Hasta La Ideas

Industrial designer Phil Saunders has an enviable career; he cut his teeth at Nissan, then branched out and worked on everything from videogames to theme parks to concept designs for Hollywood (he designed multiple suits for Iron Man, among other Marvel properties).

Image: Phil Saunders

Now he’s designed a wild-looking gaming tablet created in collaboration between computer manufacturer ASUS and German fashion brand Acronym.

Called the ROG Flow Z13-ACRNM RMT02–seriously–it features a detachable keyboard (I assume it’s detachable, weirdly ASUS doesn’t say), a kickstand that can be used in both portrait and landscape orientation, and most notably an “integrated carry system” of straps that can be used to carry it or interact with it while it’s slung in front of you.

“We added integrated grips so it can be held securely in any position, as well as robust corner bumpers so you don’t need to slap a plastic case on it save yourself from cracked screen anxiety,” Saunders writes. “The chassis itself is CNC machined to show the honest beauty of the material, with milled light-weighting forms and laser-etched graphics by the always enigmatic Raf Rennie.”

“[I] was thinking in terms of function, what it is, what it does, what it can do, and what are the possibilities,” Saunders told IGN India, breaking down how he came up with the idea for the carry system.

“When you think about a device that’s portable nowadays, you think of something that you use, and then you put it in a bag, and then you take it with that bag to another place, and then you may use it there again. What we wanted was to get rid of that intermediate interface, that’s a limiting idea, a legacy idea from the old way in which people used portable devices.”

“I think people are far more flexible in the way that they use things now. We’re used to walking while we’re surfing the web or doing whatever on our phones, so why not be able to do that with a much more powerful device. So to eliminate this idea, that in transit it’s packaged away, and to make the device its own bag, is what drove the idea of using those corner elements as the anchor points for a strap system.”

“[It’s in] keeping with ACRONYM’s prime motivator which is giving the user agency. It’s taking the user from limiting the way that they think about their device by having it in a bag, to now it’s on them. If they want to use it while they’re walking, they just flip it over and put it in producer mode and there they have it. So whether you use that or not, it’s giving you that opportunity, and that is rewiring your brain into a new way of interacting with a device like this.”

Saunders is quick to share credit; while he conceived of the carry system, he points out that the straps themselves were “designed by our good friend, rock star and all around renaissance man Brandon Smith, AKA The Anix.”

Demand has been strong; at press time the ROG Flow Z13-ACRNM RMT02, which retails for $2,500, was sold out.

This new book provides an immersion into neuroaesthetics and the relationship between art, health and the human experience

Every so often, voracious readers will consume a book brimming with ideas that they believe could change the world if more people simply picked up a copy. Such is the case with Your Brain on Art: How The Arts Transform Us, recently released by Penguin Random House and already a New York Times best seller. Inside this meticulously researched, eye-opening and engaging study, Ivy Ross (vice president of design for hardware products at Google) and Susan Magsamen (founder and director of the International Arts + Mind Lab at Johns Hopkins University School of Medicine) use insight gathered from 100 interviews to highlight the tangible influence of art on the human experience, our general wellbeing, and the brain’s ability to acquire information.

Throughout the book’s pages, Magsamen and Ross direct their attention toward the neuroaesthetics of various art forms while also casting unexpected attributes—like awe and humor—through the lens of art. They address our innate hunger for the arts in contrast to the fact that we often need societal permission. They broach the immediacy and affordability of artistic expression while explaining the surprising nuance of it all (for instance, poetry is processed in the same part of our brain as music). Altogether, they affix practical, scientific research to the sensations we feel when we embrace art.

Your Brain on Art debuted in NYC at The Rubin Museum of Art, in conjunction with a thought-provoking talk. It was here that Magsamen and Ross shed further light upon their pages. Early on in the book, the co-authors encourage readers to take an easy “aesthetic mindset index” test (which can also be done on their interactive website). Originally developed at the Max Planck Institute, the aesthetic mindset concept explores four core tenants that help individuals understand if their relationship to art—as a maker or beholder.

