Hasta La Ideas

French shoe brand Nodaleto has chosen Miami as the location of its first US store, which New York studio Rafael de Cárdenas designed with sci-fi-influenced red and chrome interiors.

The shop opened in Miami Design District during the city’s art week earlier this month, starting a two-year lease in the 1,000-square-metre space (10,764 feet).

Rafael de Cárdenas based the interior on mid-century French design, as a homage to the influence this movement had on sets created for sci-fi movies.

The studio also linked the shape of Nodaleto‘s signature heels to chairs featured in Stanley Kubrick’s film 2001: A Space Odyssey.

“The design, driven by the concept of ‘hyper-modern hospitality’, explores shapes and materials that echo the feel of a space station as well as an idea of a glamorous future,” said the Rafael de Cárdenas team.

“In many ways, midcentury French design defined the frontier of space as much as NASA; the interior reflects that.”

Sci-fi references can be seen across the store, which is fully carpeted in bright red and features brushed chrome panels divided by thin light strips along its walls.

“In cinematographic style, a warm satin velvet floor meets cold steel shelves,” the studio said. “The store space – in line with brand’s creative tone – strives to induce the experience of contemporary luxury.”

Shoe displays run the length of the narrow space, with white shelves suspended in front of the metallic panels.

Through the middle are a series of sculptural, undulating modular seats for shoppers to sit and try on the footwear.

A large red volume right at the centre is emblazoned with the brand’s backlit logo, as well as three pairs of white mannequin legs that emerge from the vertical surface.

“The store serves as a moldable creative field for the brand and strives to offer an intimate immersion into Nodaleto’s mischievous personality,” said the studio.

Rafael de Cárdenas was shortlisted for interior design studio of the year at the Dezeen Awards 2022. Named after its founder, the studio’s previous projects include a bar inside New York’s Nordstrom department store and the Manhattan offices of beauty brand Glossier.

Miami Design District is home to the stores of many luxury brands, with architecture and interiors by internationally renowned studios, including Louis Vuitton’s menswear store wrapped in a diamond-patterned facade by Marcel Wanders.

The city, seen by some as the capital of Latin America, received an influx of creative talent during the Covid-19 pandemic and continues to grow as a cultural destination.

“Nodaleto chooses Miami because it’s a crossroad of cultures, a city permanently kissed by the sun, a hub for arts and design, because of its daring nerve and unapologetic energy,” said the studio.

Also during this year’s Miami Art Week, Kelly Wearstler debuted a collection of knotted marble furniture and Nike showcased hundreds of Virgil Abloh-designed sneakers.

The photography is by Kris Tamburello.

The post Space-age design informs Nodaleto shoe store by Rafael de Cárdenas appeared first on Dezeen.

While the demand for a folding phone seems to be incredibly niche (and localized to just Asia), this conceptual gadget named Tam Tam makes a pretty compelling case for folding phones by turning them into the most versatile gaming devices. The Tam Tam can be used as a phone, a handheld controller, a mini console, or even a nifty multiplayer gaming system for two or more people. The secret? Folding displays and detachable Nintendo Switch-style joy-cons.

Designer: Jinseon Lee

The Tam Tam is a portable folding console with a Huawei Mate X-style outward folding design. The phone exists independently, but pairs rather well with a set of interchangeable joy-cons that snap onto either side, turning it into a makeshift Switch-style console. The joy-cons can be used separately too, allowing you to explore various gaming arrangements – my personal favorite being Tam Tam’s multiplayer mode.

The multiplayer mode sees the phone set up in an A-shaped format with two halves of the screen facing each of the players (sort of like a game of battlefield). Players can even set the phones up in a 4-player format (image below) and play a variety of competitive games. Unlike the Nintendo Switch, however, Tam Tam offers a whole range of controller types, spanning D-pads, knobs, broad joysticks (or joy-discs), etc.

The controllers can be attached or detached on demand

Multiple controller formats enable different gaming experiences

This isn’t the first time we’ve seen a folding console, though. A foldable Nintendo Switch 2 concept surfaced last year, which sported the same versatile gaming format, albeit with a larger tablet-sized foldable display. Earlier this year, redditor MikeDubbz hacked together a Samsung Galaxy Z Flip to let you mount Switch Joy-Cons on each side. The Z Flip ran an emulator, turning the popular foldable phone into a faux Gameboy of sorts!

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How often do you pay attention to the seating system in your office cafeteria or any public space for that matter? Not very often, or to be honest not at all. And I don’t blame you, since the seating system seen these days are monotonous, uniform, and quite blah. There is simply no reason for them to grab our attention, or inspire us to compliment their aesthetics. But this is where the Autobahn Seating proves to be different. Created by designer Alexander Lotersztain in collaboration with the Australian brand Derlot, Autobahn Seating is a unique and modern seating system.

