map over the vehicle. “I was especially happy to see how the AI-generated work wrapped around a car, emphasizing that sense of movement through space and cultures that we were after in selecting these artists.”
This virtual installation pushes the boundaries of what BMW has done in the cultural sector for the last 50 years—and aligns with recent fervor over digital art.
Yeh says, “Taking on the legacy of the BMW art car, the ‘Ultimate AI Masterpiece’ adapts to this new environment, playing to new platforms like Frieze OVR. With past projects that have involved video art and AR, working with AI at BMW is also a natural evolution of finding and supporting artists that are staying current with developing technologies.”
These vehicles also beg the question: can AI once day be creative on its own, or will the hands of the creators always influence the artistry? “At the moment,” Yeh says, “AI is used more as a tool that artists, engineers and curators can use to push the boundaries of their own work and research. That’s the beauty of this collaboration. We come from different backgrounds in art and tech, but ultimately found the intersection where the most exciting aspects of each discipline could be highlighted.” Shipley adds that there were thousands of human choices along the way that led to their particular results, which include setting the parameters of the neural network that did the learning.
“This tension between technology and traditional craft is something I often wrestle with and try to find a balance between,” Shipley says. “The idea of generative artists working directly with classically trained artists is fascinating to me though. I would love to see more painters, illustrators and sculptors working with these tools. That feels like the right balance to me.”
Creativity intertwines with consciousness—and although a neural network generated the imaginative art here, it’s the collaborative vision of Yeh and Shipley that brings it to life in an extraordinary way.
Bugatti Type 57, created by Jean Bugatti, was a dream car back in 1930 and 1940, with only 710 examples produced. Such was the design of the Type 57 SC Atlantic coupe, particularly that it is to date one of the most desirable classic cars. Only four of the 57 SC were created between 1936 and 1938, with three of these still in existence. The fourth one is still being searched for over eight decades now! So you can ascertain the value of the Type 57 SC Atlantic from this fact. Rightfully the Bugatti Hommage 100 2036 concept by car designer Habib ORHAN can fill its shoes in a modern avatar of one of the greatest four-wheelers of the past century!
Habib designed the blueprint during the quarantine time in February 2021 for the Type 57 SC Atlantic-inspired concept highlighted by the vertical division with a raised seam running from the hinge to the bonnet. He imagines the futuristic electric-powered coupe in 2036 when the technical improvements make it easier to use carbon fiber for the chassis structure design. The spaceship-like C-shape (adapted from the Bugatti Ventoux Coupe) and the engine housed inside the wheels (yes, that’s not a typo!) give sneak-peak into the reimagined vehicles of the future. The concept maintains the proportions of the GT series for luxurious and emotional touch while incorporating a modern, sporty look.
Bugatti Hommage 100 2036’s tail design pays homage to the Atlantic with a riveted middle to make the car lighter. The same goes for the bonnet, which preserves the natural GT feel. Since the sporty coupe is meant for 2036, it comes with lights to emphasize the vertical line separation. It also projects the Bugatti logo on the front to lure modern car enthusiasts. A brilliant concept indeed by Habib that brings nostalgic memories of the GT series back to the future!
With less than 15 days to go to enter Dezeen Awards 2021, we’ve asked some of our judges what they’re expecting from this year’s entries.
“Design is an illustration of our time and I expect to see projects that are responses to the events of the past year,” said American designer Kelly Wearstler.
“I want to see designs that really help to bring the vision of an evolving world into focus, particularly as we think about the increasing need for well-designed spaces, tools and objects in all aspects of our lives,” she continued.
“Sometimes, the most exciting projects for me are the simplest ideas that are beautiful, fun or surprising.”
Now in its fourth year, Dezeen Awards celebrates the world’s best architecture, interiors and design as well as individuals and studios producing the most outstanding work.
Wearstler, who creates experiential residential, hospitality, commercial and retail environments as well as lifestyle product design collections, will be judging the interiors categories alonglide Mlondolozi Hempe, Hector Esrawe, Petra Blaisse and Anouska Hempel.
Wearstler established her eponymous studio in Los Angeles in 1995. Notable projects include Santa Monica Proper Hotel, San Francisco Proper Hotel as well as custom residences for high-profile private clients.
“Technology continues to be a huge influence on design and materiality, making new designs more and more refined, while also being innovative,” said Wearstler.
“It is also imperative that the environmental impact of design and architecture plays a key factor now as we look towards innovation, so I am expecting entries to be forward-thinking, or look at how design can positively impact our world today,” she added.
“I’m always looking for what is new and next in the design world, and the Dezeen Awards provide a wonderful, inspiring platform to view talents from across the world.”
“The global scale and different categories of the awards program is second to none, I’m truly honoured to be a part of the jury this year.”
Enter Dezeen Awards 2021 now
There are now less than 15 days left to enter Dezeen Awards 2021. Entries close at midnight UK time on 2 June, so get started today in order not to miss out!
Danish architecture studio EFFEKT has planted hundreds of pine seedlings around seven architectural models at the Venice Biennale using a hydroponics system that’s remote-controlled from Copenhagen.
The installation is called Eco to Ego and responds to the biennale’s theme, a question posed by the Venice Architecture Biennale‘s 2021 curator Hashim Sarkis: How will we live together?
EFFEKT’s exhibition is called Eco to Ego
The seven models represent different research and design projects by EFFEKT that the studio feels answers this theme.
EFFEKT planted 1,200 one-year-old trees of four different species for the exhibition – Scots Pine (Pinus Sylvestris), Norway Spruce (Picea Abies), Sitka Spruce (Pinus Sitchensisa) and Hybrid Larch (Larix Eurolepis.)
The 1,200 seedlings grow in a hydroponic system
These seedlings sit in a hydroponic growing system that circulates water and nutrients around their roots. Hydroponics is a system of horticulture that grows plants without using soil.
Excess water drains into a tank below the planter that holds the system, called a grow table.
An architectural model of EFFEKT’s forest tower for Denmark
Sensors monitoring the pressure, humidity, and temperature allow EFFEKT to monitor and control the system in real-time from their office back in Copenhagen.
The trees will grow in the exhibition hall at the Venice Architecture Biennale for six months. After the biennale finishes, EFFEKT will take them back to Denmark and plant them as part of an urban reforestation project.
The studio estimates that these trees will be able to absorb over 1,000 tons of carbon dioxide over the next 50 years.
Water and nutrients is pumped through the tree roots
“Ego to Eco is built upon the idea of creating an exhibition with a lasting positive impact,” said EFFEKT.
“Considering social, environmental and economic aspects of any project can help address some of the greatest challenges we face as a result of our human existence.”
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
“They’ll never find the bodies! I’ll be out of here in no time”