“One is curiosity. The second is playful exploration. Do you mess around with stuff? Do you have open-ended exploration without any kind of expectation? Then, are you conscious of the sensory world around you? Do you wake up in the morning and see the light? Do you smell the coffee? And, also, how do you really feel those sensory systems around you—and what’s your capacity or interest in making or beholding?” Magsamen probes during the book release. 

Ross and Magsamen use this application to oneself in order to apply these ideas to society. “We’ve made the arts a ‘nice-to-have’—a luxury. We’ve rarefied them. We’ve commoditized them and it’s left so many of us who aren’t gifted or talented without a way to find meaning and purpose, and I think to really heal,” she continues. In the book, the authors present evidence supporting what the world would be like if arts were used in healthcare and to alleviate suffering.

“We’re born with 100 billion neurons. We’re put into this world ready to take it in,” Magsamen says. “And we bring the world in through our senses. So touch, smell, taste, sound, all of those senses—we think there are actually more than 50 senses that we’re learning about now. Those sensory systems ignite our neurons, those 100 billion neurons, and they create what’s called synaptic connections. Synaptic transmission is really another way to say these neurons connect to each other on a cellular level, and they create neural pathways and those neural pathways go through your entire brain to connect all of the different systems and circuits and they really help us learn, grow and move. All of our emotions are there because of these neural pathways.”

They posit that dancing for 15 minutes or engaging in an art project for 45 minutes per day, regardless of skill, can be emotionally influential. (Gardening and convening with nature are also considered acts of artistic expression). They speak about designing and living in enriched architectural environments filled with novelty and surprise, rather than structures built for efficiency. And they touch upon the scientific endeavors today that find doctors exploring the way sound and music can influence people with Alzheimer’s. The information found in Your Brain on Art acts as a motivator and, in many ways, it’s the key to open a path into greater cultural and educational change.

Images courtesy of Ivy Ross

There’s something about wooden architecture that is simply so humble and endearing. Wood has been a material of choice for construction for ages galore. Wood ages beautifully – anything built with wood will retain the character of your house. And it also manages to incorporate an aura of warmth and serenity within the living space. The rustic and homely appeal of a wooden space instantly makes you feel at ease and welcome. It’s a material of choice that has stood strong through the ages and continues to do so. Whether modern or traditional, wood can be bent and molded to create a living space of your choice and style. From a charred woof self-built tiny home to the world’s first 3D-printed home that happens to be wooden – this collection of architectural designs will leave you mesmerized and completely in awe of the wonderful yet simple material that is wood!

1. The BioHome3D

The University of Maine Advanced Structures and Composites Center (ASCC) created the world’s first 3D-printed home built completely from bio-based materials such as – wood flour or fine sawdust, mixed with a binder made from corn.

Why is it noteworthy?

Called the BioHome3D, the home was specially designed to address labor supply chain issues that are raising the costs of homes and reducing the availability of affordable housing. The technology used to build the BioHome3D ensures that the home is primarily manufactured off-site using automation, which leads to less time for off-site3 building and setting up the home.

What we like

• Tackles the issue of labor shortage and supply issue
• 3D-printed

What we dislike

• No roof space to allow for vertical growth

2. Villa of the Star

Design practice APS Concept renovated the stunning resort space Villa of the Star, located in the Dalat pine forest, Vietnam. The house was built while focusing on three main factors – connectivity, locality, and sustainability

Why is it noteworthy?

The unique residence merges perfectly with the forest surrounding it, building a serene human-nature connection. The structure is built using a variety of locally sourced materials, such as stone, pine wood, concrete, steel, and bricks.