Designer: Alexander Lotersztain for Derlot

What makes Autobahn so unique and interesting is the fact that is it inspired by German highways! Autobahn was originally designed in 2012 to be a modular and flexible seating system whose various components can be effortlessly reconfigured to provide for a wide range of functions in all kinds of spaces. It aims to be a continuous and free-flowing seating solution.

Autobahn is defined by both straight and curved bench seating modules, which can be connected to create one long and slithering snake-like structure. The various modules also come along with small circular tables that can be optionally added by attaching them to the legs. An upholstered armrest at a raised angle can also be added to the system. The armrest will run parallel to the seats.

“Just like the German highway, the Autobahn collection is all about flowing lines, open spaces, and endless possibilities. A refined and pared-back form allows Autobahn to effortlessly change gears and adapt to both formal and informal environments,” said Derlot. Autobahn comes in a variety of fabrics and leathers that you can pick and choose from. The legs and tables are also available in a diverse selection of powder-coated colors and wood veneers.

The post This modern and minimal snaking seating system is inspired by German highways first appeared on Yanko Design.

From The Rockaway Hotel to Williamsburg’s Wythe Hotel and Greenpoint’s The Huron residences, a figure weaving the fabric of NYC’s future

Few architects have infused multiple New York City neighborhoods with a future-forward vision that manages to honor underlying heritage. Morris Adjmi, founder of the eponymous architectural practice, has done so multiple times over with meaningful contributions that range from Williamsburg’s Wythe Hotel to Dumbo’s Welcome Sign, Queens’ Rockaway Hotel, Tribeca’s Spring Studios, and now in Greenpoint with the addition of The Huron. On one of Brooklyn’s last undeveloped waterfront parcels, The Huron comprises two window-clad towers of 171 residences, astonishing amounts of outdoor space and extraordinary amenities.

Adjmi strives to create a legacy of responsible designs and does so via the concept of contextual architecture, where he studies, observes and responds. After working with world-renowned Italian architect Aldo Rossi, Adjmi founded his own firm in 1997. Roughly ten years ago, he added interior design as a service—and recently created an in-house art program to advise clients on works that will complement the furniture and design of their spaces, both inside and out. To learn more about Adjmi’s mission and vision, we spoke with the architect about The Huron, the fabric of the city and more.

Can you explain what the term “contextual architecture” means to you?

A lot of people think that working within a historic context can be limiting. For me, it’s really invigorating and provides a departure point for investigation. There are so many ways you can respond to context. We recently published a book of our work. It’s called A Grid and A Conversation. That title reflects our point of view. There must be a dialogue; there must be a connection. We must look at neighborhoods and even cities as places that are not frozen in time, but rather as places that can be reborn and refreshed.

Are there specific challenges in places like Williamsburg, the Rockaways or Greenpoint, where you are infusing something new into the established aesthetic?

I like to be careful and respectful and design buildings that play nice with their surroundings. It’s easy to design a place that is just about calling attention to itself or making a loud statement—and that’s appropriate in some cases. But there was a cartoon I once saw, looking down Fifth Avenue with Central Park on the left. On every block there was a Guggenheim Museum. It’s a great building but we don’t want one on every corner. We want to build fabric-of-the-city buildings and then special buildings to complement them.

Can you tell us about your first thoughts regarding the parcel of land that you’re building upon in Greenpoint?

The city is changing rapidly and one of the best things to happen has been the activation of the waterfront. It was at one point relegated to storage and industry. As that moved away, it became fallow and everyone turned their back on it. The last ten or fifteen years, the waterfront around the entire city has been invigorated with parks and places for people to gather. It’s natural that you’ll start to see residential and office development closer to the water, too.

Does this reflect on The Huron’s design?

Being familiar with this site and the industrial landscape that surrounds it, I thought it was appropriate to draw on some of that in terms of attention to detail both inside and outside of the building. But also the siding of the project and organizing the two towers, trying to create something that worked with the water but didn’t overwhelm it.

Can you distill the design vision for The Huron?

It has a bespoke industrial aesthetic. It has a tailored point of view. It’s more refined. There’s a lot of attention to detail in the shapes and profile, as well as the brick treatment on the ground level. There’s a lot of outdoor space and we pay particular attention to the rhythm of the windows, which changes slightly. We were able to eliminate columns to open vistas to the water and the New York City skyline.

And there’s ample outdoor space?

We’ve been working in residential for a long time and there was a trend of moving away from outdoor space. Some developers thought it was more complicated and not desirable. This changed—it started before Covid, though Covid has been a catalyst for further outdoor development. Because of The Huron’s position on the water, the developers were focused on providing as much outdoor space as possible. I think a third of the apartments have outdoor space. Then there’s dedicated outdoor space for kids, as well as space on the roof. We also set the building back 40 feet to create a park along the river.

Can you share with us how your approach to residential design differs from your approach to hospitality design?