What we like

• The material that was selected by the design team for the home is ‘modified pine wood’. Modified pine wood is popular for its moisture resistance, mildew resistance, termite resistance, heat resistance, stability, durability, and environmental friendliness

What we dislike

• The open terrace/balcony space would benefit from an optional expandable roof for days with heavy rains

3. The Water Cabin

The Water Cabin is a floating home in Seattle’s Portage Bay that maintains the houseboat’s classic nautical personality and the weathered coziness of a cabin.

Why is it noteworthy?

Defined by a geometric silhouette that exhibits Kundig’s classic style, the Water Cabin’s frame is supported by galvanized steel structures that cradle spacious roof planes and wooden decks. Building the Water Cabin, Olson Kundig and their client hoped to blend interior and exterior spaces throughout the home. Arranged over two levels, the home’s interior spaces are specifically configured to maximize connections to the marine environment.

What we like

• Russian birch plywood ceilings line each room overhead, capturing the natural sunlight of the day and brightening the home
• Large roof overhangs protect the patio’s wood from seasonal elements

What we dislike

• Only a hidden Murphy bed functions as the home’s guest room

4. Kjerringholmen

This is the Hvaler archipelago, a true island paradise in Norway where you will find the ‘Kjerringholmen’ cabin. With just 63 square meters in size, the plan/design of the cabin still showcases plenty of space to give a very spacious and airy effect.

Why is it noteworthy?

Kjerringholmen is proof “that large houses don’t necessarily mean more quality of life. In just 63 square meters, with smart planning, it still has plenty of usable space,” said the studio. Occupying 63 square meters, the cabin is supported by steel pillars and surrounded by a dusky rocky landscape.

What we like

• Blends perfectly with the natural landscape
• Designed extremely efficiently to support a smart way of living

What we dislike

• Birds may not notice the home and could crash into it since it merges so perfectly with its surroundings

5. Samara and James’ Tiny Home

This beautiful 16-foot-long tiny home in Byron Bay, Australia was designed and is home to a lovely couple Samara and James. Frank Macchia, a holistic designer, and Samara’s father helped them to design the home. All the design ideas and moves you wouldn’t execute in a small space were implemented in this tiny home.

Why is it noteworthy?

Its interior and exterior feature a dark theme, and there aren’t a lot of windows in the home. Despite these details, the house manages to have an air of spaciousness and balance to it, while retaining a harmonious connection with the site it is situated on!

What we like

• Inspired by the shou sugi ban technique
• The home is surrounded by potted plants and greenery, adding a chunk of green to the space

What we dislike

• The clear design norm violations may not sit right with everyone

The post Top 5 wooden homes that you will want to move into today first appeared on Yanko Design.

Berlin-based studio Wulf Architekten has unveiled a dark-blue police station wrapped in bands of brass windows in the Bavarian city of Passau, Germany.

Arranged around two courtyards, Wulf Architekten designed the building to have a clear identity as a modern police station.

“The core concept was to achieve a building with a clear, strong, yet elegant design, whose appearance would not be disturbed by the cars parked around it,” said Wulf Architekten founder Tobias Wulf.

“The appropriate appearance for a modern police station is shown with a clear architectural language, presented in its strict structural grid in the facade,” he told Dezeen.

The building was designed to house five departments of the Bavarian State Police – police inspection, criminal investigation with a new cybercrime department, border police inspection, central emergency services and technical emergency services – at a single location.

It was formed around two courtyards with a taller, four-storey office block, which contains the covered entrance, set alongside a lower block that is wrapped around the secure car park.

“The lager courtyard serves to house the cars that we want to hide from the outside,” said Wulf.

“The other courtyard brings light to the center, filling the rooms facing towards it with natural light.”

As a nod towards traditional police colours, the studio choose blue blaster for the exterior, which was combined with brass-coloured window frames to give the building a distinctive appearance.

“We chose blue to be the predominant colour of the building but in a slightly more subtle shade as the building is very large,” said Wulf.

“The horizontal, midnight blue facade with its vertically grooved plaster, in combination with the continuous brass-coloured window ribbons, create the characteristic appearance of the building in a sustainable yet elegant manner.”

Within the police station Wulf Architekten aimed to create a “reserved appearance”, with the building’s concrete structure left exposed and paired with natural timber doors and fittings.

The building’s police cells were entirely finished with pale blue tiles.

Set alongside the main police station, the studio designed a stand-alone visitor parking garage that also contains a canteen.

Founded by Wulf in 1987, Wulf Architekten was has offices in Stuttgart, Berlin and Basel. It previously designed a fire station in Straubenhardt and a sports centre in Überlingen with a zig-zagging roof informed by the alps.

The photography is by Brigida González.

Projects credits:

Client: Bavarian State Ministry of the Interior, for Sport and Integration and Bavarian State Ministry for Housing, Building and Transport, represented by the Passau State Building Authority
Construction management: Aidenberger Architekten
Structural planning: Bollinger + Grohmann
Building physics: BBI Ingenieure
Landscape planning: Peter Kitzmüller

The post Wulf Architekten creates “strong, yet elegant” police station in Bavaria appeared first on Dezeen.

Reclaimed bricks and large windows define the side and rear extensions that London practice Rise Design Studio has added to a mid-terrace Victorian house in Queen’s Park.

Named Queen’s Park House, the residence in northwest London was extended and renovated to maximise space, natural light and views out to its garden.

Rise Design Studio‘s design saw the addition of two brick volumes – one to the side and one to the rear – in addition to light wells that help illuminate the home’s deep plan.

These interventions aim to be sympathetic to the home’s original architecture while opening up its interior and introducing pockets of privacy for the family members.

“It was important to make sure you can see the garden throughout the interior space of the long narrow ground floor plan,” explained Rise Design Studio director Sean Ronnie Hill.

“We created two lightwells and large openings, creating a visual connection to the strawberry trees,” he continued.

On entering, Queen’s Park House’s refurbished hallway features ceramic tiles, decorative cornices and a ceiling rose that nod to the heritage of the period home, while a distinctive gold light fixture hints at the contemporary extension beyond.

The ground floor plan opens up to the rear, stepping down into a light-filled kitchen and dining space with views of the garden.

The extension is characterised by a tactile material palette including earthy reclaimed bricks and wood with a deep blue satin paint finish.

A polished concrete floor is used to blur the boundary between the inside and outside, furthering the home’s connection to the outside.

“The monolithic polished concrete floor throughout the kitchen, dining spaces as well as the rear patio was to help with the feeling of connection between the exterior and internal spaces,” said Rise Design Studio.

Throughout the project, the brick is used to create a seamless transition between the old and the new elements.

The side and rear extensions are finished internally with reclaimed bricks that were carefully selected to match the existing brickwork at Queen’s Park House.

These bricks extend along one side of the new space, forming a continuous plane that is punctured with glazed openings. A concealed door and cabinet are clad in the same brick, camouflaging as part of the wall when closed.

Crafted by a local joiner, the kitchen includes wooden units, teamed with a brass-mesh sliding door that covers a wine fridge and coffee machine.

On the first floor, a sculptural stair of black metal and timber has been added, forming the focal point of a double-height library with metal bookshelves. This leads to the new main bedroom on the second floor.

To improve the energy performance of the existing Victorian house, the studio added insulation to its walls and upgraded some of its sash windows with double glazing.

Solar panels have also been installed on the green roof of the rear extension.

Rise Design Studio is a London practice founded by Hill in 2011. Queen’s Park House is the latest in a series of extensions it has added to London homes.

The studio previously created the sunken Brexit Bunker and added douglas fir-lined reading nooks to a house in Kensal Rise.

The photography is by French + Tye.

The post Rise Design Studio adds reclaimed-brick extensions to Queen’s Park House appeared first on Dezeen.