They inform each other. The Wythe Hotel was the first hospitality project we did. There was a goal to create a warmer experience. I think more and more of the hospitality projects today are designed to feel like you’re staying at your cool friend’s apartment rather than a cookie-cutter space. On the residential side you’re starting to see more amenities that you see at resorts or hotels.

How do you feel when you see the Wythe now?

It’s been there for ten years. They recently had a celebration! A year ago we finished an office build-out for an Italian hair care company, Davines, in the building adjacent, which used to be connected to the Wythe Hotel. It was very similar inside—the same heavy timber columns, the brick and cast-iron elements. It was like coming back home after ten years and working in a similar way.

I think the Wythe has held up. It doesn’t feel like it was a trendy design. It feels lasting. The things that we did there anticipated where we are today. We took all the wood joints and repurposed them as the beds and desks and some of the furniture in the lobby. Our intentions were right for the neighborhood: reusing the building and adding onto it in a way that’s respectful.

You grew up in New Orleans. Does that influence your practice?

If I hadn’t grown up in New Orleans I probably wouldn’t be an architect. It’s because of my experience growing up in New Orleans and going to the French Quarter almost every Sunday to get coffee and doughnuts and seeing the architecture there. I started drawing the balconies and columns on a class trip and my teacher started encouraging me to start looking at the orders of architecture. I was really fascinated by that—and architecture that was similar but different. The overall quality of the buildings sparked something in me.

Is there a building that’s long inspired you?

There are so many. A lot of people ask me my favorite and I think that every day I have a new favorite. I am so stimulated by architecture. I was in Stockholm this summer and two of my favorite architects—Gunnar Asplund and Sigurd Lewerentz—have done a number of buildings there. In fact, they did the Woodland Cemetery together. I think that was one of the most moving experiences I’ve had: being there and seeing their work together.

Is there something from your time working for Aldo Rossi that infuses your work today?

I was drawn to Aldo Rossi’s work based on knowledge of his early projects, like Gallaratese and San Cataldo Cemetery in Modena. But really Il Teatro del Mondo in Venice was the first project that really grabbed my attention in a way that inspired me to say “yes, we can make modern buildings that fit into and reflect the place they are and also the history around them.” The idea of a floating theater was something around since the 1500s in Venice. He built something in 1979-1980 that carried on that tradition but also felt like it belonged there then. It was a little humble pine wood and scaffolding construction on a barge.

Working with him affected me in a way that inspired me to continue the journey of looking at architecture and understanding history. It’s really the foundation for everything that I do.

Images courtesy of Redundant Pixel

Music has different effects on different people, but the fact is that it always has some effect. At the very least, it can poke interest in the listener or admiration for the talented artist filling the air with notes. Despite how efficacious music can be, many will argue, especially parents, that it’s hard to make money from music, not unless you make it big in the industry. That said, there are people who make and perform music out of pure passion, though it definitely doesn’t hurt to get a few kind donations in the process. Street musicians and performers are not an uncommon sight in any country, and most of them have the same problem when it comes to carrying heavy equipment. Amplifiers, for example, are necessary yet so inconvenient, but this design envisions such a gear that can help make life easier for these “buskers.”

Designer: JiHoon Park

We’ve come a long way from the large boxes known as amplifiers that can only be moved using a cart. There are plenty of more portable solutions these days that can help musicians who perform in public to move from one spot to another more easily. Despite their significantly smaller sizes, though, these amps often still come in bulky boxes that you carry awkwardly with one hand, leaving you with only one other hand to carry everything else.

It would be more convenient if you could sling the amplifier on your back like a backpack, but its boxy design makes that next to impossible, if not painful. Thankfully, technology and manufacturing have reached a point where that is finally possible, at least in theory. BPMP, then, is a concept that tries to cram as much hardware inside a package that you can comfortably wear on your back. Even better, it’s not something you’d be ashamed to be seen with.

Instead of the typical box design, BPMP uses a flatter “squircle” or square circle shape with one side bulging slightly outward. The flat side is designed like a typical backpack, with shoulder straps and soft fabric material that cushions your back a bit. Unless you know better, you might mistake this as one of those hard shell backpacks that are gaining popularity in some quarters.

The reimagining of the portable amp doesn’t stop there, though. For example, there’s also a handle that swings down to become the amplifier’s adjustable stand. The top edge holds the knobs and sliders for controlling the audio equipment, just like what you’d find in a normal amplifier.

There’s no denying that, in addition to being very portable, BPMP looks quite attractive to the point that you might not even believe that it’s an amplifier. Then again, it might be questionable whether you can cram that much audio hardware and electronics to make it function as a proper amplifier, nor does it guarantee that the quality of audio output won’t be affected by this unconventional design. Still, it’s an avenue worth exploring, especially if it will get buskers more attention for their already captivating performance.

The post BPMP is a portable amplifier concept you can easily carry on your back first appeared on Yanko Design.